Evgeny Bazarov, hero or anti-hero. What is close and interesting to me Bazarov (based on the novel by I. S. Turgenev “Fathers and Sons”) the desire to prove everything in my own way

The novel by I. S. Turgenev "Fathers and Sons" was published in 1862. And since then, he continues to delight readers with his artistic merits, and the political problems raised by the writer on his pages continue to arouse undoubted interest. The reason for the latter is that Turgenev, as a great artist, managed to capture in Fathers and Sons several vivid episodes of the ideological struggle between the main social forces in Russia in the late 1950s. At that time, the most burning issue was the abolition of serfdom. And the spokesman for this struggle in the novel is precisely Evgeny Bazarov, a raznochinets-democrat. So what makes it different from others? What attracts our attention and what repels us?

First, let's look at the positive qualities of the "young nihilist" ... First, as soon as Evgeny Bazarov appears in the novel, his simplicity and sincerity immediately attract my attention. Let's look at his clothes - it is a simple, "long hoodie, with tassels", and there is no pomposity and over elegance in it. And "hanging sand-colored sideburns", isn't that a sign of simplicity?! What about Bazarov's speech? She is clean and straight forward. Bazarov is not used to flattering, he always says what he thinks. And this honesty makes him sincerely respect him. turgenev bazar nihilist

In addition, Eugene is very hardworking, he is not used to sitting idly by. “Bazarov usually gets up early and goes somewhere”: on the very first day he “ran around all the paths of the garden in a few minutes, went to the barnyard, to the stable, found two yard boys, with whom he immediately made acquaintance, and went with them to a small swamp, ... for frogs. Bazarov spends all the time of his stay at the Kirsanovs' estate in constant work. He does not understand another life, he is characterized by movement.

Therefore, Bazarov does not understand and cannot understand the lazy life of aristocrats. Their base predilection for luxury is alien to him, their cynical attitude to life Bazarov cannot understand how these "aristocrats" can take care of their appearance, sit back, and at the same time consider themselves socially useful. And in this, I think Bazarov is right, because in the society of that period, indeed, there were many “aristocrats” who did not bring any benefit, but only, like yellow leaves, held tightly to the branches of a tree. The tree no longer needs these dry, lifeless leaves, but they continue to slowly and greedily take away its strength. But you should not compare aristocrats with "aristocrats": these are two completely different categories of people. Not all aristocrats are insignificant and pathetic, like those whom Bazarov calls "aristocrats", because our great poets were also aristocrats. But the young nihilist does not understand this, and this was the perniciousness of his judgments.

Bazarov always strives to prove everything in his own way. He is an ardent admirer of science, especially medicine. Eugene conducts experiments on frogs to see "what is going on inside them, because we are the same frogs, we just walk on our feet." This indicates his curiosity, that he is drawn to everything unknown. And it makes you bow before this person.

Bazarov is also distinguished by great diligence and the ability to bring everything to the end. His life morality is the proverb: "He took hold of the tug - do not say that it is not hefty."

Among these positive qualities, it is necessary to highlight loyalty to one's ideas and principles. After all, when Bazarov meets Odintsova and falls in love with her, he still remains true to his nihilism, his complete denial of everything. Bazarov courageously endures the "test of love", although Arkady gives in to her. Eugene, on the other hand, prefers public welfare to personal happiness, and therefore, indeed, deserves attention.

But the author does not idealize his hero, so Bazarov also has negative qualities. One of them and the most significant is the selfishness and pride of the young nihilist. After all, how does Eugene feel about helping ordinary peasants? Bazarov says: “I have to climb out of my skin, but he won’t even thank me ... and why should I thank him? Well, he will live in a white hut, and burdock will grow out of me; so what next?" Yes, our hero lacks spiritual warmth, he is used to being a “ruler”, in whose hands are the puppets-Sitnikovs and other “boobs”, because, as Evgeny says, “it’s not for the gods, in fact, to burn pots.” Perhaps Bazarov is a “god” in his own eyes, but is it really permissible for such a “god” to offend the dignity of others, especially friends. Such shocking words: “You are a tender soul, a weakling, how can I hate you?” - they hurt more than a bullet, because "the word heals, the word cripples." But Arkady is a romantic, indeed, a “tender soul” - what does it feel like for him to hear all this from his best friend and teacher, for whom even “honesty is a feeling” ?! In addition, Bazarov takes nihilism too seriously: he denies what cannot be denied in any way, that is, art, poetry, culture. He completely denies romanticism: for him there is no mysterious look, it's all "nonsense, rot, art", and Pushkin's poems are just "nonsense". But is it possible? After all, the morality of people is formed under the influence, to a greater extent, of literature, poetry, romance. And what will happen if everyone begins to deny art and literature?! Humanity is degrading and will turn into primitive monkeys.

Yes, and Bazarov’s attitude to nature is not the best: for him, “nature is not a temple, but a workshop and a person in it is a worker.” Bazarov is incapable of loving nature; I don't think he's capable of love at all. Obsessed with science and his ideas, Eugene does not realize that love is a sacred feeling, a state of mind, and not some kind of physiological process.

At the end of the novel, Eugene dies with dignity. He says goodbye to life like a giant: "dies decently, without wagging his tail." Bazarov doubts whether Russia needs him, and comes to the conclusion that he is not! I don’t know if he is right, but Bazarov could not stay alive. He could not understand the human soul, for him it did not exist at all. His ideas are lofty in the scientific direction, but they cannot be applied to improve the social system, to provide Russia with the assistance that it so needed. Bazarov was not a patriot of his Fatherland, moreover, he denied all the Russian achievements of the past years, he despised the Russian people, because "our man is happy to rob himself just to get dope in a tavern." And therefore, I believe, he could not become a practically useful person who would fiercely fight for the freedom of the serfs and "go through" the injustice and prejudices of the social system. He “cleared the place”, but, alas, it was not possible to build yet ...

Bazarov is a very controversial character, so there is no and cannot be the same attitude towards him. On the one hand, this is a man of not just ideas, but also actions. He is prudent and honest, but on the other hand, he is too proud and devoted to his ideas. I even have a “traitor” - Katerina causes more sympathy than Bazarov, because Katerina’s death was not fruitless: she, like a “beam”, for a moment dispelled the darkness of the kingdom of the Savages and Boars, and Bazarov died without doing anything for society, except sprawling frogs, cynical speeches and insults.

"To be authentic is to be true to oneself," wrote Osho. One cannot but agree with this statement. A person who remains true to his principles and beliefs, ideals and beliefs, is authentic. He is honest with himself and other people, does not pretend, is not hypocritical, and even more so never bends under the opinion of the surrounding society. Such a person retains his uniqueness, uniqueness and individuality in any situation.

Let us recall the hero of the novel by I. S. Turgenev "Fathers and Sons". In the image of Evgeny Bazarov, we see a strong and strong-willed person. Bazarov is a nihilist who denies any authority, feelings and emotions and is critical of everything. This denial was revolutionary in nature, consisting in the struggle against the nobility and the ruling class. Bazarov managed to remain true to his nihilistic views in the society of the liberal Kirsanovs.

Most of all, he is opposed by the aristocrat Pavel Petrovich, who enters into an ideological dispute with Yevgeny and expresses disdain for nihilism and experiments in the natural sciences. Despite this, Bazarov defends his point of view to the end, speaks frankly and frankly, remaining true and authentic.

However, a person's beliefs and attitudes can change throughout life. As a person grows up and develops as a person, ideas about the world and life values undergo changes. But this does not mean betrayal of oneself, if it does not lead to the moral destruction of a person. Reappraisal of values is sometimes simply necessary for a person to realize his true destiny.

We find confirmation of this in Leo Tolstoy's novel War and Peace. Andrei Bolkonsky is in search of his destiny. His principles and beliefs are not the same at different stages of life. For example, at the beginning of the novel, he dreams of fame and sees Napoleon as his idol, but after the Battle of Austerlitz he becomes disillusioned with his ideals and changes his point of view regarding life values. Similar changes occur with Pierre Bezukhov, who is disappointed first in secular life, and then in Freemasonry, realizing their emptiness and worthlessness. However, this is not the spiritual degradation of the heroes, on the contrary, they evolve, become stronger in spirit, strive for true values and moral guidelines.

Thus, loyalty to oneself and one's ideals means the authenticity of a person and characterizes him as a strong personality and a bright individuality. However, if he changes his views and beliefs for the better, then this makes him even stronger, strengthens his faith in himself and his own capabilities.

Polzikova Alina

essay based on the novel by Turgenev I.S.

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In the center of the novel "Fathers and Sons" is the image of a new public figure - for the first time an active Russian public figure. Bazarov is a "transitional" type of new people, he himself does not yet live for a great cause, he is only preparing it. For Turgenev, the main thing is to test the forces of Bazarov. She is in many situations of the novel and even in the very death of the hero. His tragedy is that the hero was "born early."

Bazarov was conceived as a tragic face, a figure doomed in the long run. In a letter to K. Sluchevsky dated April 14, 1862, Turgenev wrote: “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death - because it still stands in anticipation of the future ... ". In the same letter, Turgenev emphasizes this idea two more times: “The qualities given to him (to Bazarov) are not accidental. I wanted to make a tragic face out of him - there was no time for tenderness. “The death of Bazarov, in my opinion, should have put the last line on the tragic figure” (Pustovoyt 1991: 31).

So, tragedy, pessimism, Bazarov's doom as a result of his collision with reality - all this was part of the author's intention, although it did not cover it entirely. The image of Bazarov was conceived by Turgenev as the image of an educator from the democratic camp, a fighter against ignorance and superstition. With the death of Bazarov, Turgenev wanted to tell the reader a lot. Turgenev's persistent interest in the endings of his novels is characteristic: for the writer, this is not just a literary technique, a device, but a conversation about the main thing - about the fate of the Russian classical novel.

Consequently, the sad ending of "Fathers and Sons", like the endings of Turgenev's other novels, has its own creative "super task", its place in Turgenev's prose: it clearly echoes both stories and later poems in prose. And this, in turn, indicates the characteristic features of the construction of Turgenev's novel, which differs significantly from the novels of Leo Tolstoy, Dostoevsky and Goncharov.

In Turgenev's novels, we encounter new principles for organizing the artistic whole. Turgenev himself pointed to this, began his work on the novel "Fathers and Sons" from the final - the death of Bazarov.

The pathos of tragedy, which fanned the scene of Bazarov's death, is based on the impossibility of realizing Bazarov's ideal, not only because of the tragic circumstances of his life, but also because of the unviability of his idea.

For Bazarov, the insolubility of the conflict is manifested in the desire to remain faithful to one's principles and the inability to drown out the voice of the "rebellious heart." And now there is no need to hide your true feelings, a “great heart”, in which there is love for Russia, and for parents, and for a woman.

Turgenev gives Bazarov the opportunity to realize that he is doomed, to accept the inevitability of imminent death, in order to reveal in him all the strength, all the power and greatness of the individual. Unable to realize himself in life, Bazarov must do everything he is capable of in the face of death.

Turgenev gives Bazarov time to realize that he is doomed, to accept the inevitability of imminent death. Why did the author need such a hero's death? To reveal in him all the strength, all the power of his personality. Unable to realize himself in life, Bazarov must do everything he is capable of in the face of death. In his failed life, Bazarov is largely innocent: he himself understands that he came into the world ahead of time, that is, earlier than his strength and mind could serve not for destruction, but for creation.

Bazarov's grave is described solemnly, sadly and majestically; Turgenev, saying goodbye to his heroes, once again clearly expressed his attitude towards them, which the critic N. N. Strakhov accurately described: “Be that as it may, Bazarov is still defeated; defeated not by persons and not by the accidents of life, but by the very idea of this life. Such an ideal victory over him was possible only on the condition that all possible justice was given to him ... Otherwise, there would be no strength and significance in the victory itself ”.

And Bazarov courageously looked into the face of death, which is the same at all times. We hear three monologue-confessions, and in each of them deep philosophical questions are raised: the purpose of a person in life, the theme of the future of Russia, questions of love, life and death. In each monologue, Bazarov’s irony over himself, expressed in folk sayings, sounds, which helps the hero not to lose self-control and testifies to the strength of his character (“I got under the wheel”, “the old thing is death”, “I’ll break off a lot of things”, “I don’t wag my tail I’ll become”, “the dead is not a friend to the living”, “you can’t find it in the daytime with fire”).

In the face of death, Bazarov is sincere and honest with himself. There was no need to hide your feelings towards your parents, your beloved woman. It is no coincidence that the author here gives the floor to the hero himself. The form of confession gives the story exceptional drama and tension. The author does not need to comment on the emotional state of the hero, since it is conveyed using the features of the construction of his speech (irregularities, pauses expressed by dots, quick and incoherent transitions from one thought to another).

Bazarov's speech is figurative, poetic where the best sides of his soul and heart are revealed - the ability to love, to feel deeply: “How glorious you are! And now here you are… so beautiful!” "Blow on a dying lamp and let it go out." This is rhythmic prose, close to the narrative manner of poems in prose. The novel does not end with the death of Bazarov. The author shows that life goes on, no theories have power over it. And, no matter how people come into the world, no matter how passionately they want to turn life around, no matter how they deny the spiritual principle, they leave, disappear, and what remains is what is eternal: love, children, earth, sky and inconsolable two at the grave son. Flowers growing on Bazarov's grave speak of the "great calmness" of indifferent nature; they also speak of the eternal reconciliation of momentary life on earth and infinite life.

A third of the epilogue is occupied by pictures of nature, which, as usual with Turgenev, are in harmony with the feelings and experiences of the characters or shade them. Nature, as it were, becomes the main character in the moral and psychological situation in which the heroes find themselves in the epilogue.

Turgenev's nature is simple, open in its reality and naturalness, and infinitely complex in the manifestation of mysterious, spontaneous, often hostile forces. However, in happy moments it is for a person a source of joy, vivacity, heights of spirit and consciousness.

“Turgenev’s merit lies in creating the image of a brilliant artist who created a piece of music that reveals the entire depth of the world as a triumphant harmony,” wrote critic G.B. Courland. World harmony is one of the open secrets that we all see and do not see. Universal harmony arises because, according to Turgenev, each point in nature is connected with others, although it strives to live for itself.

The quest of Turgenev as a novelist in the field of poetics, his ambiguous open endings still retain the significance of the living classical tradition today and therefore determine a lot in the movement of the Russian novel, all the literature of the 20th century. The importance of the novels by I.S. Turgenev for all subsequent Russian literature. Chekhov's famous "open" endings of plays and Bunin's elegiac origins trace their genealogy to the elegiac endings of Turgenev's novels and, in turn, have an impact on Soviet dramaturgy, primarily on the theater of A. Vampilov.

For low natures, there is nothing more pleasant than

to avenge their insignificance, throwing mud

their views into the holy and great.

V.G. Belinsky

In the 10-20s of the 19th century, when Decembrist ideas and beliefs were taking shape, secret societies began to emerge, and among the youth of the nobility there was a fashion for "secret unions", whose members had no political convictions. And therefore, Griboyedov's Chatsky, a man of steadfast convictions that led him, as Herzen believed, "a direct road to hard labor," sharply throws Repetilov: "Are you making noise, and only?" Yes, for their beliefs, people went to severe trials and then to death. Beliefs led to selfless deeds of such heroes as Insarov, Rakhmetov, Bazarov.

Against the background of the noble environment depicted in the novel by V.G. Belinsky "Fathers and Sons", the figure of Bazarov acquires a special relief. Turgenev's hero is convinced of the need to radically break the existing system. “At the present time, denial is most useful,” he says, and follows this conviction to the end. The all-destroying, imbued with maximalist pathos, striving beyond all and all limits, the power of negation of the Turgenev hero cannot be imagined separately from his inner freedom, from his inability to somehow limit, console or deceive himself. Having fallen in love with Odintsova, but realizing that there is an abyss between them, Bazarov leaves her, although he retains a feeling of love until his death. He will show fidelity to his convictions as an atheist scientist even before his death, when he renounces religious rites. Pisarev was right in arguing that dying the way Bazarov died is the same as accomplishing a great feat. Yes, this is true: a person dies without sacrificing his convictions, his principles.

In love, friendship, life, Bazarov is tragically lonely. And this loneliness is emphasized by the images of his “disciples”, for whom the hard-won Bazarov convictions become just a fashion. How natural Bazarov is with his merciless harshness and directness, how unnatural are Sitnikov and Kukshina. Sitnikov really wants to be known as a person close to Bazarov, he flaunts the sharpness of his views, but this is a man without convictions, ready, succumbing to fashion, to become a "nihilist". Turgenev portrays Kukshina sharply caricature, showing on her example ugly forms: female emancipation. This is an insignificant woman who has a confusion in her head and has no convictions of her own.

In chapter XIII, arguing about women's emancipation, Kukshin responds to Sitnikov's words: "Are you standing up for these women?" The comical importance of behavior, posture, love for crackling phrases, combined with the vulgarization of the views of the genuine and consistent denier of Bazarov, in principle, characterize both Arkady and the caricatured Kukshina and Sitnikov in the same way. Turgenev achieves this goal sometimes by pointing to the gesture, movement of the character, more often by individual words and expressions of the character (Kukshina vowed to protect the rights of women not in any way, but "to the last drop of blood").

The scene of the novel depicting the "feast" in Kuk-shina's house is an evil caricature of people who dress up in fashionable clothes to pass for "progressives". In the images of Sitnikov and Kukshina, Turgenev captured those who blindly imitate fashion trends and recklessly get carried away by them. Bazarov easily endures the neighborhood with Sitnikov, like Chatsky next to the caricature of new people - Repetilov. Sitnikov and Kukshina, as it were, emphasize the originality, greatness, loyalty to Bazarov's convictions, his tragic loneliness.

Bazarov did not leave followers, did not fulfill the enormous task set before him. But this does not mean that Russia did not need him. Heroes do not die without a trace: their lives, their aspirations and failures, and their very death are of historical significance.

Yes, people who have their own convictions, faithful to them to the end, are the “engines of history”, and perhaps our tragic troubles of recent years have occurred because for some, unfortunately for very many, the reform of society, democracy, publicity became a fashion, not a hard-won conviction, and we did not immediately recognize the danger posed by evil dressed in clean, white clothes. The future well-being of our country and its people depends on leaders of a new type, those for whom convictions will not become a fashion, who will go after them to the block, but will not stop, will not give up, will fulfill their duty as a man and citizen to the end.

Fashion and beliefs are not simple concepts. Fashion is not just domination in a certain environment at one time or another of some rules and tastes. The main thing is that these rules and tastes are manifested in external forms that do not affect the deep processes of life. That is why fashion passes rather quickly. Fashion is not always harmless, it often goes against the moral principles of society. This has happened more than once in the history of our country.

In the tenth and twenties of the XIX century, when the Decembrist ideas and beliefs took shape, they began to

Secret societies arose, and among the youth of the nobility there appeared a fashion for "the most secret unions", whose members had no political convictions. And therefore, Griboedov's Chatsky, a man of strong convictions that led him, as Gerden believed, "a direct road to hard labor," we sharply throw Repetilov: "Are you making noise, and that's all?" Yes, people went to hard trials and even death for their beliefs. Beliefs led to selfless deeds of such heroes as Insarov, Rakhmetov, Bazarov.

Against the background of the noble environment depicted in the novel "Fathers and Sons", the figure of Bazarov acquires a special relief. Turgenevsky

The hero is convinced of the need to radically break the existing system. “At the present time, denial is most useful,” he says, and follows this conviction to the end. The all-destroying, imbued with maximalist pathos, striving beyond all and all limits, the power of negation of the Turgenev hero cannot be imagined separately from his inner freedom, from his inability to somehow limit, console or deceive himself. Having fallen in love with Odintsova, but realizing that there is an abyss between them, Bazarov leaves her, although he will retain the feeling of love until his death. He will show loyalty to his convictions as an atheist scientist even before his death.

In love, in friendship, in life, Bazarov is tragically lonely. And this loneliness is emphasized by the images of his “disciples”, for whom the hard-won Bazarov convictions become just a fashion. How natural Bazarov is with his merciless harshness and directness, how unnatural are Sitnikov and Kukshina. Sitnikov really wants to be known as a person close to Bazarov, he flaunts the sharpness of his views, but this is a man without convictions, ready, succumbing to fashion, to become a nihilist. Turgenev portrays Kukshina in a sharp caricature, showing by her example the ugly forms of female emancipation. This is an insignificant woman who has a confusion in her head, no convictions of her own.

Sitnikov and Kukshina, as it were, emphasize the originality, greatness, loyalty to Bazarov's convictions, his tragic loneliness.

Yes, people who have their own beliefs, faithful to them to the end, are the “engines of history”, and perhaps our tragic troubles of recent years occur because for someone, unfortunately for very many, what has become fashion is hard-won beliefs for others.