Bazarov's life path who he is. Life path of evgeny bazarov

The hero's nihilism "At present, denial is most useful - we deny" "Nature is not a temple, but a workshop, and a man is a worker in it" "A decent chemist is twenty times more useful than any poet" "Raphael is not worth a dime ..." "... you and I the same frogs, just walking on our feet ... "

Meeting with Madame Odintsova. Love in the life of a hero “In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before; and when left alone, he was indignantly aware of the romantic in himself ... He caught himself in all sorts of "shameful" thoughts, as if the demon was teasing him. " "So know that I love you stupidly, madly ..."

Changing the hero's outlook “But I’m thinking: I’m lying here under a haystack ... The narrow place that I occupy is so tiny in comparison with the rest of the space where I’m not and where I don’t care; and the part of the time that I managed to live is so insignificant before eternity, where I have not been and will not be ... And in this atom, in this mathematical point, the blood circulates, the brain works, it wants something too ... What a disgrace! "

How is Bazarov revealed in death? "Russia needs me ... No, apparently, it is not needed." “I'm finished. I got hit by a wheel. And it turns out that there is nothing to think about the future. The old thing is death, but it's new to everyone ... And after all, I also thought: I will break off a lot of things, I will not die, where! there is a task, because I am a giant! And now the whole task of the giant is how to die decently, although no one cares about this ... "

How is Bazarov revealed in death? “He became a man, instead of being the embodiment of the theory of nihilism, and, as a man, he expressed a desire to see his beloved woman” (Pisarev) “To die like Bazarov died is like doing a great feat ...” (D.I. Pisarev)
Conclusions What path does Evgeny Bazarov take? The nihilism of the hero. Hero's love change of worldview: the thought of insignificance appears human life... Bazarov feels himself to be an "atom", a "mathematical point" in the face of eternity. Death of a hero. "He became a man, instead of being the embodiment of the theory of nihilism ..." (Pisarev)
Sources used Turgenev I.S. Selected works / Editorial board .: G. Belenky, P Nikolaev, A. Ovcharenko and others -M .: Art. lit., Pisarev D.I. From the article "Bazarov" // Turgenev I.S. Selected works / Editorial board .: G. Belenky, P Nikolaev, A. Ovcharenko and others -M .: Art. lit., C Internet resources (illustrative material).

Turgenev's novel "Fathers and Sons" reflected the struggle between two socio-political camps that had developed in Russia by the 1860s. The writer showed the conflict of the era and posed a number of pressing problems, in particular, the question of the character and role of the "new man" - a figure in the period of maturing revolutionary situation in Russia in the 60s.

The novel recreates the era that preceded the abolition of serfdom. In this crisis, disputes have sharply escalated. different generations about the people, social order, art and religion. The two generations compared by Turgenev in this work represent not only the ideas of two different eras, but also a clash of the old aristocracy and revolutionary-minded youth.

The image of Yevgeny Bazarov turned out to be very complex and contradictory, but, of course, the most interesting. It is central to the composition of the novel. Of the twenty-eight chapters, only two do not appear Bazarov, in the rest - he is the main actor... All the main faces of the novel are grouped around him, reveal themselves in relationships with him, accentuate certain features of his personality more sharply and brighter, emphasize his superiority, intelligence, mental strength, testify to his loneliness among aristocrats, there is every reason to admire his intelligence, firmness, ability to defend his ideals and achieve what he wants.

Turgenev's "fathers" and "children" are precisely the nobles and commoners, their irreconcilable contradictions were reflected in the novel with such clarity and distinctness, were depicted with such artistic force, and even the work itself became a phenomenon not only literary, but also public life... At that time, there was no person in Russian society who would be indifferent to the novel and, above all, to the main character - the commoner Evgeny Vasilyevich Bazarov.

Bazarov for Russian life and for Russian literature is a new figure and in everything unusual in his behavior. Already appearance it is emphasized by the novelty of the hero. Previously, the reader was accustomed to meeting externally graceful, with a needle and by latest fashion dressed noble heroes - Onegin, Pechorin, Beltov, Rudin. And here - in some kind of "robe", with big red hands without gloves, with coarse features, ridiculous sideburns, with rude manners, smoking disgusting stinking "cigars" Bazarov. Life path Bazarov is typical of a commoner: studies at the Medical and Surgical Academy, passion for the natural sciences and vulgar materialism. The setting of "advanced life" had a decisive influence on the hero. Atheism is combined in Bazarov with the belief in the impossibility of knowing the world by the forces of the human mind.

The plot of the novel is based on Bazarov's clash with the world of aristocrats. Turgenev immediately shows that Bazarov is a man of labor, he is not accustomed to aristocratic etiquette and conventions. The author uses the technique of contrast. So, Bazarov is opposed to Pavel Petrovich. The democracy of one is the aristocracy of the other. And the consistency, conviction, will and purposefulness of Bazarov are contrasted with the duality of Arkady, with his random convictions, softness and lack of a conscious goal.

It is in the collision with various characters opposed to him that Bazarov's remarkable features are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relations with Arkady - the ability to attract young people to their side, to be a teacher, educator, honest and irreconcilable in friendship; in relation to Madame Odintsova - the ability to deeply and truly love, the integrity of nature, willpower and self-esteem.

The main place in the composition of the novel is occupied by 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 any authorities, but subjecting everything to thought. Bazarov's interest in natural sciences is also typical of the sixties, although neither a career as a scientist, nor a career as a doctor would have been his lot - his worldview is too revolutionary.

Turgenev takes his hero through a series of tests. He tests Bazarov first with love, and then with death. Turgenev, as it were, watches from the outside how his hero behaves in these situations.

Bazarov is alone not only in friendship, but also in love. Love is playing important role in his fate, although he considers it "rubbish, unforgivable foolishness." So, Fenechka charms him with youth, purity, spontaneity. The duel with Pavel Petrovich takes place at the moment when Bazarov is taken out of peace of mind passion for Odintsova. It remains to add that we are not talking about true love the hero to the pretty Fenichka, and the relationship with Madame Odintsova is a different matter.

The death of Bazarov is justified in its own way. Just as in love it was impossible to bring Bazarov to the "silence of bliss," so in his supposed deed he had to remain at the level of not yet realized, nurtured and therefore boundless aspirations. Bazarov had to die to remain Bazarov. So Turgenev conveys the loneliness of his hero-forerunner.

The tragedy of the hero and in his loneliness. True, he himself declares: "We are not so few as you think." But nevertheless, in the novel, Bazarov does not have a single like-minded person. Only the caricatured figures of Sitnikov and Kukshina, and even Arkady, who was carried away by his youth unusual ideas... Bazarov is alone in his personal life. Old parents are almost afraid of him; in relations with Madame Madame Odintsova, he fails. This relationship broke the hero because it hurt his pride. Once Bazarov self-confidently declared to Arkady: "When I meet a person who would not pass in front of me, then I will change my opinion about myself." And such a person was found - this is Odintsova. And even with the people, with whom Bazarov has no real intimacy, among the peasants he is known as "something like a pea jester."

The death of Bazarov is the end of it tragic life... Outwardly, this death seems to be accidental, but, in essence, it was the logical completion of the image of Bazarov. It has been prepared by the entire course of the story. The hero's fatigue, loneliness and melancholy could not get any other outcome.

The tragic meaning of the image is recreated by the author in Bazarov: his loneliness, rejection of the world around him, mental discord - all this is combined in one hero. This is a heavy burden, which not everyone is given to carry with the dignity that is inherent in Bazarov.

Question

How did you perceive last pages novel? What feelings did Bazarov's death evoke in you?

Answer

The main feeling that the last pages of the novel evoke in readers is a feeling of deep human pity for the fact that such a person is dying. The emotional impact of these scenes is great. A.P. Chekhov wrote: "My God! What a luxury Fathers and Sons! Just shout the guard at least. Bazarov's illness was so severe that I was weakened and it felt as if I had contracted it from him. And the end of Bazarov? .. The devil knows how it was done. Simply brilliant. "

Question

How did Bazarov die? (Ch. XXVII)

“Bazarov was getting worse every hour; the disease took on a rapid pace, which usually happens with surgical poison. He had not yet lost his memory and understood what was being said to him; he was still struggling.

“I don’t want to rave,” he whispered, clenching his fists, “what nonsense!” And then he said: "Well, subtract ten from eight, how much will come out?" Vasily Ivanovich walked around like a madman, offering first one remedy, then another, and all he did was to cover his son's legs. "Wrap in cold sheets ... emetic ... mustard plasters to the stomach ... bloodletting," he said tensely. The doctor, whom he begged to stay, assented to him, gave the patient lemonade to drink, but for himself he asked for either a tube or a “strengthening-warming” one, that is, vodka. Arina Vlasyevna sat on a low bench near the door and only from time to time went out to pray; a few days ago the dressing mirror slipped out of her hands and broke, which she always considered a bad omen; Anfisushka herself did not know how to tell her. Timofeich went to Madame Odintsova. "

“The night was not good for Bazarov ... The cruel fever tormented him. By morning he felt better. He asked Arina Vlasyevna to comb his hair, kiss her hand and take a sip of two tea. "

“The change for the better did not last long. The attacks of the disease have resumed. "

“I'm finished. I got hit by a wheel. And it turns out that there was nothing to think about the future. Death is an old thing, but new to everyone. I still don’t worry ... and then unconsciousness will come, and fuit! (He waved his hand weakly.) "

“Bazarov was no longer destined to wake up. By evening he fell into complete unconsciousness, and the next day he died. "

Question

Why D.I. Pisarev said: "To die the way Bazarov died is all the same, what to do a great feat ..."?

Answer

Bazarov's fatal illness is his last test. In front of face inevitable force nature, courage, strength, will, nobility, humanity are manifested in full. This is the death of a hero, and a heroic death.

Not wanting to die, Bazarov struggles with illness, unconsciousness, and pain. Before last minute he does not lose his clarity of mind. He shows willpower and courage. He made himself an accurate diagnosis and calculated the course of the disease by almost an hour. Feeling the inevitability of the end, he did not chicken out, did not try to deceive himself and, most importantly, remained true to himself and his convictions.

“… Now, for real, the hell stone is not needed either. If I got infected, it’s too late now. ”

“Old man,” Bazarov began in a hoarse and slow voice, “it's a crappy business of mine. I am infected, and in a few days you will bury me. "

“I didn't expect to die so soon; it is an accident, very, to tell the truth, unpleasant. "

“Strength, strength,” he said, “everything is still here, but we must die! .. The old man, at least, he managed to get out of the habit of life, and I ... Yes, go and try to deny death. She denies you, and that's it! "

Question

According to the beliefs of believers, those who received the communion were forgiven all their sins, and those who did not receive the communion fell to eternal torment in hell. Does Bazarov agree or not to take the sacrament before death?

Answer

In order not to offend his father, Bazarov "uttered at last": "I do not refuse, if this can console you." And then he adds: “... but it seems to me that there is still no need to rush. You yourself say that I'm better. " This phrase is nothing but polite refusal from confession, because if a person is better, then there is no need to send for a priest.

Question

Does Bazarov himself believe that he is better?

Answer

We know that Bazarov himself accurately calculated the course of the disease. The day before, he tells his father that "tomorrow or the day after tomorrow, his brain will resign." “Tomorrow” has already come, there is a maximum of one more day, and if you wait any longer, the priest will not have time (Bazarov is exact: that day “towards evening he fell into complete unconsciousness, and the next day he died”). It cannot be understood otherwise than an intelligent and delicate refusal. And when the father insists on "doing the duty of a Christian," he becomes harsh:
“No, I'll wait,” interrupted Bazarov. - I agree with you that the crisis has come. And if you and I were wrong, well! after all, they give communion to the forgetful.
- Have mercy, Eugene ...
- I'll wait. Now I want to sleep. Do not disturb me".

And in the face of death, Bazarov rejects religious beliefs. For a weak person it would be convenient to accept them, to believe that after death he can go “to heaven”, Bazarov is not deluded by this. And if they do give him Communion, then he will be unconscious, as he had foreseen. Here his will is not: this is the act of his parents, who find consolation in this.

Answering the question why the death of Bazarov should be considered heroic, D.I. Pisarev wrote: “But to look death in the eye, to anticipate its approach, without trying to deceive yourself, to remain true to yourself until the last minute, not to weaken and not become cowardly is a matter strong character... a person who knows how to die calmly and firmly, will not retreat in front of an obstacle and will not shy away from danger ".

Question

Did Bazarov change before his death? Why did he become closer to us before he died?

Answer

The dying Bazarov is simple and humane: the need to hide his "romanticism" has disappeared. He thinks not of himself, but of his parents, preparing them for a terrible end. The hero says goodbye to his beloved almost in Pushkin's manner and speaks in the language of the poet: "Blow on the dying lamp and let it go out."

He finally uttered “other words” that he had feared before: “… I loved you! .. Farewell… Listen… I didn’t kiss you then…” “And caress your mother. After all, people like them cannot be found in your big light in the daytime with fire ... ". Love for a woman, filial love for father and mother merge in the minds of the dying Bazarov with love for his homeland, for mysterious Russia, which remained an incompletely solved riddle for Bazarov: "There is a forest here."

Before his death, Bazarov became better, more humane, softer.

Question

In life, Bazarov dies from an accidental cut on his finger, but is the death of the hero in the composition of the novel accidental?

Why, after all, does Turgenev end his novel with a scene of the death of the protagonist, despite his superiority over other characters?

Answer

Bazarov says about his departure: “Russia needs me ... No, apparently it is not needed. And who is needed? "

Any plot-compositional technique reveals ideological plan a writer. The death of Bazarov, from the author's point of view, is natural in the novel. Turgenev defined Bazarov as a tragic figure, "doomed to perish."

There are two reasons for the death of the hero - his loneliness and internal conflict... Both of these interrelated reasons were part of the author's intention.

Question

How does Turgenev show the hero's loneliness?

Answer

Consistently, in all Bazarov's meetings with people, Turgenev shows the impossibility of relying on them. The first to fall away are the Kirsanovs, then the Odintsovs, then the parents, then Fenechka, he has no true students, Arkady also leaves him, and, finally, the last and most important collision occurs at Bazarov's before his death - a clash with the people.

“Sometimes Bazarov went to the village and, teasing as usual, entered into a conversation with some peasant.
- What was he talking about?
- It is known, master; does he understand what?
- Where to understand! - answered another peasant, and, shaking their hats and putting on their sashes, both of them began to talk about their affairs and needs. Alas! Shrugging his shoulder contemptuously, Bazarov, who knew how to talk to the peasants (as he boasted in the dispute with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was after all something like a pea jester ...

New people look lonely compared to the vast mass of the rest of society. Of course, there are few of them, especially since these are the first new people. Turgenev is right in showing their loneliness in the local and urban noble environment, he is right in showing that they will not find helpers here.

The main reason for the death of Turgenev's hero can be called socio-historical. The circumstances of Russian life in the 60s did not yet provide an opportunity for radical democratic reforms, for the implementation of the plans of Bazarov and others like him.

"Fathers and Sons" caused a fierce controversy throughout the history of Russian Literature XIX century. And the author himself, with bewilderment and bitterness, stops before the chaos of conflicting judgments: greetings to enemies and slaps of friends.

Turgenev believed that his novel would serve the cause of rallying the social forces of Russia, that Russian society heed his warnings. But his dreams did not come true.

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, spiteful, true, but still doomed to perish, because it still stands on the threshold of the future.” I.S. Turgenev.

Exercise

1. Share your feelings about the novel.
2. Did the hero evoke sympathy or antipathy in you?
3. Do you get along in your idea of ​​him such assessments, definitions: clever, cynic, revolutionary, nihilist, victim of circumstances, “genius nature”?
4. Why does Turgenev lead Bazarov to death?
5. Read your miniature essays.

Roman I.S. Turgenev's "Fathers and Sons" ends with the death of the protagonist. Why? Turgenev felt something new, saw new people, but could not imagine how they would act. Bazarov dies very young, not having time to start any activity. By his death, he seems to atone for the one-sidedness of his views, which the author does not accept. Dying the main character he did not betray his sarcasm or his directness, but became softer, kinder, and speaks differently, even romantically, which completely contradicts his beliefs as a nihilist.

In Bazarov, Turgenev dreamed of a gloomy figure. The author's sympathy for the hero manifested itself even in the scene of death. It was with her that Turgenev wanted to show the essence of Bazarov, his real character. The manifestation of a feeling of love for Madame Odintsova does not deprive young man the main thing in his character: his dedication, courage, he does not shy away, thinking about his imminent death. Bazarov dies without worrying about death as such. Without worrying about the people who will stay alive, without worrying about the benefits of their affairs for them. What is the role of the death episode?

His role is to show the non-standard personality of Bazarov and the failure of his nihilism in the face of the eternal movement of life and the majestic serenity of death. main topic episode - the frailty of being, the theme of love, the theme of courage in the face of death. The theme of filial love and respect for parents is also present here. The theme of loyalty to himself, to his principles, the hero is broken, but not defeated. Before his death, Bazarov reflects on what death is: "The old thing is death, but new to everyone." Here the inconsistency of the main character's denial of everything is manifested: no matter how much you deny death, it does not matter, it denies you itself. Reflecting on love, he understands its impossibility in the face of death, and romantically says goodbye to Anna Sergeevna. Special meaning has his unction after death. Even when he is dead, he remains true to his views on religion, and does not accept it. The scene of farewell to Anna Sergeevna Odintsova was built by the author according to the method of contrast - a living woman - a dying man, and this is emphasized by the epithets used by Turgenev. Anna Sergeevna is glorious, beautiful, generous, young, fresh, clean. Bazarov is a "half-crushed worm." The passage makes a tragic impression - a young man in love dies in the prime of life. And this death is inevitable and independent of man. The mastery of the author allowed us, the readers, to be present, as it were, in the room where Bazarov said goodbye to life forever. And this is a manifestation of talent and writing skills Turgenev. It is very sad and unbearably difficult to read these lines.

Turgenev's novel appeared in print in those years when new trends began to replace the old way of life, when among Russian youth, who were not satisfied with the life attitudes of their "fathers", a reassessment of values ​​was ripe. Finally, when the hero of the past, the nobleman, came to replace the hero of the past in literature.

The novel begins with the fact that his friend, Yevgeny Bazarov, comes to the Kirsanovs' estate together with the son of Nikolai Petrovich, Arkady. His unusual appearance (hoodie, sideburns), cheeky demeanor put the inhabitants of the estate on guard. And when Arkady declares that his friend is a nihilist, the latent dislike of Pavel Petrovich Kirsanov turns into open confrontation. This is how a conflict ensues in the novel.

WITH light hand Democratic criticism, in particular Pisarev, is considered to be that the main alignment of forces in the novel is reflected precisely in the confrontation between Bazarov and Pavel Petrovich, since it is they who conduct polemics on various topics. However, as it is easy to see, the elder Kirsanov turns out to be an untenable opponent to the protagonist. All the words of Pavel Petrovich are just “words”, they are not backed up by any action, so the reproach about idleness thrown by Bazarov to Pavel Petrovich is undoubtedly fair. Pavel Petrovich has no convictions, as Pisarev rightly notes, as convictions he tries to "push through" principles, and principles understood in his own manner. All Kirsanov's "principles" are reduced to the observance of external decency, to efforts aimed at being considered a gentleman. Form without content - this is the essence of Pavel Petrovich.

However, as you know, opposites converge. Despite the external confrontation, Bazarov and Pavel Petrovich are very similar. Kirsanov is essentially the same doctrinaire as Bazarov. Pavel Petrovich is only interested in the outer side of things in everything - he talks about Schiller, about Goethe, although he hardly bothered to read them, his judgments are arrogant and superficial. But the same can be said about Bazarov! The same addiction to external effects, the same "disorganization" with the world around him.

The real opponent of the leader of the nihilists is Nikolai Petrovich Kirsanov, although he does not enter into verbal battles with Bazarov. All his perception of the world, his behavior devoid of outward pretentiousness, but at the same time his spiritual breadth, opposes the all-denial of the nihilists. Nikolai Petrovich could argue with Bazarov, but he understands perfectly well that his arguments will not be convincing either for Bazarov or for his brother.

Showing the initial depravity of Bazarov's ideas, Turgenev introduces two more characters into the fabric of the narrative - Sitnikov and Kukshina. It is no coincidence that after the death of Bazarov, he no longer has any followers. Only such parodies of people as Kukshina and Sitnikov grow on the sterile soil of nihilism.

However, Bazarov is neither Kukshina nor Sitnikov. He strong personality... His personality is capable of self-development, and that is why he is interesting to Turgenev. The entire path of Bazarov, described in the novel, is a refutation of his ideas. Bazarov denies art, poetry, because he sees no use in them. It is Bazarov who makes fun of Nikolai Petrovich's cello playing, condemns Arkady for his admiration for the beauties of nature. He is unable to understand all this.

However, all is not lost for him, and this is manifested in his love for Madame Odintsova. Bazarov turns out to be a man, and not a soulless machine, which is only capable of performing experiments and cutting frogs. Bazarov's convictions come into tragic conflict with his human essence. He cannot renounce his convictions, but he cannot stifle a person in himself. For Bazarov there is no way out of this situation, and that is why he is dying.

The death of Bazarov is the death of his ideas. In the face of inevitable death, Bazarov sweeps aside everything that is secondary in order to leave the most important. And this is the main thing that is human that is in him - love for Madame Odintsova. It is noteworthy that Turgenev pursues his twin opponent, Pavel Petrovich, in the same way: putting on the brink of life and death, he forces him to discard all dogmas and “principles” and leave the human, true - love for his brother, Fenechka, the desire to do something for others.

Turgenev at every step refutes the judgments of both Bazarov and Pavel Petrovich. So, Bazarov declares that “nature is not a temple, but a workshop,” and a magnificent landscape immediately follows. The pictures of nature, which the novel is full of, implicitly convince the reader of the exact opposite. It turns out that Pushkin and playing the cello in the absolute dimension are much more important than all the useful activities of Bazarov and the aristocratic principles of Pavel Petrovich.

V last scene- a description of a rural cemetery and parents who come to the grave of their son, - eternal nature, on whose calmness Bazarov infringed, gives the nihilist the last comfort. Anything minor that a person has invented is left aside. Only nature, which Bazarov wanted to turn into a workshop, and the parents who gave him life, surround him.

So, by the internal evolution of the protagonist, Turgenev shows the inconsistency and initial depravity of the ideas of nihilism, proves that nothing positive can grow on the sterile soil of denial. And, leading his hero to universal human values, he asserts the supremacy humanistic ideas in the life of any person.