Turgenev Bazaar. Bazarov - Turgenev. Love line in the novel

Early sixties of the 19th century. Difficult, transitional era for Russia. It was a turning point, 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. Raznochintsy went, as a rule, to the natural sciences, were fond of materialism, and in its lowest manifestation, vulgar. Bazarov in "Fathers and Sons" is one of the representatives of the nihilists of the sixties. I. S. Turgenev does not accept his views, proves

The fallacy of his theory.
Bazarov is a convinced nihilist. And, as it turns out, this is not a tribute to the new fashion trend. The hero fully believes in his theory. Having carefully thought through and felt his ideas, he puts them into practice. So what 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 authorities, 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 the natural sciences can lead to progress. Therefore, he is mainly engaged in chemistry, physics, 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 the spirituality of people's lives hinder progress. In this, in fact, he differs from the true materialists, who affirm the primacy of matter and the secondary nature of consciousness. What are, 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 ignorance of the hero is not limited to this. Bazarov cannot understand the great Russian poet A. S. Pushkin. It even comes to the point that he insults him, laughs at his poetry. The nihilist in every possible way mocks Nikolai Petrovich Kirsanov's addictions to playing the violin and reading poetry. The life of such people, in the understanding of Bazarov, is useless for society. He also denies love and romanticism. During a conversation with Arkady, the "materialist scientist" scoffs at his friend's speeches about "mysterious looks" and advises him to study the anatomy of the eye better.
In past decades, the younger generation recognized the traits of their characters in the Onegins, Pechorins, Rudins and Chatskys. The Pechorins had a will without knowledge, the Rudins had knowledge without a will. “The Bazarovs, on the other hand, 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 at work, in his studies. He even has red hands from work, Turgenev emphasizes. Bazarov cannot live without regularly giving his brain work and benefiting from it. So, as a guest at Arkady, he spends all the 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 county doctor who has two dozen souls. Therefore, the hero has little means of subsistence. The elegance of life is alien to him. Once in the company of the refined aristocrat Pavel Petrovich Kirsanov, Bazarov does not cease to tease him. The hero does not get tired of making fun of his collars, perfumes, English clothes. Hatred for the “damned barchuks” is in Yevgeny’s blood. But it is mutual and soon turns into a heated argument. Some wild ideas of Bazarov come to light. Yes, the hero denies everything, refutes everything, seeks 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 the barbarians! Destroying Rome was all they could do.
But Bazarov's ideas are not viable. His theory puts him in a dead end, he becomes her slave. The hero, who denies all feelings, suddenly falls in love. The passion that has seized him makes a breach in his theory. Love for Odintsova makes Bazarov look at the world differently. And now Eugene 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 his foundations are crumbling. Gradually, he begins to notice that he is doing things that are unacceptable for himself. This is participation in a duel, a “knightly duel”, which the hero so vehemently denied. This and Noble act committed during a duel. Succumbing to the feeling, Eugene saves the life of his opponent. Bazarov's internal conflict does not find its resolution and eventually leads the disappointed 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 the autopsy of a corpse. In the face of death, the supports that once supported Bazarov turn out to be weak. “Yeah, go try denying death. She denies you, and that’s it!” Eugene admits. But the hero suddenly shows qualities that he once denied. Bazarov's death is amazing. Dying, he thinks not about himself, but about his parents and Odintsova. Having weakened control over himself, Bazarov becomes better and more humane. But this is not a sign of weakness, but a natural manifestation of feelings. And "this serves as an energetic proof of the wholeness, completeness and natural richness of nature."
Bazarov is no more. But life goes on. Those heroes who studied nature, understood its beauty, obeyed the mysterious forces acting in it, find happiness in love, in life. And the story continues with them. But Bazarov was 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.

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The inner world of Bazarov and its external manifestations. Turgenev draws a detailed portrait of the hero at the first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them in two pages. The general outline remains in memory - the author presents the hero's face as repulsively ugly, colorless in colors and defiantly wrong in sculptural modeling. But he immediately separates facial features from their captivating expression (“It was animated by a calm smile and expressed self-confidence and intelligence”).

The first thing that catches your eye in Bazarov's behavior can be interpreted as a manifestation of self-confidence. He is distinguished by a certain rude behavior, unwillingness to follow the rules of good manners and even elementary standards of decency. His behavior is in contrast to the sincere in its affability manner of the good-natured Nikolai Petrovich, the refined coldish courtesy of his brother, or the enthusiastic verbosity of Arkady. Here the hero meets the father of a friend, the future owner of the house, where he has to stay: “Nikolai Petrovich<…>squeezed him hard<...>hand”, but Bazarov “immediately gave him his”, to kind questions “answered in a lazy but courageous voice”. The careless manner of communication adopted by him extends to representatives of all classes. Here, at the inn, for the first time we become witnesses of Bazarov's communication with the peasants. ““Well, turn around, thick-bearded!” - Bazarov turned to the coachman. However, this well-aimed rude characterization did not offend the peasants at all: “Listen, Mityukha,” another coachman standing right there picked up<…>, - how did the barin call you? Thick-bearded and there.

Bazarov’s harsh simplicity attracts those around him more than Pavel Petrovich’s aristocratic courtesy, from which, according to Fenechka’s apt remark, “it will give you such a chill.” Nikolai Petrovich, although "afraid of the young nihilist," nevertheless "listened to him willingly, willingly attended his physical and chemical experiments." Servants "attached" to him, not excluding Peter, who was limited in complacency. Bazarov is followed, "like little dogs", by peasant children. He also made friends with Fenechka. At first, the young nihilist allowed himself an ironic remark about Nikolai Petrovich. But going up to the embarrassed Fenechka, he behaved with all courtesy. “Allow me to introduce myself,” he began with a polite bow, “a friend of Arkady Nikolayevich and a humble person.” The stern doctor unmistakably touched a weak string in the mother's heart - he showed attention to her child. Bazarov's charm was recognized even by little Mitya: "Children feel who loves them." Subsequently, Bazarov more than once, as a doctor, will come to the aid of Mitya. And all this with the same joke, banter. Behind this lies a desire so that Fenechka does not feel obliged to him. Here, in this house, Fenechka, the unofficial wife and mother of an illegitimate child, sometimes has a hard time already - Bazarov understands this. As a human being, he sympathizes with Fenechka, but prefers not to interfere in a difficult family situation. "She's a mother - well, right."

Households, servants, children - all of them are really humanly interesting to him. And he himself is an interesting personality, which irresistibly attracts people of all classes. In the artless simplicity of behavior, Arkady imitates Bazarov. It turns out, however, that it is very difficult to be simple and democratic with everyone. With Arkady, this comes out intentionally, and with all the sincerity of intentions, it is unnatural. He wants to meet Fenechka and goes to her room without warning. The father, who remained in the living room with a beating heart, comes to mind “that Arkady would have shown him almost more respect if he had not touched this matter at all.” Arkady enthusiastically accepted the acquaintance with his stepmother and the presence of a little brother in the world. But behind the impulse of generosity hides arrogance hidden from itself. Secretly, the young man admires the breadth of his own views. It does not occur to Arkady that such generosity humiliates his father, although he is glad of the sincerity of his eldest son's feelings. About the ensuing scene of a kindred embrace, the author notes: "... There are touching situations, from which you still want to get out as soon as possible."

There is a certain gradation in the rude and uninhibited manners of Kirsanov's guest. In some cases, they mask a subtle delicacy, as with Fenechka. In others, they are an open response to disguised rudeness. So, on the day of his arrival, he "fell off" after Arkady, even for a minute he had no intention of leaving. But he preferred unceremonious departure to Pavel Petrovich’s pointed disregard (“He didn’t shake hands<…>, put it back in his pocket"). In the future, we see how Bazarov's external severity helps him hide his inner embarrassment and even timidity (in relations with Anna Sergeevna). In any case, the author interprets Bazarov's behavior to us not only as a feature of his character, but also as national identity. “The only good thing about a Russian person is that he has a bad opinion of himself,” Bazarov casually but significantly drops in a conversation with Arkady.

Another feature of Bazarov, which cannot but arouse respect for him, is "the noble habit of work." This is the organic impossibility of an idle existence. It is noted that Bazarov woke up "earlier than anyone else" in the Kirsanovs' house the next day after a tiring road. When “about two weeks” had passed since his arrival, as a matter of course, the author says: “Life in Maryina flowed in its own order: Arkady was a sybarite, Bazarov worked.” Carrying out scientific experiments and observations, the hero is not afraid to get his hands dirty: “His linen coat and trousers were stained with mud; tenacious swamp plant wrapped around the crown of his old round hat ... "

The “enlightened mind” becomes the support for innate industriousness. With knowledge of the matter, Bazarov "explains" to his friend which trees, based on the state of the soil, should be planted in the garden instead of the dead oaks. He "in a few minutes" penetrated the weaknesses of the economy of Nikolai Petrovich. In everything related to applied, experienced, scientific knowledge, Bazarov shows a wide education, observation and intelligence. At the same time, knowledge was not easy for him. The son of a doctor, the owner of a village, and twenty-two souls of peasants must have had a harder time than his friend. Subsequently, Bazarov's father proudly betrays a family secret to Arkady: “... Another person in his place would have pulled and pulled from his parents; and we, believe me? He never took an extra penny! .. ”Absolute disinterestedness, the male desire to rely solely on one’s own strength distinguishes Bazarov. “... The Rudins have knowledge without will; the Bazarovs have both knowledge and will ... ”- the critic rightly pointed out. With good reason, one can apply to Bazarov a definition that Rudin did not receive - “a genius nature”.

To show in the hero his human attractiveness was part of the writer's task. “The Sovremennik will probably shower me with contempt for Bazarov,” he wrote in his diary, “and will not believe that during the entire time of writing I felt an involuntary attraction to him.” In one of the letters, Turgenev directly stated: “... If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness<...>- I am guilty and did not achieve my goal.

But as in the case of Rudin, dissonant notes are becoming stronger and stronger in the guise of a hero. “Thought and deed merge into one,” the radical critic D.I. wrote enthusiastically about Bazarov. Pisarev. No sooner said than done. Bazarov noticed "disorder" - the owner of the house, Nikolai Petrovich, "Pushkin reads<…>. It's no good. After all, he is not a boy: it's time to quit this nonsense. Bazarov, on the other hand, recognizes “something sensible” as useful reading. And on the same day, Arkady "silently, with a kind of affectionate regret on his face", "like a child" took away the ill-fated book from his father. In return, on the advice of a friend, he "put" a pamphlet by a German naturalist. Stop ... We see how in the nature of Bazarov, at first glance, open, simple and whole, aspirations are manifested that the moral sense cannot accept. And they arise as a kind of continuation of the cute features. We said that Bazarov's charm attracts everyone with whom life confronts him. A few days after his arrival, he is already the center of interest at home. The hero knows this and uses it, forcing others to live as he sees fit. External simplicity hides the need to skillfully manipulate the rest. After all, he did not take the book from the owner of the house himself, but pushed his friend to this, knowing that Arkady would be glad to demonstrate the breadth of his views, and Nikolai Petrovich would not object to his son. But, subordinating the interests of others to himself, Bazarov considers himself free from all the duties of a hostel. Turgenev makes us witnesses of how the hero violates all the rules of hospitality, respect for elders, and even moral standards. In the same episode with the book, Bazarov's actions clearly lead to a quarrel between father and son. The guest allows himself rude attacks against Uncle Arkady, in his presence and behind his back. The attentive reader will notice that this is done defiantly. The hero is obviously convinced that he has every right to do so. But what about his democracy, his intelligence, in our eyes human doing science?

The simpler and more democratic Bazarov behaves, the sharper his dissimilarity to those around him appears. It is clear to anyone that in front of him is an outstanding person. Odintsova, to whom he introduces himself as a “future district doctor,” objects with vivacity: “You yourself do not believe this<…>. Is it possible for you to be satisfied with such a modest activity<…>!" Bazarov's father, Vasily Ivanovich, asks Arkady: “... After all, he will not reach the medical field<…>fame?.."

Of course, not in medicine, although in this respect he will be one of the first scientists.

On what<…>?

It's hard to tell now, but he'll be famous.

Does Bazarov know what hopes are placed on him? Knows. Arkady Bazarov casually recalls that he is the "grandson of the sexton." And he adds: "Like Speransky." Mikhail Mikhailovich Speransky (1772-1839), who was born into a poor spiritual family, thanks solely to his mind and talents, made a dizzying career - to the count and minister of the court. Speransky was the closest adviser to two emperors - Alexander I and Nicholas I. Annoyed by his independent disposition, frightened by the radicalism of the proposed reforms, Alexander sent Speransky into exile. Subsequently, Nikolai, who claimed the throne, and the Decembrists agreed on one thing - one cannot do without the experience and knowledge of Speransky in the future government ...

The comparison, thrown as if by the way, reveals to us the boundaries of Bazarov's ambition. He is obviously preparing himself for a future statesman. The only difference is that Speransky agreed to climb the steps of the existing social ladder. Bazarov is a nihilist. A special episode is devoted to the explanation of this social term and its meaning in the novel. Bazarov does not participate in it, although we are talking about him first. Arkady “with a grin” (how can one not know such simple things!) explains to his father and uncle: “... This word means a person who ...” “Who does not recognize anything?” - Nikolai Petrovich guesses. Pavel Petrovich reinforces the negative connotation of the meaning of "nihil" - "nothing": "... Who does not respect anything." But this too is too weak. “Who treats everything from a critical point of view ...” “A nihilist,” Arkady formulates, clearly from the words of Bazarov, “is a person who does not bow to any authorities, who does not accept a single principle on faith, no matter how respected this principle". But even this definition does not adequately reflect Bazarov's radicalism. Not without reason, in the speeches of young people, the most frequent verbs are “not to believe”, “deny”, “break”, “destroy”. “First you need to clear the place,” says Bazarov about his task and his like-minded people. "Turgenev's hero rejects<…>really everything - all really existing forms of social structure, economic life, culture, way of life and even the psychology of people<…>. Russia is in a dead end with no way out<…>. The existing world must be completely destroyed, to the ground ... "

Bazarov, as a statesman, thinks in terms of all-Russian categories. We can hardly doubt that he is ready to take responsibility on a national scale. In the meantime, his tool is science. Natural science knowledge is useful not only as a means to reveal the secrets of nature and help a suffering person. The first to understand this was the main opponent of nihilism, critic and writer Mikhail Nikiforovich Katkov: “He is engaged in these sciences (natural) because, in his opinion, they directly lead to the solution of questions about these first causes,<…>a tool for the destruction of prejudices and for the enlightenment of people. “To enlighten people,” Bazarov is convinced, the book of German materialists is most suitable. No wonder he almost by force forces the unreasonable Nikolai Petrovich to read Buchner's popular pamphlet. Ludwig Buchner (1824-1899) - German physician, naturalist and philosopher, a convinced materialist. He was one of the propagandists of the theory of "social Darwinism". Charles Darwin's discoveries in the field of natural sciences were proposed to be transferred to the structure of human society: the principles of natural selection, the struggle for existence, the survival of the fittest as the determining factors of social life. “The Germans are our teachers in this,” Bazarov says with gratitude.

But he goes further than his teachers. The Russian nihilist is inclined to interpret the title of Buechner's pamphlet "Matter and Force", skipping one letter, as "Matter - Force". Everything that is intangible, that cannot be touched, measured, tested empirically, is a prejudice. Culture, art, the power of nature, respect for the elderly - these are prejudices that must be destroyed in the name of the common good. Bazarov the nihilist offers this as a scientist and as a public figure. The scientist Bazarov doubts the existence of these unreal concepts. The figure Bazarov denies their need, based on their belonging to the old world. The old world is bad - is it not the fault of culture? If he is to be swept away, his attributes will inevitably fall. So says the "hero of his time." But there is still Bazarov, a man who should be familiar with feelings and experiences?

“The religion of negation is directed against all authorities, and is itself based on the grossest worship of authority.<…>she has her own merciless idols,” the same Katkov pointed out venomously. The youth of the 1860s, contemporaries of Chernyshevsky, Dobrolyubov, Pisarev, built their lives according to strict laws, thought out, worked out by reading books and talking with friends. It is not for nothing that the word “principles” comes from their lips sharply, rudely, categorically. And if for the sake of ideas it is required to abandon former attachments, to step over feelings - well, it's not scary. The hero proudly calls himself "self-broken". Subsequently, Bazarov will tell a friend that succumbing to feelings means for him - "to crumble." Instead, they are given a proud consciousness that they themselves, from beginning to end, are building their own destiny: “Education? ... Every person must educate himself - well, at least like me, for example<…>. As for time, why should I depend on it? Let it better depend on me.”

It is important for the author that Bazarov is precisely a Russian person, who, even in his extremes, was the embodiment of typical features national character. No wonder Ivan Sergeevich saw in him a "pendant" (parallel) to the national hero, the rebel Pugachev. As early as in Notes of a Hunter, Turgenev noted that “the Russian man is so confident in his strength and strength that he is not averse to breaking himself: he is little concerned with his past and boldly looks forward. What<…>reasonable - give it to him, but where it comes from - he doesn't care. Then the writer was inclined to evaluate this quality as definitely positive. But having met with the philosophy and practice of nihilism, he was alarmed. After all, the goals of nihilism are sublime and beautiful - the happiness of mankind. But is it not too much to give up in the name of "reasonable"? First of all, engage in battle with your own soul, as it does throughout the novel. main character. In many ways, therefore, Bazarov for his creator is a “tragic”, “wild”, “gloomy” figure.

Bazarov ("Fathers and Sons" by I. S. Turgenev) is the central character of the novel. He is a representative of the generation of "children", which defends the principles of nihilism, which involves the denial of generally accepted norms.

Character

Bazarov is a proud, arrogant and self-confident person. He is sure of his superiority over the aristocrat Pavel Petrovich Kirsanov.

In relation to the people around him, Bazarov behaved cheekily and carelessly. The protagonist did not possess a drop of shyness, he was bold and arrogant.

The character and views of Bazarov largely became the result of his biography. Eugene is the son of a simple doctor and a noblewoman, which indicates the intermediate position of the protagonist: he does not consider himself a nobleman, but he is not a simple man either.

Bazarov did not recognize noble principles, did not like to attend events and "ceremonies", did not like to talk beautifully and never danced. This suggests that the hero did not recognize an idle lifestyle.

Evgeny Vasilyevich is a strong and hardworking person. He is not used to sitting still, he is constantly engaged in some kind of business. Bazarov achieved everything in his life through his own efforts.

Nihilism

Consideration of the characteristics of Yevgeny Bazarov is impossible without considering his nihilistic views on life. The protagonist denies all generally accepted phenomena: love, nature, art.

Nature, according to the protagonist of the novel, is a workshop in which a human worker works. Art, as Bazarov notes, unlike science, does not bring any benefit to humanity.

Friendship Bazarov perceives as a simple partnership. The protagonist calls women “women”, and explains love only by the physiological attraction of people to each other.

Bazarov recognizes only the value of science, therefore he connects his life with the natural sciences, in particular with medicine. The main character wants to be useful to society.

Yevgeny Bazarov despises the nobility and enters into conflict with his representative Pavel Petrovich Kirsanov. Bazarov is sure that aristocrats like Kirsanov have long been dead and are dragging Russia down.

Exposing Nihilism

The novel "Fathers and Sons" shows the internal changes of Yevgeny Vasilyevich Bazarov. A cold man who does not like to talk about his feelings even with himself, began to understand that his theory did not pass the test of life. Denying love, Bazarov fell in love, realized that he was a romantic. And the recognition of this fact suggests that Bazarov recognizes the defeat of nihilism. Trying to live according to the principles of nihilism, Bazarov gradually realizes that life is difficult in order for his beliefs to be true. Before his death, Bazarov realizes that he is not the giant he considered himself to be, because he dies stupidly and ridiculously. It is important for him to say goodbye to Odintsova, for whom he has already recognized his love.

Yevgeny Bazarov is the protagonist of I. S. Turgenev's novel "Fathers and Sons", the "Russian Hamlet", the spokesman for the new and very strong convictions of the intelligentsia of Russia in the middle of the 19th century - a nihilist. He denies a high spiritual principle, and with it poetry, music, love, but preaches knowledge and, on its basis, the reorganization of the world. Bazarov is a raznochinets, a medical student, although he is already about 30 years old. He is the so-called. " eternal student”, who has been studying for years, all preparing for real activity, but does not start it in any way.

Eugene came on vacation with his friend Arkady Kirsanov to his estate. The first meeting with Eugene takes place at the station, where Arkady's father meets the young men. The portrait of Bazarov at this moment is eloquent and immediately gives the attentive reader some idea of \u200b\u200bthe hero: red hands - he conducts a lot of biological experiments, is intensively engaged in practice; a hoodie with tassels - everyday freedom and neglect of the outside, besides poverty, alas. Bazarov speaks a little arrogantly ("lazy"), on his face is an ironic smile of superiority and indulgence towards everyone.

The first impression does not deceive: Bazarov really considers everyone he meets with us on the pages of the novel below himself. They are sentimental - he is a practical and rationalist, they love beautiful words and grandiloquent statements, they give loftiness to everything - he speaks the truth and sees everywhere true reason, often low and "physiological".

All this is especially evident in disputes with Pavel Petrovich Kirsanov, the "Russian Englishman", Arkady's uncle. Pavel Petrovich speaks of the high spirit of the Russian people, Evgeny retorts with a reminder of daughter-in-law, drunkenness, laziness. For Kirsanov, art is divine, but for Bazarov, “Rafael is not worth a penny,” because it is useless in a world where some have hunger and infection, while others have snow-white cuffs and morning coffee. His summary of art: "A decent chemist is twenty times more useful than any poet."

But the hero's convictions are literally ruined by life itself. At the provincial ball, Bazarov meets Anna Odintsova, a rich and beautiful widow, whom he first characterizes in his own manner: “She doesn’t look like other women.” It seems to him (Eugene wants it to be so) that he has an exclusively carnal attraction to Odintsova, "the call of nature." But it turns out that smart and beautiful woman became a necessity for Bazarov: you want not only to kiss her, but to talk to her, look at her ...

Bazarov turns out to be "infected" with romanticism - something that he vehemently denied. Alas, for Odintsova, Evgeny became something like those frogs, which he himself cut for experiments.

Running away from feelings, from himself, Bazarov leaves for his parents in a village where he treats peasants. Opening a typhoid corpse, he injures himself with a scalpel, but does not cauterize the cut and becomes infected. Soon Bazarov dies.

Characteristics of the hero

The death of a hero is the death of his ideas, beliefs, the death of everything that gave him superiority over others, in which he so believed. Life gave Yevgeny, as if in a fairy tale, three trials to increase the complexity - a duel, love, death ... He - more precisely, his convictions (and this is he, because he "made himself") - do not withstand a single one.

What is a duel if not a product of romanticism, and certainly not healthy life? And yet Bazarov agrees to it - why? After all, this is sheer stupidity. But something prevents Evgeny from refusing to call Pavel Petrovich. Probably an honor that he mocks as much as he does art.

("Bazarov and Odintsova", artist Ratnikov)

The second defeat is love. She dominates Bazarov, and the chemist, biologist and nihilist cannot do anything with her: “His blood caught fire as soon as he remembered her ... something else moved into him, which he did not allow ... "

The third defeat is death. After all, she did not come by the will of old age, chance, but almost intentionally: Bazarov knew perfectly well what a cut in a typhoid corpse threatened. But - did not cauterize the wound. Why? Because he was controlled at that moment by the lowest of the "romantic" desires - to end everything at once, to surrender, to admit defeat. Eugene suffered so much from mental anguish that reason and critical calculation were powerless.

Bazarov's victory is that he has the intelligence and strength to admit the collapse of his convictions. This is the greatness of the hero, the tragedy of the image.

The image of the hero in the work

At the end of the novel, we see all the characters somehow arranged: Odintsova married by calculation, Arkady is happy in a petty-bourgeois way, Pavel Petrovich leaves for Dresden. And only Bazarov's "passionate, sinful, rebellious heart" hid under the cold earth, in a rural cemetery overgrown with grass ...

But he was the most honest of them, the most sincere and strong. Its “scale” is many times larger, its possibilities are greater, its forces are immeasurable. But such people do not live long. Or a lot, if they shrink to the size of Arcadia.

(V. Perov illustration for Turgenev's novel "Fathers and Sons")

Bazarov's death is also a consequence of his false beliefs: he was simply not ready for a “hit” with love and romance. He did not have the strength to resist what he considered fiction.

Turgenev creates a portrait of another "hero of time", over whose death many readers cry. But the "heroes of the time" - Onegin, Pechorin, others - are always superfluous and heroes only because they express the imperfection of this time. Bazarov, according to Turgenev, "stands on the eve of the future", his time has not come. But it seems that it has not come for such people even now and it is not known whether it will be ...

In the novel "Fathers and Sons" by I. Turgenev, thanks to Bazarov, the conflict of the old and new generations is revealed. He is a nihilist, an adherent of the fashionable trend at that time. Nihilists denied everything - the beauty of nature, art, culture, literature. Eugene, like a true nihilist, lived a practical and rational life.

What is the character of Bazarov? He is a self-made man. He believes not in art, but in science. Therefore, in part, nature for him "is not a temple, but a workshop, and man is a worker in it." His beliefs in many ways prevent him from truly appreciating human relations - he treats Arkady exclusively as a younger comrade, their communication is based on an interest in nihilism. To his parents, whom he sincerely loves, he speaks condescendingly. They are shy and lost in front of him.

It would seem that a person who denies any human weaknesses, feelings, lives only by rationalism, will achieve everything. He will convince everyone that he is right, because his arguments are based on facts, science, reasonable arguments. In disputes with him, Pavel Petrovich Kirsanov is lost, and Nikolai Kirsanov is completely afraid to enter into disputes with him.

Bazarov's views on love, due to nihilism, are also specific. He considers the relationship between a man and a woman exclusively from the biological side, he sees nothing mysterious and romantic in this. “Love is rubbish, unforgivable nonsense,” he says. When Arkady is frank with him about the "mysterious female look", Eugene only ridicules him, explaining to his friend the anatomy of the eye, arguing that there is nowhere to come from mystery; All eyes are anatomically the same. But fate played a cruel joke with Bazarov: she tested the firmness of his convictions with love, but he did not pass this test.

Acquaintance with Odintsova became fatal for Bazarov. Communicating with her, he finds "romance in himself." For a while, Eugene forgets about his views. However, when he does not receive reciprocity, he tries to convince himself that it was only a fleeting obsession. That he is still the same old nihilist who does not care about romantic nonsense. He tries to forget about his feelings, get down to work, get distracted. But internally, he experiences completely different emotions. All his actions after leaving his beloved are nothing more than self-deception.

Bazarov dies from the fact that he contracted typhus due to carelessness while working with a typhoid corpse. It would seem that he could treat the wound and prevent such a tragic ending to his own story, but Eugene relies on chance, treats his own fate with indifference. Why does Bazarov suddenly give up? The reason for this is unhappy love. The factor that he refused to put up with.

Bazarov admits his defeat to Odintsova when she, at his request, comes to him before his death. This is, perhaps, the first time when the hero admits to himself that love has taken over him, he is “limp”. In fact, he repeated the fate of Pavel Petrovich, went along the road that he despised.

Perhaps it was this stubbornness, unwillingness to revise their rules that led Bazarov to lose. Lose before fate. But the fact that he admitted his defeat, is not it a victory? Victory over yourself? Let it be quite shortly before his death, but the hero found the strength to admit his failures, admitted that everything he believed in unconditionally turned out to be not so strong in reality. New Bazarov defeated old Bazarov, and such a victory deserves respect.

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