The image of Bazarov occupies a central place in Turgenev’s novel “Fathers and Sons.” Only in two chapters out of twenty-eight is this person not the main character. All other characters described by the author are grouped around Bazarov, help to see certain traits of his character more clearly, and also reveal themselves. Bazarov is radically different from the people around him: he is smart, has enormous spiritual strength, but among the representatives of the county aristocracy he experiences loneliness. This is a commoner who adheres to democratic views, opposes the serfdom, a materialist who has gone through a difficult school of hardship and labor. The image of Bazarov attracts attention with its independence and ability to think independently and freely.
The clash of free consciousness and the old orders
The plot of Turgenev's novel is based on Bazarov's clash with the aristocratic world of that time. The author reveals the character and life position of the hero in his conflict with the “damned barchuks”. In the work, the writer actively uses contrasts: Bazarov is contrasted with Pavel Petrovich. One of them is a staunch democrat, and the other is a typical representative of the aristocratic class. Bazarov is consistent, purposeful, possessive. In turn, Pavel Petrovich is soft-bodied, in a state of some kind of “doubleness”. His beliefs are random, he has no idea of his goal.
As already mentioned, the image of Bazarov is most fully revealed in the hero’s disputes with other characters. Talking with Pavel Petrovich, he demonstrates to us the maturity of the mind, the ability to look at the root, contempt and hatred of the lordly-slave order. The relationship between Bazarov and Arkady reveals the personality of the first from a new side: he acts as an educator, teacher and friend, shows the ability to attract young people to his side, intransigence and honesty in friendship. And his relationship with Odintsova shows that, among other things, Bazarov is capable of deep, true love. This is an integral nature, having willpower and possessing
Origin of Bazarov
Evgeny Bazarov, whose image is the topic of our discussion today, comes from a simple family. His grandfather was a peasant, and his father was a county doctor. Bazarov speaks with undisguised pride about the fact that his grandfather plowed the land. He is proud that he studied for “copper money”, and that he achieved everything he has on his own. Work for this person is a real moral need. Even when relaxing in the village, he is not able to sit with his hands folded. Bazarov communicates with people simply, guided by sincere interest. And this is once again confirmed by the fact that after he visits Arkady, the yard boys “ran after the doctor like little dogs,” and during Motya’s illness he gladly helps Fenya. Bazarov behaves simply and confidently in any company, he does not seek to impress others and under any circumstances remains himself.
Denial as the basis of the hero’s worldview
The image of Bazarov is the image of a supporter of “merciless and complete denial.” What does this strong and extraordinary person deny? He himself gives the answer to this question: “Everything.” Bazarov denies literally all aspects of the socio-political structure of Russia in those years.
The main character of the novel does not succumb to the influence of others, but knows how to win other people over to his side. His strong influence on Arkady is obvious, and in disputes with Nikolai Petrovich he is so convincing that he makes him doubt his views. The aristocrat Odintsova also could not resist the charm of Bazarov’s personality. However, in fairness, it should be noted that not all of the hero’s judgments are true. After all, Bazarov denied the beauty of the living nature around him, and art, and the boundless sphere of human emotions and experiences. However, apparently, his love for Odintsova forced him to rethink these views and rise one step higher.
Conclusion
Turgenev portrays a man who is one step ahead of his time in his creation. The image of Bazarov is alien to the world and the era in which he lives. However, at the same time as the character’s inexhaustible spiritual strength, the author also shows us the “other side of the coin” - his ideological, political and even psychological loneliness in the alien environment of the nobles. Demonstrating Bazarov’s readiness to change the world around him for the better, to “clear” it for those who will build a new state with new orders, Turgenev, however, does not give his hero the opportunity to act. After all, in his opinion, Russia does not need such destructive actions.
Image of Bazarov
… The beginning of the sixties of the 19th century.A difficult, transitional era for Russia. This was a turning point period, marked by the emergence of a new type of people - commoners. They had no means of subsistence and were forced to get an education and then earn a living with their knowledge. The commoners, as a rule, went into the natural sciences and were carried away by materialism, and in its lowest, vulgar manifestation. Bazarov in “Fathers and Sons” is one of the representatives of the nihilists of the sixties. I. S. Turgenev does not accept his views and proves the falsity of his theory.
Bazarov is a convinced nihilist. And, as it turns out, this is not a tribute to a new fashion trend. The hero fully believes in his theory. Having carefully thought through and felt his ideas, he brings them to life. So who is a nihilist? The best definition is given by Arkady, a student of Eugene: “A nihilist is a person who does not bow to any authority, who does not take a single principle on faith.” But the formation of a new ideology could not do without extremes. Bazarov believes that only natural sciences can lead to progress. That's why he studies mainly chemistry, physics, and biology. Conducts experiments with frogs, observes amoebas, collects samples of flora and fauna. But that's where his interests end. The hero thinks that art and other manifestations of spirituality in people's lives slow down progress. This, in fact, distinguishes him from true materialists, who affirm the primacy of matter and the secondary nature of consciousness. Consider, for example, Bazarov’s reasoning that “Raphael is not worth a penny,” and “a decent chemist is twenty times more useful than any poet.” The hero's ignorance does not stop there. Bazarov cannot understand the great Russian poet A.S. Pushkin. He even goes so far as to insult him and laugh at his poetry. The nihilist makes fun of Nikolai Petrovich Kirsanov’s passions for playing the violin and reading poetry in every possible way. The life of such people, in Bazarov’s understanding, is useless to society. He also denies love and romanticism. During a conversation with Arkady, the “materialist scientist” mocks his friend’s speeches about “mysterious glances” and advises him to better study the anatomy of the eye.
In past decades, the younger generation recognized their character traits in the Onegins, Pechorins, Rudins and Chatskys.The Pechorins had will without knowledge, the Rudins had knowledge without will. “The bazaars have both knowledge and will, thought and deed merge into one solid whole.” Indeed, Bazarov is a man of life, a man of action. He spends his days working and studying. Even his hands are red from work, Turgenev emphasizes. Bazarov cannot live without regularly giving his brain work and benefiting from it. So, when Arkady is a guest, he spends all his time in his laboratory behind a microscope.Of course, such energetic people could make a great contribution to the development of science.
Bazarov is the son of a district doctor who has two dozen souls.Therefore, the hero has little means of subsistence. The grace of life is alien to him. Finding himself in the company of the sophisticated aristocrat Pavel Petrovich Kirsanov, Bazarov never ceases to tease him. The hero never tires of making fun of his collars, perfume, and English clothes. Hatred for the “damned barchuk” is in Evgeniy’s blood. But it is mutual and soon results in a heated argument. Some of Bazarov's wild ideas come to light. Yes, the hero denies everything, refutes everything, strives to destroy everything. But what does he want to build instead? Nothing. As the hero says, his task is only to clear the place. And creating something new is no longer his concern. What a resemblance to barbarians! Destroying Rome was all they could do.
But Bazarov's ideas are not viable. His theory confuses him, he becomes its slave. The hero, who denies all feelings, suddenly falls in love. The passion that gripped him makes a hole in his theory.Love for Odintsova makes Bazarov look at the world differently. And now Evgeniy sees that life does not want to fit into a nihilistic scheme. Therefore, Bazarov, who has suffered through his theory, sees apostasy from it as his weakness, as a collapse in life. All its foundations are crumbling. Gradually he begins to notice that he is committing acts that are unacceptable to himself. This includes participation in a duel, a “knightly match”, which the hero so vehemently denied. This is also a noble act committed during a duel. Yevgeny, succumbing to the feeling, saves the life of his opponent. Bazarov's internal conflict does not find its resolution and ultimately leads the disillusioned hero to a tragic ending.
An inevitable blow of fate overtakes Bazarov - he dies.There is something fatal in the fact that a brave “anatomist” and “physiologist” becomes infected from dissecting a corpse. In the face of death, the supports that once supported Bazarov turn out to be weak. “Yes, go ahead and try to deny death. She denies you, and that’s it!” - Evgeniy admits. But the hero suddenly reveals qualities that were once denied to him. Bazarov's death is surprising. Dying, he thinks not about himself, but about his parents and Odintsova. Having loosened control over himself, Bazarov becomes better and more humane. But this is not a sign of weakness, but a natural manifestation of feeling. And “this serves as energetic proof of the integrity, completeness and natural richness of nature.”
Bazarov is no more. But life goes on. Those heroes who studied nature, understood its beauty, submitted to the mysterious forces operating in it, find happiness in love, in life. And the story continues with them. But Bazarov is not completely defeated. After his death he continues to be remembered and loved. Bazarovs with such knowledge and skills are needed by society.Materialism, in their understanding, is doomed to death.
The greatest creation of the master of psychology I.S. Turgenev. He created his novel at a turning point, when progressive people of society were interested in the future of Russia, and writers were interested in the search for a hero of the time. Bazarov (the characterization of this character clearly demonstrates what the most developed youth of that time was like) is the central character of the novel, all the threads of the narrative come down to him. He is the brightest representative of the new generation. Who is he?
General characteristics (appearance, occupation)
As a writer-psychologist, Turgenev thought through everything to the smallest detail. One of the ways to characterize a character is the hero's appearance. Bazarov has a high forehead, which is a sign of intelligence, and narrow lips, which speak of arrogance and arrogance. However, the hero’s clothing plays a big role. Firstly, it shows that Bazarov is a representative of the raznochintsy democrats (the younger generation opposed to the older generation of liberal aristocrats of the 40s). He is dressed in a long black robe with tassels. He is wearing loose trousers made of coarse fabric and a simple shirt - this is how Bazarov is dressed. The image turned out to be more than telling. He does not chase fashion trends; moreover, he despises the elegance of Pavel Petrovich Kirsanov, whose appearance is completely opposite. Simplicity in clothing is one of the principles of the nihilists, whose position the hero took, so he feels closer to the common people. As the novel shows, the hero really manages to get close to ordinary Russian people. Bazarov is loved by the peasants, and the children of the courtyards follow on his heels. By occupation, Bazarov (characteristics of the hero in terms of profession) is a doctor. And who else could he be? After all, all his judgments are based on German materialism, where a person is considered only as a system in which its own physical and physiological laws operate.
Bazarov's Nihilism
Bazarov, whose character is certainly one of the most striking in the literature of the 19th century, adhered to one of the most popular teachings of the time - nihilism, which means “nothing” in Latin. The hero does not recognize any authorities, does not bow to any life principles. The main thing for him is science and knowledge of the world through experience.
External conflict in the novel
As noted above, Turgenev’s novel is multifaceted; two levels of conflict can be distinguished in it: external and internal. At the external level, the conflict is represented by disputes between Pavel Petrovich Kirsanov and Evgeny Bazarov.
Disputes with Pavel Petrovich Kirsanov concern different aspects of human life. Bazarov is most irreconcilable in relation to art, primarily poetry. He sees in her only empty and useless romanticism. The second thing the characters dialogue about is nature. For people like Nikolai Petrovich and Pavel Petrovich, nature is God’s temple in which a person rests; they admire its beauty. Bazarov (the character’s quotes confirm this) is categorically against such glorification; he believes that nature “is a workshop, and man is a worker in it.” In a conflict with Pavel Petrovich, the hero often behaves rather rudely. He speaks unflatteringly about him in the presence of his nephew, Arkady Kirsanov. All this does not show Bazarov from the best side. It is for this portrayal of the hero that Turgenev will subsequently suffer. Bazarov, whose characterization in many critical articles is not in favor of Turgenev, was undeservedly scolded by the author; some even believe that Turgenev is slandering the entire younger generation, undeservedly accusing them of all sins. However, we should not forget that the older generation is also not praised in the text.
Relationships with parents
Bazarov's nihilism clearly manifests itself at all moments of his life. Parents who have not seen their son for a long time are waiting for him with rapture. But they are slightly embarrassed by their serious and educated child. The mother pours out her feelings, and the father sheepishly apologizes for such incontinence. Bazarov himself strives to leave his parents’ home as quickly as possible, apparently because he is afraid to suddenly show warm feelings. According to German materialism, a person cannot have any spiritual attachments. On his second visit, Evgeniy also asks his parents not to disturb him, not to bother him with their care.
Internal conflict
The internal conflict in the novel is obvious. It lies in the fact that the hero begins to doubt his theory, he becomes dissuaded from it, but cannot come to terms with it. Bazarov’s first doubts about nihilism arise when he meets Sitnikov and Kukshina. These people call themselves nihilists, but they are too petty and insignificant.
Love line in the novel
The test of the hero by love is classic for the novel genre, and the novel “Fathers and Sons” is no exception. Bazarov, an inveterate nihilist who denies any romantic feelings, falls in love with the young widow Odintsova. She captivates him at first sight when he sees her at the ball. She differs from other women in her beauty, majesty, her gait is graceful, every movement is royally graceful. But her most important trait is intelligence and prudence. It is prudence that will prevent her from staying with Bazarov. At first, their relationship seems friendly, but the reader immediately understands that a spark of love flashed between them. However, none of them is able to step over their principles. Evgeny Bazarov's confession looks ridiculous, because at the moment of revelation his eyes are more full of anger than love. Bazarov is a complex and contradictory image. What makes him angry? Of course, his theory collapsed. Man is and has always been a creature with a living heart, in which the strongest feelings glow. He, who denies love and romance, is conquered by a woman. Bazarov's ideas collapsed; they were refuted by life itself.
Friendship
Arkady Kirsanov is one of Bazarov's most devoted supporters. However, it is immediately noticeable how different they are. There is too much romanticism in Arcadia, as in his relatives. He wants to enjoy nature, he wants to start a family. Surprisingly, Bazarov, whose quotes addressed to Pavel Petrovich are harsh and unfriendly, does not despise him for this. He guides him on his path, realizing at the same time that Arkady will never be a true nihilist. At the moment of a quarrel, he insults Kirsanov, but his words are rather thoughtless than evil. Remarkable intelligence, strength of character, will, calmness and self-control - these are the qualities that Bazarov possesses. Arkady’s characterization looks weaker against his background, because he is not such an outstanding personality. But at the end of the novel, Arkady remains a happy family man, and Evgeny dies. Why?
The meaning of the novel's ending
Many critics reproached Turgenev for “killing” his hero. The ending of the novel is very symbolic. For heroes like Bazarov, the time has not come, and the author believes that it will never come at all. After all, humanity endures only because it has love, kindness, and respect for the traditions of its ancestors and culture. Bazarov is too categorical in his assessments, he does not take half measures, and his sayings sound blasphemous. He encroaches on the most valuable things - nature, faith and feelings. As a result, his theory crashes against the rocks of the natural order of life. He falls in love, cannot be happy only because of his beliefs, and in the end he dies altogether.
The epilogue of the novel emphasizes that Bazarov's ideas were unnatural. Parents come to their son's grave. He found peace in the midst of beautiful and eternal nature. Turgenev depicts the cemetery landscape in a pointedly romantic manner, once again conveying the idea that Bazarov was wrong. The “workshop” (as Bazarov called it) continues to bloom, live and delight everyone with its beauty, but the hero is no more.
Article by D.I. Pisarev's "Bazarov" was written in 1862 - only three years after the events described in the novel. From the very first lines, the critic expresses admiration for Turgenev’s gift, noting his inherent impeccability of “artistic finishing,” the soft and visual depiction of paintings and characters, the proximity of the phenomena of modern reality, making him one of the best people of his generation. According to Pisarev, the novel moves the mind thanks to its amazing sincerity, sensitivity, and spontaneity of feelings.
The central figure of the novel - Bazarov - is the focus of the properties of today's young people. The hardships of life hardened him, making him a strong and integral person, a true empiricist who trusted only personal experience and sensations. Of course, he is calculating, but he is also sincere. Any deeds of such natures - bad and glorious - stem only from this sincerity. At the same time, the young doctor is satanically proud, which does not mean narcissism, but “fullness of oneself,” i.e. neglect of petty fuss, the opinions of others and other “regulators”. “Bazarovschina”, i.e. denial of everything and everyone, living by one’s own desires and needs, is the true cholera of time, which, however, must be overcome. Our hero is affected by this illness for a reason - mentally he is significantly ahead of others, which means that he influences them in one way or another. Someone admires Bazarov, someone hates him, but it is impossible not to notice him.
The cynicism inherent in Eugene is dual: it is both external swagger and internal rudeness, stemming both from the environment and from the natural properties of nature. Having grown up in a simple environment, having experienced hunger and poverty, he naturally threw off the husks of “nonsense” - daydreaming, sentimentality, tearfulness, pomp. Turgenev, according to Pisarev, does not favor Bazarov at all. A sophisticated and refined man, he is offended by any glimpses of cynicism... however, he makes a true cynic the main character of the work.
The need to compare Bazarov with his literary predecessors comes to mind: Onegin, Pechorin, Rudin and others. According to established tradition, such individuals were always dissatisfied with the existing order, stood out from the general mass - and therefore so attractive (as dramatic). The critic notes that in Russia any thinking person is “a little Onegin, a little Pechorin.” The Rudins and Beltovs, unlike the heroes of Pushkin and Lermontov, long to be useful, but do not find use for their knowledge, strength, intelligence, and best aspirations. They all outlived their usefulness without ceasing to live. At that moment, Bazarov appeared - not yet a new, but no longer an old-regime nature. Thus, the critic concludes, “The Pechorins have will without knowledge, the Rudins have knowledge without will, the Bazarovs have both knowledge and will.”
The other characters of “Fathers and Sons” are depicted very clearly and accurately: Arkady is weak, dreamy, in need of care, superficially carried away; his father is soft and sensitive; uncle is a “socialite”, “mini-Pechorin”, and possibly “mini-Bazarov” (adjusted for his generation). He is smart and strong-willed, values his comfort and “principles,” and therefore Bazarov is especially antipathetic to him. The author himself does not feel sympathy for him - however, like all his other characters - he is not “satisfied with either fathers or children.” He only notes their funny traits and mistakes, without idealizing the heroes. This, according to Pisarev, is the depth of the writer’s experience. He himself was not a Bazarov, but he understood this type, felt him, did not deny him “charming power” and paid him tribute.
Bazarov's personality is closed in on itself. Having not met an equal person, he does not feel the need for it, even with his parents it is boring and difficult for him. What can we say about all kinds of “bastards” like Sitnikov and Kukshina!.. Nevertheless, Odintsova manages to impress the young man: she is his equal, beautiful in appearance and mentally developed. Having become fascinated by the shell and enjoying the communication, he can no longer refuse it. The explanation scene put an end to the relationship that had not yet begun, but Bazarov, strange as it may be given his character, is bitter.
Arkady, meanwhile, falls into the love net and, despite the hasty nature of the marriage, is happy. Bazarov is destined to remain a wanderer - homeless and unkind. The reason for this is only in his character: he is not inclined to restrictions, does not want to obey, does not give guarantees, craves voluntary and exclusive favor. Meanwhile, he can only fall in love with an intelligent woman, and she will not agree to such a relationship. Mutual feelings, therefore, are simply impossible for Evgeny Vasilich.
Next, Pisarev examines aspects of Bazarov’s relationship with other characters, primarily the people. The men’s heart “lies” with him, but the hero is still perceived as a stranger, a “clown” who does not know their true troubles and aspirations.
The novel ends with the death of Bazarov - as unexpected as it is natural. Alas, it would be possible to judge what kind of future awaited the hero only after his generation reached adulthood, to which Eugene was not destined to live. Nevertheless, such individuals grow into great figures (under certain conditions) - energetic, strong-willed, people of life and deeds. Alas, Turgenev does not have the opportunity to show how Bazarov lives. But it shows how he dies - and that’s enough.
The critic believes that dying like Bazarov is already a feat, and this is true. The description of the hero's death becomes the best episode of the novel and perhaps the best moment of the entire work of the brilliant author. Dying, Bazarov is not sad, but despises himself, powerless in the face of chance, remaining a nihilist until his last breath and - at the same time - maintaining a bright feeling for Odintsova.
(AnnaOdintsova)
In conclusion, D.I. Pisarev notes that Turgenev, when starting to create the image of Bazarov, wanted, driven by an unkind feeling, to “break him into dust,” but he himself gave him due respect, saying that “children” were following the wrong path, while at the same time pinning hopes on the new generation and believing in him. The author loves his heroes, is carried away by them and gives Bazarov the opportunity to experience a feeling of love - passionate and young, begins to sympathize with his creation, for whom neither happiness nor activity turns out to be impossible.
Bazarov has no reason to live - well, let's look at his death, which represents the whole essence, the whole meaning of the novel. What did Turgenev want to say with this untimely but expected death? Yes, the current generation is mistaken and carried away, but it has the strength and intelligence that will lead them to the right path. And only for this thought can the author be grateful as “a great artist and an honest citizen of Russia.”
Pisarev admits: the Bazarovs have a bad time in the world, there is no activity or love for them, and therefore life is boring and meaningless. What to do - whether to be content with such an existence or to die “beautifully” - is up to you to decide.
Evgeny Bazarov is a nihilist, which means a materialist who does not recognize dogmas and tests everything only by experience. He is a doctor and is interested in natural sciences. Every day he is filled with work and new searches. He constantly finds something to do. "Bazarov
he got up very early and went two or three miles away, not to walk - he couldn’t stand walks without a goal - but to collect herbs." Bazarov admitted to Arkady that his passion for work made him a man. "You need to achieve your goal only with your work." ", believes Bazarov. He says that a knowledgeable person is a person. In Maryino and his parents' estate, this nihilist treats the sick. He is always there where his knowledge is needed. These qualities distinguish him from other heroes of the novel, including " new" people.
Bazarov is a man of action. He, however, is harsh in his assessments and opinions. He doesn’t recognize creation, he says: “First we need to clear the place...”. Beauty and aesthetic pleasure are completely denied. “Nature is not a temple, but a workshop, and man is a worker in it.” He speaks harshly about people and shows intolerance towards their opinions. He claims that people like Pavel Petrovich Kirsanov are not needed by society. They don’t know how to work, they don’t love their people.
But, apparently, Russian society needed people like Bazarov like a gadfly to a bull, so that this society would wake up from hibernation and look at itself objectively. People like our hero appear only in certain eras, and their harshness is a manifestation of the contradictions of the time. But we cannot help but admire Bazarov’s fortitude, firmness and inflexibility, his ability to face the truth even before his death.
This fighter understands that his life will be hard, and the road he is walking will require many sacrifices from him. But he does not change his convictions. It is this quality that attracts us to this image. His spiritual strength is also manifested in love.
The very fact that Bazarov fell in love with an extraordinary woman speaks volumes. He saw her intelligence, breadth of outlook, originality of views on life. And this raises him in our eyes. Bazarov, in conversations with his beloved woman, shares his thoughts with her and
glances. Having made sure that she is not capable of going through all the hardships that Bazarov goes through, he directly explains to her. And Anna Sergeevna understands that in front of her is a man who will sacrifice everything, even love, for the sake of his business. Many critics of that time wrote that love unsettled Bazarov. But that's not true. Of course, it’s difficult for him, he worries and breaks himself.
And, if not for death, Eugene, without a doubt, would have overcome his “weakness,” as he called love.
Strange in many ways for us and not pleasant in everything, Evgeny Bazarov at the same time attracts us with such traits that almost every person would like to see in himself and his chosen one.
In 1861, the year of the abolition of serfdom, Turgenev wrote his best novel, “Fathers and Sons,” which he dedicated to the memory of the great Russian commoner Belinsky. The novel reflected the breath of the era. The topicality of the work lies in the fact that
that the author vividly reproduces the situation in Russia on the eve of the reform, and also paints the image of a new man who, in a collision with the old world doomed to destruction, proves the “triumph of democracy with the old world doomed to destruction, proves the “triumph of democracy over the aristocracy.” “New” the man is Bazarov. How do we see him? He is shown in a long “robe with tassels,” with “naked red hands,” not knowing gloves and accustomed to work.
Who is he?
One cannot, of course, accept Bazarov’s naked denial. You cannot live without beauty, art, love of nature. And one cannot but agree with one young poet:
Nature is a temple, not just a workshop,
Where such a trifle was not taken into account,
What is possible, distinguishing all the stamens,
Don't love a single flower.
No, no, it’s better to believe childhood fairy tales,
When we are all on friendly terms with nature.
After all, you then - you just have to look closely -
You will suddenly understand what the flowers are singing about.
Bazarov's personality closes in on itself, because outside of it and around it there are almost no elements related to it.
DI. Pisarev
I wanted to make a tragic face out of him... I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction, because he still stands on the threshold of the future .
I.S. Turgenev
As soon as it was published, the novel by I.S. Turgenev's "Fathers and Sons" caused a real flurry of critical articles. None of the public camps accepted Turgenev’s new creation. Liberal criticism could not forgive the writer for the fact that representatives of the aristocracy, hereditary nobles, are depicted ironically, that the “plebeian” Bazarov constantly mocks them and turns out to be morally superior to them. Democrats perceived the main character of the novel as an evil parody. The critic Antonovich, who collaborated in the Sovremennik magazine, even called Bazarov “the Asmodeus of our time.” All these facts speak in favor of I.S. Turgenev. As a true artist and creator, he was able to guess the trends of the era, the emergence of a new type, the type of commoner democrat who replaced the aristocracy.
Turgenev reflected in the novel a typical conflict of the era and asked, in particular, the question of the character and role of the “new man”, a figure during the revolutionary situation in Europe in the 60s. The hero of that time was a democrat commoner, a staunch opponent of the noble-serf system, a materialist who went through the school of labor and hardship, independently thinking and independent. This is exactly the main character of the novel “Fathers and Sons” - Evgeny Bazarov.
The main problem posed by the writer in the novel is already heard in its title: “Fathers and Sons.” This name has a double meaning. On the one hand, this is a problem of generations - the eternal problem of classical literature, on the other, a conflict between two socio-political forces operating in Russia in the 60s: liberals and democrats. The characters in the novel are grouped depending on which socio-political grouping we can attribute them to. But the fact is that Bazarov turns out to be the only representative of the “children” camp, the camp of commoner democrats. All other heroes are in the hostile camp.
Bazarov became the spokesman for the ideas of revolutionary democracy, opposed in the novel to the liberal nobility. His image occupies a central place in the composition of the novel. Of the 28 chapters, Bazarov does not appear in only two; in the rest he is the main character. All the main characters of the novel are grouped around him, revealed in their relationships with him, highlighting certain features of his personality more sharply and brightly, emphasizing his superiority, intelligence, spiritual strength, and testifying to his loneliness among the district aristocrats.
The plot of the novel is based on Bazarov’s clash with the nobility alien to him. Turgenev immediately shows that Bazarov is a democrat, a commoner, a man of labor, alien to aristocratic etiquette and conventions. In a clash with the “cursed barchuks” his appearance is fully revealed. The novel widely uses the technique of contrast: Bazarov is contrasted with Pavel Petrovich, the aristocracy of one is contrasted with the democracy of the other. Bazarov's consistency, conviction, will and determination contrast with Arkady's duality, with his softness and lack of a conscious goal.
In Maryino, the family estate of the Kirsanovs, Bazarov is a guest, strikingly different from the host landowners. Even with his comrade Arkady, he disagrees on the main thing - in his ideas about life, although Arkady is Bazarov’s only supporter in the dispute with his fathers. But their relationship still cannot be called friendship, because friendship is impossible without mutual understanding, friendship cannot be based on the subordination of one to the other. Throughout the entire novel, the subordination of a weak nature to a stronger one is observed: Arkady to Bazarov. But still, Arkady gradually acquires his own opinion and stops blindly repeating Bazarov’s nihilistic judgments and opinions. In disputes, he does not stand up and expresses his thoughts. The difference between the heroes is visible in their behavior in Kirsanov’s “empire”. Bazarov is busy with work, studying nature, and Arkady is sybaritic and does nothing. The fact that Bazarov is a man of action can be seen even from his “red naked hand.” Yes, indeed, in any environment, in any home, he tries to get busy. His main business is the natural sciences, the study of nature and testing theoretical discoveries in practice. Passion for science is a typical feature of the cultural life of Russia in the 60s, which means that Bazarov keeps up with the times. Arkady is the complete opposite. He doesn’t do anything; none of the serious matters really captivates him. For him, the main thing is comfort and peace, and for Bazarov - work and movement.
A major disagreement arose between “friends” in a conversation about the role of nature in human life. Here Arkady’s resistance to Bazarov’s views is already visible; gradually the “student” emerges from the power of the “teacher.” Bazarov hates many, but Arkady has no enemies. “You, gentle soul, are a weakling,” says Bazarov, realizing that Arkady can no longer be his associate. The "disciple" cannot live without principles. In this way he is very close to his liberal father and Pavel Petrovich. But Bazarov appears before us as a man of the new generation, which has replaced the “fathers” who were unable to solve the main problems of the era. Arkady is a man belonging to the old generation, the generation of “fathers”.
Arkady wants to be the son of his age and puts on himself Bazarov’s ideas, which absolutely cannot suit him. He belongs to the category of people who are always looked after and always do not notice that they are being looked after. Bazarov treats him patronizingly and almost always mockingly; he understands that their paths will diverge.
In a clash with various characters opposed to him, Bazarov’s remarkable traits are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relationships with Arkady - the ability to attract young people to one’s side, to be a teacher, educator, honesty and intransigence in friendship; in relation to Odintsova - the ability to deeply and truly love, integrity of nature, willpower and self-esteem.
The key places in the composition of the novel are scenes of disputes. Turgenev's heroes reveal their worldview in direct statements, in clashes with their ideological opponents. Bazarov is an independent nature, not bowing to anyone, but submitting only to the court of thought. Bazarov’s interest in the natural sciences was also typical of the youth of that time, although neither the career of a scientist nor the career of a doctor would have been his destiny.
Turgenev takes his hero through a series of tests (by the way, this is typical for Turgenev’s novels). He tests Bazarov first with love, then with death. Turgenev, as if from the outside, observes how his hero behaves in these situations. Bazarov called love “nonsense”, was contemptuous of ideal, romantic feelings, recognized only physiological love: “If you like a woman, then take her!” However, having fallen in love, he suddenly felt like a romantic, tormented by emotions.
In the dying scene, Bazarov is faithful to his ideals to the end, he is not broken, he proudly looks death in the eye. Many critics consider this scene to be the most powerful, lively and touching. Because it is here that this “sinful, rebellious heart” is fully revealed.
Bazarov's death is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss,” so in his intended business he had to remain at the level of not yet realized, nurtured, and therefore limitless aspirations. Bazarov had to die in order to remain Bazarov.
Written at a turning point in the historical development of Russia, the novel “Fathers and Sons” showed the acute problems of our time, which worried Russian society for a long time after the appearance of this work. This novel by I. S. Turgenev is a reflection of the social conflict of the 60s of the 19th century, the depth of which is shown by the example of the eternal conflict between fathers and children. In the novel we see a typical representative of commoners, for whom, despite all their differences in socio-political views, deep democracy was characteristic. The main conflict of the novel is based on the opposition and collision of democracy and aristocracy and consists in the problem of fathers and children.
Bazarov is a commoner democrat. These people, often of non-noble origin, worked their way into life and did not recognize the class division of society. Striving for knowledge, they valued a person not by his nobility and wealth, but by his deeds and benefit to the people around him. “My grandfather plowed the land,” says Bazarov about his origins. At the same time, he is silent about his ancestor on his mother’s side, thereby showing a lack of any interest in his noble grandfather.
Democratism is characteristic not only of Bazarov’s beliefs, but also of his appearance. The appearance of the hero of the novel among the nobility in a “hoodie” is in itself a challenge to conventions, a deliberate disregard for them. We also pay attention to Bazarov’s “naked red hand” - this is the hand of a man who is not alien to physical labor. It is too different from the well-groomed hand of a nobleman to be overlooked. In general, in Bazarov’s appearance, Turgenev emphasizes his intellectual beginning: intelligence and self-respect.
We see that the life of an idle aristocratic society passes in idleness, which cannot be said about Bazarov. Continuous work is the content of his life. Turgenev reveals the nature of his work: “Bazarov brought a microscope with him and spent hours fiddling with it,” he conducts “physical and chemical experiments,” that is, he continues his natural science studies in Maryino.
What is the attitude of the main characters of the novel towards Bazarov? Nikolai Petrovich is a kind and gentle person, so he treats Bazarov somewhat aloof, with misunderstanding and even fear: “Nikolai Petrovich was afraid of the young “nihilist” and doubted the benefits of his influence on Arkady.” Pavel Petrovich’s feelings are stronger and more definite: “...Pavel Petrovich hated Bazarov with all the strength of his soul: he considered him proud, impudent, cynic, plebeian.” Old Prokofich was finally confirmed in his hostility towards Bazarov and “in his own way... an aristocrat no worse than Pavel Petrovich.” He called him a flayer and a scoundrel and assured that he “with his sideburns is a real pig in the bush.”
But ordinary people are drawn to Bazarov with all their hearts. Shy and timid Fenechka “got so comfortable with him that one night she ordered him to wake him up” when her son fell ill. And “the yard boys ran after the “doctor” like little dogs.” Both the maid Dunyasha and Peter sympathized with him; they felt that he was “after all, his brother, not a master.”
The clash between Bazarov and Pavel Petrovich, as representatives not only of different generations, but also people of different beliefs, was inevitable. Pavel Petrovich “was only waiting for an excuse to attack the enemy.” Bazarov considered it useless to waste gunpowder on verbal battles, but he could not avoid the fight. Bazarov speaks the terrible words that he denies everything with “inexpressible calm.” Mental strength, confidence in his rightness, deep conviction are heard in his very voice, in short, fragmentary remarks.
The image of Evgeny Bazarov is more fully revealed precisely in comparison with Pavel Petrovich. There is a sense of aristocracy in the latter’s words. He constantly uses expressions that emphasize the good manners of a true aristocrat (“I am deeply obliged to you,” “I have the honor to bow”...). The abundance of foreign expressions in the speech of this hero irritates Bazarov: “Aristocracy, liberalism, progress, principles... just think, how many foreign and useless words! Russian people don’t need them for nothing.” Bazarov’s own speech is distinguished by wit, resourcefulness, excellent knowledge of the folk language and the ability to master it. Bazarov’s speech reveals his characteristic mentality - sober, sound and clear.
In the frequent disputes between “Mr. Nihilist” Bazarov and “feudal lord” Kirsanov, almost all the main issues were touched upon on which democrats-commoners and liberals disagreed: about the ways of further development of the country, about materialism and idealism, about knowledge of science, understanding of art and about attitude to the people. We see that all the principles of Pavel Petrovich essentially boil down to defending the old order, and Bazarov’s views amount to denouncing this order.
When the argument turned to the people, they seemed to see eye to eye. Bazarov agrees with Pavel Petrovich that the people “sacredly honor traditions, they are patriarchal, they cannot live without faith.” But if Kirsanov is convinced of the value of these qualities, then Bazarov is ready to devote his whole life to ensuring that this is not so. The main character of the novel seems to speak disparagingly about Russian men. But he speaks not against them themselves, but against affection for their backwardness, superstition, and ignorance.
Sometimes the position of Bazarov, “who approaches everything from a critical point of view,” is extreme. This can be said about his aesthetic views. Thus, Bazarov mocks Pushkin and denies painting and poetry. He does not notice the beauty of the surrounding nature, although he loves it in his own way, believing that it contains enormous resources that can be used for the benefit of man (“nature is not a temple, but a workshop”).
When you write about Evgeny Bazarov, you cannot help but say the main thing - that this man is extremely lonely. In Maryino, Bazarov is a guest, sharply different from the landowner owners. For both servants and masters it belongs there. In the village of his father, Bazarov is a gentleman in the eyes of the serfs. In fact, he is far from both the landowners and ordinary people. He's lonely.
He is also lonely because in the novel we do not see a single like-minded person of Bazarov. There are only his imaginary students. This is, first of all, the “little liberal gentleman” Arkady. However, his passion for Bazarov is nothing more than a tribute to his youth. At the same time, he is still the best of Bazarov’s students depicted in the novel. His other “followers” are depicted satirically. Sitnikov and Kukshina see in nihilism the negation of all old moral norms and enthusiastically follow this “fashion”. Bazarov is lonely not only in friendship, but also in love. In his bitter feeling for Odintsova, he reveals himself as a deep, strong nature.
Turgenev himself admitted that this hero “still stands on the threshold of the future.” The author of “Fathers and Sons” admits: “I wanted to make him a tragic face... I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction.” It seems to me that Turgenev managed to create just such an image. And he took his rightful place among the literary heroes of the 19th century. D.I. Pisarev gave the following assessment to the main character of “Fathers and Sons”: “... the Pechorins have will without knowledge, the Rudins have knowledge without will; the Bazarovs have both knowledge and will, thought and deed merge into one solid whole.”