Fathers and sons gesture scenes. The role of artistic detail in the work of I.S. Turgenev “Fathers and Sons. Essay on literature on the topic: Dialogue scenes in the novel “Fathers and Sons”
Having shown in his novel “Fathers and Sons” the type of a new hero - democrat-raznochintsy, materialist and nihilist Bazarov, I.S. Turgenev also shows that, like any thinking person, the hero cannot remain in the same positions under different circumstances of his life. Bazarov is not a blind fanatic of an idea, not a dogmatist; he is also capable of doubting, worrying, and being disappointed. Defeat in love was the first blow for the hero. He, who denied all romantic feelings, like a boy, confessed his love to Anna Sergeevna, but she refused
From his love, afraid for my peace of mind and comfort. Bazarov's pride was so wounded that this became the beginning of his mental crisis, a period of grave doubts and self-doubt.
The scene at the haystack is evidence of this mental crisis. Bazarov and Arkady are relaxing at the estate with Bazarov’s parents. Osipa, on the edge of a hole left over from a brick barn, reminds Bazarov of his childhood and involuntarily makes him regret the former halcyon times. “I didn’t realize then that I didn’t miss being a kid.” He is bored in his parents' house, their petty household concerns are alien to him. What worries Bazarov himself? “...The narrow place that I occupy is so tiny in comparison with the rest of the space where I am not and where there is nothing to do with me; and the part of time that I manage to live is so insignificant before eternity, where I have not been and will not be...” The feeling of his own insignificance and uselessness in this world makes the hero doubt his destiny. What is the meaning of his life and work, what will remain after him? If the peasant “Philip will live in a white hut, and I will grow into a burdock,” will this make it easier for the hero? Going out of your way for a man who “won’t even say thank you”, is this the meaning of the revolutionary democratic movement? Bazarov is not confident in his abilities, and the only thing he can be proud of is the fact that “he didn’t break himself, so the woman won’t break me.” Denying the “deaf life that the “fathers” lead here, Bazarov cannot oppose anything to it. To Arkady’s question, on which side is the truth, Bazarov says that he can answer, “like an echo: where?” He denies human morality, reducing everything to the power of primitive sensations: “Why do I like chemistry? Why do you love apples? also by virtue of sensation.” He denies humanity a deeper knowledge of the world: “People still won’t penetrate deeper than this.” And the nonsense that he talks about Pushkin and supposedly about his poems shows how one-sided his natural science education is. The scene ends with a disagreement with Arkady, when the hearts of both young people are seized by “some almost hostile feeling.” Arkady protests against “despotism” for the first time! Bazarov, laughing at his “beautiful” phrase. He is outraged that Bazarov called his uncle an idiot, and not only out of family feeling, but also out of a sense of justice. If Bazarov's father had not appeared, the friends might have fought. Eugene’s tactlessness and unceremoniousness hurts Arkady’s feelings, which once again confirms that they are initially alien to each other. “No friendship can withstand such clashes for long,” says the author.
This episode reveals more deeply both the turning point in Bazarov’s worldview and the inevitability of differences with Arkady. Bazarov has nothing more to achieve in this life, and his absurd death will not be an accident; it is a natural ending, which the author considers the only one worthy of an extraordinary hero.
It was easy for Turgenev to defend romance from attacks from a straightforwardly understood natural scientific materialism, and therefore he essentially did not solve his problem. It turns out that Bazarov considers romance (“romanticism”) not only the moral and aesthetic idealization of a woman and love for her, but also everything that in the sphere of love rises above physical attraction - any strong personal feeling and attachment. Having such a feeling for Odintsova, a feeling that did not contain anything romantic, he nevertheless, according to the author, “indignantly felt the romance in himself.” For Bazarov this may be excusable. But the writer himself passes off his feeling as romantic love, trying to show that life itself refutes the materialistic denial of romance. Turgenev either deliberately understands romance too broadly, or it seems to him that it can only stem from idealistic views of the world. As if the democratic commoners could not experience deep personal feelings and even idealize personal relationships in their own way in the light of their high social aspirations!
But not only the imaginary romanticism of Bazarov’s love morally crushes him, he is even more influenced by the indivisibility of his attraction to Odintsova. The author depicts these experiences of his hero with a great deal of bias. Bazarov not only suffers from love failure, not only loses his former optimism and self-confidence, but comes to new and very dark thoughts about life, contradicting his previous views. In a conversation with Arkady, he, who recently asserted that man is a worker in the workshop of nature, admits that the human personality now seems to him to be something insignificant in the infinity of space and time. He now considers the criterion for assessing people’s opinions and actions not to be objective social benefit, but rather subjective preferences arising from “feelings.” He now denies the aspirations of the progressive intelligentsia to act for the good of the people, because... for him the question of the inevitability of death is now more important.
Possessing a worldview of natural scientific materialism with the tendency of “positivism” contained in it, Bazarov, of course, could come to some extent to subjective idealistic conclusions. But in the novel they are painted in deeply pessimistic, almost “cemetery” tones. Turgenev wants to see in all this the results of the moral defeat of the “nihilist,” a defeat that shook the very foundations of his philosophical and social worldview.
And the author strives to prevent his hero from recovering from such a defeat. Bazarov mopes for a long time in his parents’ house. Then, having arrived at the Kirsanovs; he frivolously flirts with Fenichka and accepts Pavel Petrovich’s challenge to a duel, the absurdity of which he himself well understands. Soon, the gloomy skepticism of his mood leads to the fact that he is careless during the autopsy of the corpse, gets blood poisoning and dies in the prime of his life, not overcoming his love for Odintsova and calling himself before his death a person unnecessary for Russia.
In all this, there is a tendency for the author to ideologically deny the character of the hero. But here, too, another, opposite tendency is invariably associated with it. In his relationship with Odintsova, Bazarov shows great moral dignity and democratic pride. After the breakup, he mopes like a strong, courageous, deeply feeling person. In the duel, his mental and moral superiority over Kirsanov manifests itself much more clearly than in their previous disputes. And Bazarov accepts his accidental and absurd death with such sobriety, with such moral fortitude and courage; which, of course, his ideological opponents were not capable of and which turns the death of the hero into his apotheosis. And although in the epilogue of the novel the young Kirsanovs look “prettier and matured”, and their “farm” generates income, this does not change anything in the novel. The reader is convinced not by this estate idyll, but rather by the writer’s words about Bazarov’s “passionate, sinful, rebellious heart” lying in the grave.
The peculiarities of the novel’s content also affected its form—primarily the principles of image composition. The motives of romantic reflection, expressed in the form of an “internal monologue,” receive almost no development in the novel. “Fathers and Sons” is a novel of ideological disputes. In almost all scenes, the characters actively reveal themselves in mental communication, in statements on general, philosophical and social issues, which naturally take the form of dialogue. If Rudin’s speeches or Lavretsky’s disputes with Panshin and Mikhalevich are given only in general terms, then here we hear every phrase of Bazarov, Kirsanov, Odintsova. Now what is important to the writer is not the general, moral meaning of the heroes’ speeches, but their specific content - the positions, arguments, arguments they contain, etc. The ideological clashes of the heroes also acquire decisive importance in the plot of the novel. They fill most of its chapters and push aside the love affair, which develops only in 6 chapters out of 28. And the love conflict develops differently now. This is not an internal rapprochement of two loving hearts, but, first of all, an exchange of opinions, sometimes leading to an argument.
On the contrary, the writer did not want to depict the love experiences of the main character, which were supposedly of a romantic nature. He spoke about them briefly and reservedly. Therefore, the novel as a whole is almost devoid of “psychologism.” Dialogical scenes reign supreme in it. Turgenev masterfully constructed the dialogues, revealing the characters of the main characters not only in the content of their speeches, but also in the methods of word usage, intonation, gestures and facial expressions. At the same time, he showed great restraint and a sense of proportion.
Essay on literature on the topic: Dialogue scenes in the novel “Fathers and Sons”
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The role of artistic detail in the work of I.S. Turgenev "Fathers and Sons"
In his work, the great Russian writer Ivan Sergeevich Turgenev used a wide range of literary techniques: landscapes, compositional structure, a system of secondary images, speech characteristics, etc... But the most impressive multifaceted means of the author’s embodiment of ideas and images on the pages of works is the artistic detail. Let's consider how this literary device participates in revealing the semantic content of Fathers and Sons, obviously the most controversial novel by I.S. Turgenev.
First of all, it should be noted that the portraits and descriptions of costumes in this work, as in any other, actually consist entirely of artistic details. So, for example, Pavel Petrovich Kirsanov has “...a face as if carved with a thin and light chisel” and “an appearance.., graceful and thoroughbred...”. And so, the reader can immediately determine by appearance that “Uncle Arkady” belongs to the noble class. Sophistication, refined manners, the habit of a luxurious life, secularism, unshakable self-esteem, inherent in the “charming melancholic” and characterizing him as one of the typical representatives of the nobility, are constantly emphasized by the author with artistic details that represent Pavel Petrovich’s household items: “a single large opal "on the sleeves," "tight shirt collars," "patent ankle boots," etc.
Using the description of beautiful and elegant things of the “archaic phenomenon” I.S. Turgenev shows the atmosphere in which the elder Kirsanov lives, betraying his worldview. Deliberately focusing attention on the inanimate objects surrounding Uncle Arkady, the author leads the reader to the idea of a certain lifelessness of the “district aristocrat”, calling him a “dead man.”
The irrelevance of Pavel Petrovich’s life principles determines his “deadness,” the very fact of existence, which reveals in the work the idea of the decay and failure of the noble class of that time. Thus, we see that the artistic detail, participating in the portrait characteristics and description of the costume, performs an important function, reflecting the images and intent of the novel.
It must also be said that the image of the psychological portraits of the characters plays a large role in identifying the main ideas of the work. To convey the feelings, experiences, and thoughts of the characters in “Fathers and Sons,” the author often uses artistic details. A clear example of this is the display of Bazarov’s internal state on the eve of the duel. I.S. Turgenev with amazing skill shows the anxiety and excitement of Evgeny Vasilyevich. The writer notes that the night before the fight with Pavel Petrovich, Evgeny “... was tormented by disordered dreams...”, and while waiting in the grove, “... the morning chill made him shudder twice...”. That is, Bazarov is obviously afraid for his life, although he carefully hides this even from himself. “Dreams” and “chill” are those artistic details that help the reader understand Bazarov’s thoughts and feelings that gripped him in this difficult situation, and understand that Evgeniy Vasilyevich is able not only to deny and argue, but also to experience, to love life.
The background against which the action unfolds takes an active part in revealing the psychological state of the novel’s characters. So, for example, in the eleventh chapter, the romantic, sublime mood of Nikolai Petrovich is the response of his soul to the fragrance and beauty of nature. In this episode, the author depicted the landscape using artistic details that recreate the atmosphere of a beautiful rural evening. The relationship between nature and the inner world of the “ladybug” and the “stars” that “swarmed and winked” are especially insightful. In addition, this artistic detail is almost the only one indicating the change from the evening landscape to the night one. I.S. Turgenev indicated the change in state with just one stroke, delighting in its simplicity and expressiveness. Thus, artistic details play an important role not only in the author’s depiction of portraits, characters, and moods of the heroes, but also in creating the general background in various episodes of the novel.
To more clearly identify the functions of the analyzed means of literary embodiment in “Fathers and Sons,” we will analyze the methods of its use in this work. The most used method in the novel is to complement each other with artistic details. This technique not only gives the reader a broader and more vivid idea of any image, interior, psychological state, but also draws our attention to those features that the author considered necessary to emphasize. In particular, the situation in Kukshina’s house is depicted on the pages of the work precisely by listing artistic details: magazines, “mostly uncut,” “dusty tables,” “scattered cigarette butts.” I.S. Turgenev, already through his description of the interior decoration of Evdokia’s room, exposes the falsity of the nihilism of the “wonderful nature.” Further characteristics given to her by the author finally reveal Kukshina’s inconsistency both as a denier, and as a woman, and as a person, but the first thing that indicates the error of her views, the incorrect understanding of emancipation, is the interior of Avdotya Nikitishna’s house. Another method of using artistic detail in Fathers and Sons is antithesis. For example, Kukshina arrived at the governor’s ball “in dirty gloves, but with a bird of paradise in her hair,” which once again highlights her negligence and promiscuity, which she passes off as the life principles of an emancipated woman. In addition, artistic detail in a novel is often complemented by any other literary medium. In particular, the writer mentions that Bazarov’s “speeches” are “somewhat complex and fragmentary.” This visual detail is revealed and enhanced by Evgeny Vasilyevich’s remarks, which are characterized by speed, sharpness, impetuosity and some aphorism. And so, in “Fathers and Sons” I.S. Turgenev uses the literary device in question in all possible variants, which allows him to significantly increase and expand its ideological purpose.
Thus, we see that artistic details are used by the author throughout the entire work to express the concept of the novel, when describing the appearance of the characters, their thoughts and feelings, and the background in certain parts of “Fathers and Sons.” I.S. Turgenev uses this means of pictorial embodiment in various variations, which makes it possible to endow it with greater semantic load. The amazing diversity, remarkable versatility and amazing selection of artistic details of the work lead the reader to the thought expressed by Pisarev in the critical article “Bazarov”: “...through the fabric of the novel the fierce, deeply felt attitude of the author towards the deduced phenomena of life shines through...”
Turgenev’s characters in the novel “Fathers and Sons” appeared before us as already established personalities with unique, individual, living characters. For Turgenev, of course, the laws of morality and conscience are very important - the foundations of human behavior. The writer tries to reveal the fate of his heroes, taking into account the fate of the historical development of society. Like any great artist, the artist’s detail, Turgenev’s detail: a look, a gesture, a word, an object - everything is extremely important.
In his works, subject details and colors are interesting. Describing Pavel Petrovich, the writer shows that he constantly takes care of his appearance, emphasizes the aristocratic nature of his manners and behavior; beautiful polished nails on the fingers of Pavel Petrovich Kirsanov really proves that he is a sybarite, a white-handed woman and a slacker.
Gesture. “He turned away, cast a devouring glance at her and, grabbing both her hands, suddenly pulled her to his chest.” He does not mean that he fell in love, but these gestures are details that reveal the entire inner world of the hero.
Let us remember the duel, when it was not noble knighthood, but that duel between Pavel Petrovich and Bazarov, which shows the nobility comically.
Bazarov’s aphorisms are very interesting, which reveal the essence of the hero’s character: “Every person must educate himself”, “Correct society - there will be no diseases”, “As for time, on what I will depend on it - let it depend on me”, “Nature is a workshop, and man is a worker in it” Thus, Bazarov’s aphorisms, written out in detail in the text, allow Turgenev to reveal the hero’s ideological position.
Another interesting detail in the disclosure of images is the technique of verbal irony, when people either say offensive things to each other or speak without hearing the other. (Disputes between Bazarov and Pavel Petrovich)
On the pages of the novel, many words sharpen their symbolic meaning: Bazarov stood with his back turned when he declared his love to Anna Sergeevna, as if trying to isolate himself. To reproduce the lively conversational speech of the characters, Turgenev widely uses incomplete sentences, which introduce into their speech a shade of speed of action and the state of excitement of the hero.
Another interesting detail is that in the 19th century the title of the work became the key reference words (L.N. Tolstoy - “War and Peace”, A.S. Griboedov “Woe from Wit”). Dostoevsky used a different way of keywording - italics (trial, case, murder, robbery, then, after that...
The relevance of this study lies in the fact that sometimes when analyzing a work of art there is not enough material to characterize the hero, evaluate his actions, and understand the reasons for his behavior. Speech characteristics are not always complete, and in such cases knowledge of psychology will come to the rescue.
The object of the study is the novel by I. S. Turgenev “Fathers and Sons”.
The subject is non-verbal means of communication, as well as the psychological characteristics of the characters in the novel.
The purpose of the study is to follow the language of facial expressions and gestures of the characters in the novel, to explain them, describing the mental state of the characters; explore the personalities of the characters and derive their psychological characteristics.
Objectives: study literature on the topic, as well as I. S. Turgenev’s novel “Fathers and Sons.”
The practical significance lies in the fact that the assessment of heroes and their actions will be more complete if you know the language of non-verbal language and the basics of psychology; Schoolchildren will learn to read a work of art in a way that will pay more attention to the smallest details, to all the important artistic details.
Odintsova sits with her head thrown back on the back of the chair, her arms are crossed on her chest and bare to the elbows. The legs are also crossed, and the shoes peek out flirtatiously from under the dress. The head turns slightly. This position is closed, but she uses it to seduce Bazarov, to extract the cherished words from him. Bazarov, in turn, sits in tension all this time, his hands are shaking. Odintsova bites the corner of her handkerchief and shrugs her shoulder slightly, indicating nervousness. Then Bazarov defuses the situation - he compliments Odintsova, who immediately perks up, like any woman.
Gradually the situation becomes tense, Odintsova begins to speak slowly, without moving, with emphasis. After Bazarov’s question: “What do you want?” - She pulls the mantilla over her hands, then blushes. This suggests that Odintsova is embarrassed by this issue.
At the end of this evening, Bazarov plays with the fringe of the chair. Which is unusual for him, because he is a nihilist, and a nihilist is not nervous. After the end of the conversation, Bazarov leaves and tightly squeezes Odintsova’s hand, without calculating his strength, from which we can conclude that Bazarov is experiencing excessive tension. However, it is worth noting that Bazarov never shook hands with anyone, considering many people unworthy of him. And he himself (!) offered his hand to Odintsova. This suggests that Bazarov admitted his defeat: he considers Odintsova not his equal, but superior. This is where this excessive strength of the handshake comes from: Bazarov is stunned by the change within himself. After he left, Odintsova blew on her fingers, then impulsively rose from her chair, went to the door, sat down on the chair again and thought. She was confused.
Second evening. It starts with climbing the stairs. Odintsova goes first, Bazarov follows her, and he does not raise his eyes, but only listens to the rustle of the dress, anticipating something important that may happen that evening.
Odintsova sat down the same way as last time and extended her hand, which indicates a request to speak with her frankly, since an open palm is a sign of truthfulness, then casts an indirect look at Bazarov, using this look for coquetry. Throughout the conversation, she makes several impatient movements, while Bazarov sits very stiffly. After Bazarov’s question whether she can tell him everything that’s on her soul, and Odintsova’s affirmative answer, Evgeny Vasilyevich bows his head, by which one can judge that he is fascinated by this conversation.
Then comes the climax of this scene. The situation is tense to the limit. Bazarov goes to the window and turns his back to Anna Sergeevna, who speaks at this time with fear, expecting something. And now, finally, she is reaping the fruits of her labors: Bazarov confessed his love to her. Moreover, after this confession, which was painful for him, he rested his forehead against the glass of the window, which means that it was as if he had lifted a weight from his shoulders.
After that, he casts a devouring glance at Odintsova, grabs her hands and presses her to him, but she does not immediately move away from him.
This is explained by the fact that Odintsova simply enjoyed the moment, but then decided that it was not worth going further. Here Bazarov bites his lips and leaves. Here the scheme already appears: “if you don’t want it, you don’t have to.” After everything that happened, Odintsova goes to the mirror and shakes her hair - “This is what I am!”
Bazarov. Temperament – phlegmatic. Temperament type – cerebrotonia. Body type – ectomorph. Nervous processes are strong, balanced, inert.
Odintsova. Temperament – sanguine. Temperament type – somatotonia. Nervous processes are strong, balanced and mobile.
Arkady. Temperament – phlegmatic + sanguine. Temperament type – somatotonia + viscerotonia. Body type – mesomorph. Nervous processes are balanced and inert.
Nikolai Petrovich. Temperament – phlegmatic. Temperament type: viscerotonia. Body type – endomorph. Nervous processes are strong, balanced, inert.
Pavel Petrovich. Temperament – choleric + melancholic. Temperament type – cerebrotonia + somatotonia. Body type – ectomorph + mesomorph. Nervous processes are unbalanced.
Sitnikov. Temperament – sanguine. Temperament type – somatotonia. Body type – mesomorph. Nervous processes are strong, balanced and mobile.
Kukshina. Temperament – sanguine. Type of temperament – somatotonia + viscerotonia. Nervous processes are strong, balanced and mobile.
Vasily Ivanovich. Temperament – melancholic. Temperament type – cerebrotonia. Body type – ectomorph. Nervous processes are weak.
Arina Vlasevna. Temperament – melancholic. Temperament type: viscerotonia. Nervous processes are weak. Introverted feeling type.
Kate. Temperament – sanguine. Temperament type: viscerotonia. Nervous processes are strong, balanced and mobile.
Fenechka. Temperament – phlegmatic. Temperament type – cerebrotonia. Nervous processes are strong, balanced, inert.
The novelty of this work is that this method of analyzing a literary work allows not only to describe the behavior of a literary hero, its reasons, based on observations of his non-verbal signals, but also by exploring the psychological side of his personality. Psychological characteristics help us understand the behavior of the hero, the reasons for his actions and the secrets of his inner world. Knowing the basics of psychology is important in our time. After all, if you just take a look at a person, you can guess what kind of person he is in communication and activity. In companies, having a full-time psychologist is already commonplace. It not only helps the working staff understand the problems, but also determines what kind of person is trying to get a job at the enterprise. And in order to avoid possible problems, he immediately determines what qualities a person has and how he can use them.
At the beginning there is the most strongly expressed type of temperament, physique, temperament.
Turgenev’s psychological portrait of the hero plays a huge role in creating the image. We can immediately get an idea of Bazarov’s character from his appearance. He is dressed extremely unpretentiously - in a “long robe with tassels.” His face is “long and thin, with a wide forehead, a flat upward, pointed nose downward, large greenish eyes and hanging sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence.” “His dark blond hair, long and thick, did not hide the large bulges of his spacious skull.” Before us is not only a completed portrait, but also an almost complete description of the character: plebeian origin and at the same time pride and calm self-confidence, strength and sharpness, extraordinary intelligence and at the same time something bestial, predatory, expressed in the pointed nose and greenish eyes. The hero has not yet uttered a word (“Bazarov’s thin lips moved slightly; but he did not answer anything” - this is how we are immediately given an idea of his taciturnity, coming both from his intelligence and from his constant disdain for his interlocutor), but all his main traits.
Quite differently, but also through a portrait, Turgenev describes the character of Pavel Petrovich Kirsanov: “He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light incisor, showed traces of remarkable beauty: his eyes were especially good.” Turgenev even notices such an elusive detail: “The whole appearance of Arkady’s uncle, graceful and thoroughbred, retained youthful harmony and that upward striving that for the most part disappears after the twenties.”
The image of Kirsanov is created primarily through the description of his clothes, unusually detailed and eloquent, in which the author’s slight irony towards the hero is felt: “But he was wearing an elegant morning suit, in English taste; There was a small fez on his head. This fez and casually tied tie hinted at the freedom of country life; but the tight collars of the shirt, though not white, but mottled, as it should be for morning dressing, rested with the usual inexorability on the shaved chin.” To characterize the hero, Turgenev even uses the syntax of the phrase, emphasizing the smoothness and slowness of the hero’s movements with a long, complicated, but impeccably correct period: “Pavel Petrovich took out of his trouser pocket his beautiful hand with long pink nails, a hand that seemed even more beautiful from the snowy whiteness of the buttoned sleeve a single large opal, and gave it to his nephew.” It is easy to see that the hand is described here as if it were some kind of expensive, finely crafted product. Soon Bazarov directly implements this comparison with a sarcastic remark: “What panache in the village, just think! Nails, nails, at least send them to the exhibition!”
But nothing, perhaps, characterizes the heroes as clearly as their language. Various intonation shades recreate the complex range of experiences of the characters, and the choice of vocabulary characterizes their social status, range of activities and even the era to which they belong. For example, Pavel Petrovich uses “efto” instead of “this” in his speech when he is angry, and “this quirk reflected the rest of the legends of Alexander’s time. The aces of that time, in rare cases when they spoke their native language, used, some - efto, others - ehto: we, they say, are native Russians, and at the same time we are nobles who are allowed to neglect school rules.” Or another example: Pavel Petrovich “pronounced the word “principle” softly, in the French manner,” as “prinsmp,” and “Arkady, on the contrary, pronounced “principle,” leaning on the first syllable,” from which it becomes clear that the heroes, belonging to different generations, perceive this word in completely different cultural contexts and therefore are unlikely to come to mutual understanding. It is no coincidence that after an argument with Bazarov, Pavel Petrovich excitedly says to his brother: “... you and I are much more to the right than these gentlemen, although we express ourselves, perhaps, in a somewhat outdated language, vieilli...”
Each of the characters has his own unique and easily recognizable manner of expression, which immediately reveals his individuality. Thus, at the very first conversation with Pavel Petrovich, Bazarov insults the latter not even with the very meaning of the words, which is completely neutral, but with the abruptness of intonation and the “short yawn” with which they were pronounced: “He... answered abruptly and reluctantly, and in his sound there was something rough, almost impudent in the voice.” Bazarov speaks little, but is unusually weighty, so his speech tends to be aphoristic (“Raphael is not worth a penny,” “I don’t share anyone’s opinions; I have my own,” “The only good thing about a Russian person is that he has a bad opinion of himself,” and etc.). To defeat the enemy, he likes to put his phrases in a reduced context, as if trying them on in real life: “You, I hope, do not need logic in order to put a piece of bread in your mouth when you are hungry. Where do we care about these distractions!” Or: “She behaves so coldly and strictly.<...>This is where the taste lies. After all, you love ice cream?” (That is, in the dispute he resorts to the classical form of a parable, a traditional rhetorical figure, similar in type to the Gospel ones. This is also not accidental, since Bazarov loves to take on the role of a sage and discoverer of a new life teaching). Very often he also resorts to popular expressions: “Only the grandmother said in two,” “From a penny candle... Moscow burned down,” “The Russian peasant will eat God,” which he wants to emphasize his democracy and closeness to the people.
Pavel Petrovich always expresses himself with exquisite politeness, even when he hates his interlocutor: “That’s a completely different question. I don’t have to explain to you now why I’m sitting with my hands folded, as you deign to put it.” Or: “You continue to joke... but after the kind willingness you have shown, I have no right to make a claim against you.” With this “chilling politeness” he can destroy anyone except Bazarov.
Bazarov’s father, when he wants to show off his education in front of Arkady, expresses himself in a pompous and uncontrollably old-fashioned way, falling into the style of the prose of the beginning of the century: “You, I know, are accustomed to luxury, to pleasure, but even the great of this world did not disdain to spend a short time under the roof of a hut "
Arkady constantly tries to get into Bazarov’s tone, but Bazarov only winces at his pseudo-nihilistic phrases: for him they reek of “philosophy, that is, romanticism.” Indeed, due to his romantic, poetic nature, Arkady loves a ringing, beautiful phrase; even proclaiming “terrible” denials, he is unable to resist naive narcissism. But he especially “spreads his wings” when he begins to talk about poetry or nature: “Look... a dry maple leaf has come off and is falling to the ground; its movements are similar to the flight of a butterfly. Isn't it strange? The saddest and deadest is similar to the most cheerful and alive,” which gives Bazarov, who considers every sonorous phrase empty, a reason for a mocking parody: “Oh, my friend, Arkady Nikolaich! - exclaimed Bazarov, “I ask you one thing: do not speak beautifully... To speak beautifully is indecent.” This dispute about language was the first serious disagreement, which then led to the separation of the two friends.
The speech of ordinary men in the novel is deliberately grammatically incorrect and almost meaningless, which should expose the complete inability of the people to play a positive role in the ongoing historical turning point: “At the first hut stood two men in hats and scolded. “You’re a big pig,” one said to the other, but worse than a little pig.” “And your wife is a witch,” another objected.” Elsewhere, in response to Bazarov’s request to state his views on life: “After all, in you, they say, all the strength and future of Russia... you will give us both a real language and laws,” the man replies: “And we can... ., too, because that means... what kind of aisle we have, approximately.” In general, during the historical dispute between the nobles and commoners, the people are still “silent.”
The use of foreign language vocabulary is also particularly significant. Pavel Petrovich constantly switches to French, in which it would obviously be easier for him to express himself (“public... bien public... public building”) and occasionally into English (“Be happy, my friends! Farewell!”). Bazarov, despite his knowledge of foreign languages, never resorts to them in conversation; only once, in response to Pavel Petrovich’s French phrase, with emphasized irony he inserts a Latin expression into his speech (“... I intend to fight seriously. A bon entendeur, salut! (let him hear!) Oh, I have no doubt that we decided to destroy each other; but why not laugh and combine useful with pleasant? to you in Latin"). Bazarov’s father also tries to insert foreign words into his speech, mercilessly distorting them due to ignorance of languages: “volatu”, “anamater”, “ommfe”, “vertesterherr colleague”, etc. But both father and son, being doctors, speak Latin equally well, but in the end this “dead” language begins to sound truly ominous when the dying Bazarov coldly asks to conduct the consultation not in Latin; I understand what it means: jam moritur (already dying).”
In the speech of nobles, in general, such “European” words as aristocracy, liberalism, progress, principles are found in abundance, in which Bazarov sees a sign not of their enlightenment, but of their uselessness: “Just think, how many foreign... and useless words! Russian people don’t need them for nothing.” In addition, the very pronunciation of these fashionable “new” words can serve as a distinction between “educated nobles, speaking sometimes with chic, sometimes with melancholy about mancipation (pronouncing an in their nose)”, and “uneducated nobles, unceremoniously scolding “the muncipation””. Thus, at the level of the characters’ language, we see in Turgenev a brilliant and organic combination of the personal and the social, on which all his novels are built.
