If bazaarism is a disease, then it is a disease
of our time and it must be suffered.
D. I. Pisarev
“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to death - because it still stands on the threshold of the future...” Ivan Sergeevich winced in annoyance and put down the pen. It was getting dark. Outside the window, some people in long greatcoats were hurrying from work. It was one thousand eight hundred and sixty-two. The central figure of the story is Evgeny Bazarov, no longer just a person, but a type of person of his time, outlined sharply and clearly.
The novel “Fathers and Sons” is more than a novel, it is a time reflected in the author, as in a mirror, the junction of two eras, the collision of the world of “fathers” and “children”. Answer to the question: “Why is Bazarov a tragic face?” - concluded in the last two lines of the above quote: “... and yet doomed to destruction, because it still stands on the threshold of the future...”
Let's try to understand the deep meaning Turgenev puts into these words, let's trace the fate of the hero through the eyes of the author. Turgenev is one of the best representatives of fathers; Maybe, without realizing it, he sympathizes more with old people than with Bazarov. The author does not spare the hero, endowing him with harshness and uncouthness, but, nevertheless, he remains honest, and we see Bazarov, written perhaps even more faithfully than a younger writer belonging to the Bazarov generation would have done.
In addition, the social position of Bazarov and his parents was not chosen by chance. Bazarov goes his own way not only because he is “more sensitive to the demands of social life” - he experienced this life himself. Bazarov is the son of a poor district doctor who could only give him existence. Everything he achieved, he achieved through labor and patience. Who, if not such a person, has the right to be called a revolutionary?
“... In his past there was a lot of work and invincible patience, and in his view of the future the bright power of his thought unfolded widely and charmingly.” Bazarov goes through a harsh school of life and becomes a pure empiricist. He denies all emotional aspects of perception, leaving only “sensations”. Calling “rubbish” everything that he does not know (poetry, art), Bazarov believes only in the power of science, accessible to a few. He even recommends Buchner’s book as popular, that is, leaving the possibility for some deeper (not “popular”) understanding. Turgenev is not Bazarov, so we do not know “what” and “how” the hero thinks, we only see his actions. You say: “And what is tragic here? The type of person who could not help but appear at the junction of two eras is described. And that’s it.” But is that all? Isn't the figure of a person who renounces art, poetry, and eternity tragic? Denying life and love in the deepest understanding of these words, but, nevertheless, striving for them all his life. It seems to Bazarov that he is firmly in his position, he is not afraid of any Kirsanovs. But then life (or the author) enters the scene, creating the woman he fell in love with. Love and death complete the portrait of Bazarov, making clear everything tragic and contradictory that was previously hidden in the recesses of the soul and was not recognized by the hero himself. A person who loves but does not recognize love is truly unhappy. True, life has not yet created a woman capable of loving Bazarov, as well as a world capable of fully accepting and understanding him. Bazarov is lonely, moreover, he is aware of his loneliness.
At the end of the novel the hero dies. The attitude of readers to this ending was quite contradictory. Herzen wrote that ending Bazarov’s life with typhus was the worst service that the author could provide him. In his opinion, science could save Bazarov, give him what he was looking for. But, on the other hand, “Fathers and Sons” is more than just a novel, it is a reflection of the era, and Bazarov is not just a hero, but a “man of the times.” Only time can complete his portrait correctly. We must wait until Bazarov himself becomes a “father”, when a new generation of “children” comes. Dying, Bazarov says: “Russia needs me... No, apparently he doesn’t need me...” On the one hand, this is annoyance at himself, at the fact that he decided to seek the truth, change the world and... died, and on the other hand, this tormentor his question is one of the main problems of Bazarov’s existence. Who does Russia need: him or a butcher, a shoemaker, an artisan? Is his nihilism necessary? Turgenev does not answer this question. Instead, we see a small rural cemetery in one of the corners of Russia, we see that Turgenev, as a master of words, not only found the most powerful and worthy conclusion to the novel (this is for readers), but also with a simple human gesture (and this is for himself) gave Bazarov's rebellious soul has the opportunity for reconciliation, peace, warmth, eternity, which he was deprived of. The tragedy of Bazarov lies in his very existence, in the fact that he does not find “his” truth in life.
The idea for Turgenev's novel "Fathers and Sons" came to the author in 1860, when he was vacationing in the summer on the Isle of Wight. The writer compiled a list of characters, among whom was the nihilist Bazarov. This article is devoted to the characteristics of this character. You will find out whether Bazarov is really a nihilist, what influenced the development of his character and worldview, and what are the positive and negative traits of this hero.
Initial author's description of Bazarov
How did Turgenev portray his hero? The author initially presented this character as a nihilist, self-confident, not without cynicism and abilities. He lives small, despises the people, although he knows how to talk to them. Evgeniy does not recognize the “artistic element”. The nihilist Bazarov knows a lot, is energetic, and in essence is “a most barren subject.” Evgeny is proud and independent. Thus, at first this character was conceived as an angular and sharp figure, devoid of spiritual depth and "artistic element". Already in the process of working on the novel, Ivan Sergeevich became interested in the hero, learned to understand him, and developed sympathy for Bazarov. To some extent, he even began to justify the negative traits of his character.
Evgeny Bazarov as a representative of the generation of the 1860s
The nihilist Bazarov, despite all his spirit of denial and harshness, is a typical representative of the generation of the 60s of the 19th century, the mixed democratic intelligentsia. This is an independent person who does not want to bow to authority. The nihilist Bazarov is accustomed to subjecting everything to the judgment of reason. The hero provides a clear theoretical basis for his denial. He explains social ills and imperfections of people by the character of society. Evgeniy says that moral illnesses arise from bad upbringing. A big role in this is played by all sorts of trifles that people fill their heads with from an early age. This is exactly the position that the domestic democrat educators of the 1860s adhered to.
The revolutionary nature of Bazarov's worldview
Nevertheless, in the work, criticizing and explaining the world, he tries to radically change it. Partial improvements in life, minor corrections cannot satisfy him. The hero says that it is not worth much effort to “just chat” about the shortcomings of society. He decisively demands a change in the very foundations, the complete destruction of the existing system. Turgenev saw a manifestation of revolutionism. He wrote that if Eugene is considered a nihilist, this means that he is also a revolutionary. In those days in Russia, the spirit of denial of the entire old, outdated feudal world was closely connected with the national spirit. Evgeny Bazarov's nihilism became destructive and comprehensive over time. It is no coincidence that this hero, in a conversation with Pavel Petrovich, says that he is in vain in condemning his beliefs. After all, Bazarov’s nihilism is connected with the national spirit, and Kirsanov advocates precisely in its name.
Bazarov's denial
Turgenev, embodying the progressive traits of youth in the image of Yevgeny Bazarov, as Herzen noted, showed some injustice in relation to the experienced realistic view. Herzen believes that Ivan Sergeevich mixed it with “boastful” and “crude” materialism. Evgeny Bazarov says that he adheres to the negative direction in everything. He is “pleased to deny.” The author, emphasizing Eugene’s skeptical attitude towards poetry and art, shows a characteristic feature characteristic of a number of representatives of progressive democratic youth.
Ivan Sergeevich truthfully portrays the fact that Evgeny Bazarov, hating everything noble, extended his hatred to all poets who came from this environment. This attitude automatically extended to workers of other arts. This trait was also characteristic of many youth of that time. I.I. Mechnikov, for example, said that among the younger generation the opinion has spread that only positive knowledge can lead to progress, and art and other manifestations of spiritual life can only slow it down. That's why Bazarov is a nihilist. He believes only in science - physiology, physics, chemistry - and does not accept everything else.
Evgeny Bazarov - a hero of his time
Ivan Sergeevich Turgenev created his work even before the abolition of serfdom. At this time, revolutionary sentiments were growing among the people. The ideas of destruction and negation of the old order were brought to the fore. Old principles and authorities were losing their influence. Bazarov says that now it is most useful to deny, which is why nihilists deny. The author saw Yevgeny Bazarov as a hero of his time. After all, he is the embodiment of this denial. However, it must be said that Eugene’s nihilism is not absolute. He does not deny what has been proven by practice and experience. First of all, this applies to work, which Bazarov considers the calling of every person. The nihilist in the novel "Fathers and Sons" is convinced that chemistry is a useful science. He believes that the basis of every person’s worldview should be a materialistic understanding of the world.
Evgeniy’s attitude towards pseudo-democrats
Ivan Sergeevich does not show this hero as the leader of provincial nihilists, such as, for example, Evdokia Kukshina and the tax farmer Sitnikov. For Kukshina, even Yevgeny Bazarov is a backward woman and understands the emptiness and insignificance of such pseudo-democrats. Their environment is alien to him. Nevertheless, Evgeniy is also skeptical about popular forces. But it was on them that the revolutionary democrats of his time pinned their main hopes.
Negative aspects of Bazarov's nihilism
It can be noted that Bazarov’s nihilism, despite many positive aspects, also has negative ones. It contains the danger of discouragement. Moreover, nihilism can turn into superficial skepticism. It can even transform into cynicism. Ivan Sergeevich Turgenev, thus, astutely noted not only the positive aspects of Bazarov, but also the negative ones. He also showed that, under certain circumstances, it could develop to the extreme and lead to dissatisfaction with life and loneliness.
However, as noted by K.A. Timiryazev, an outstanding Russian democratic scientist, in the image of Bazarov, the author embodied only the traits of a type that was emerging at that time, which showed concentrated energy despite all the “minor shortcomings.” It was thanks to her that the Russian naturalist managed in a short time to take a place of honor both at home and abroad.
Now you know why Bazarov is called a nihilist. In depicting this character, Turgenev used the technique of so-called secret psychology. Ivan Sergeevich presented the nature of Evgeny, the spiritual evolution of his hero through the life trials that befell him.
“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to death - because it still stands on the threshold of the future...” Ivan Sergeevich winced in annoyance and put down the pen. It was getting dark. Outside the window, some people in long greatcoats were hurrying from work. It was one thousand eight hundred and sixty-two. The central figure of the story is Evgeny Bazarov, no longer just a person, but a type of person of his time, outlined sharply and clearly.
At the end of the novel the hero dies. The attitude of readers to this ending was quite contradictory. Herzen wrote that ending Bazarov’s life with typhus was the worst service that the author could provide him. In his opinion, science could save Bazarov, give him what he was looking for. But, on the other hand, “Fathers and Sons” is more than just a novel, it is a reflection of the era, and Bazarov is not just a hero, but “a man of time." Only time can correctly complete his portrait. We must wait until Bazarov himself becomes a “father,” when a new generation of “children” comes. Dying, Bazarov says: “Russia needs me... No, apparently he doesn’t need me ... "On the one hand, this is annoyance at himself, at the fact that he decided to seek the truth, change the world and... died, and on the other hand, this question that tormented him is one of the main problems of Bazarov’s existence. Who does Russia need? : he or a butcher, shoemaker, artisan? Is his nihilism necessary? Turgenev does not answer this question. Instead, we see a small rural cemetery in one of the corners of Russia, we see that Turgenev, as a master of words, not only found the most powerful and a worthy conclusion to the novel (this is for readers), but also with a simple human gesture (and this is for himself) he gave Bazarov’s rebellious soul the opportunity for reconciliation, peace, warmth, eternity, which he was deprived of. The tragedy of Bazarov lies in his very existence, in the fact that he does not find “his” truth in life.
The action of I. S. Turgenev’s novel “Fathers and Sons” takes place in one thousand eight hundred and fifty-nine. This is the time when a new class - commoners - entered the public arena. The intensity of political passions on the eve of the peasant reform of 1861 was very great.
Turgenev in his work sets himself the task of showing as objectively as possible the strengths and weaknesses of a representative of the new society. The main character of the novel is Bazarov, a young man who does not take anything for granted and denies any principles. "The hero expresses his views in disputes with Pavel Petrovich Kirsanov, his friend’s uncle. This is Bazarov’s main opponent, endowed with the same “fighting” temperament as Evgeny himself, and in disputes with Pavel Petrovich Bazarov appears as a rationalist and materialist. And although the author admits, that there is a valuable principle in materialism, he endows Bazarov with vulgar materialistic, that is, the most extreme views (which were characteristic of many representatives of the younger generation).
Further, throughout the novel, Turgenev reveals the weaknesses of this position. Bazarov does not see the differences between living beings (a person is “the same frog”) and tries to explain everything in a person from the point of view of physiology, without taking into account either psychology or mental abilities, ignoring the spiritual life of a person.
We can say that in general all truly human, from the author’s point of view, manifestations, the whole world of feelings, are perceived by Bazarov only as weakness.
Refuting the hero’s views, Turgenev resorts to his favorite technique - the “test of love.” Bazarov meets Odintsova, and it is from this moment that Evgenia takes a tragic turn. A conflict is emerging in Evgeniy’s soul. The feeling that he experiences for the first time collides with his worldview and beliefs, which have already become a part of him.
Gradually we see that Bazarov is not such an integral person as it seemed in the first part of the work. Before meeting Odintsova, he had no equal; no one could influence him or somehow convince him. And Bazarov himself knew and felt this. He lived, obeying only his will, his desires. But after meeting Odintsova, the hero questions each of his beliefs, and Turgenev never shows a person who could resist him.
The explanation with Odintsova is, as it were, the climax of the novel. After this scene, the hero’s slow path to a tragic denouement begins. In fact, Bazarov realizes the complete collapse of his worldview in a conversation with Arkady, when they are lying under a haystack on the estate of Bazarov’s parents.
The tragic contradiction in Bazarov's soul is resolved in the only way possible in tragedy - the death of the hero. There is some dark irony in the fact that a man who believes only in natural science and medicine dies from a cut during an autopsy. Before death, reconciliation occurs in Bazarov’s soul. He softens, opens up to love, becomes more tolerant towards his parents, asks his father to take care of his mother - to hide from her the full severity of his situation. He stops resisting his love for Odintsova.
So, the tragic contradiction is resolved by some kind of conciliatory chord. Turgenev refutes the views of his hero, contrasting his views not with some abstract theory, but with the laws by which man and nature exist. The hero believed that “first we need to clear the place,” and someone will build on this wasteland. The author reveals the absurdity of this belief in the words about “endless life.” Everything develops in society, as in nature, gradually, naturally. And the words about fathers and children in the mouth of Turgenev take on a new meaning. These concepts are not only opposed in life. No, in the life of mankind, communication goes precisely along the chain - from fathers to children.
"Fathers and Sons" by I. S.; Turgenev is a work that reflected all aspects of Russian life in the 50s of the 19th century, the characteristic features of previous decades. The backstory of any of the heroes of the novel, his portrait adds necessary details to the description of the era. However, not all characters make the same impression on the reader. The main character of the novel is Bazarov. It was this person who caused the most controversy in society and literary criticism of the 19th century. “Bazarov” is also the title of the article by D.I. Pisarev, who was the best at his time in understanding the complex character created by Turgenev. The definition given by the critic to the hero (“tragic face”) still remains one of the most used in articles about Bazarov. But the content of the tragedy is understood differently.
The first thing we pay attention to when reading a novel is the contrast between the hero and the surrounding society. Bazarov is a nihilist, that is, a person who bursts into the world of everyday life with views that are completely unusual for his interlocutors, for example for the Kirsanov brothers, with the desire to destroy the foundations of the existing world order. The positions of the commoner and the noble landowners are irreconcilable. Their difference is the source of constant disputes between Bazarov and Pavel Petrovich, the reason for Nikolai Petrovich’s unsuccessful attempts to understand young people.
But Evgeny is far from only the Kirsanovs. No less a gulf separates him from Kukshina and Sitnikov, those who shout about their commitment to nihilism. These are people who inevitably vulgarize any ideas preached for the sake of fashion. They are no match for Bazarov either in intelligence, or in spiritual depth, or in moral strength.
The “soft, liberal barich” Arkady did not become like-minded with Evgeniy either. Even at the beginning of the novel, speaking about nihilism, he more often evaluates Bazarov, and less often talks about his beliefs. The fate of young Kirsanov is the best confirmation that Arkady is just a copy of his father. He “made a nest”, abandoning the “bitter, tart, grassy life.”
Bazarov finds himself completely alone. At first glance, his participation in the social conflict of the era may serve as a sufficient reason to speak of him as a “tragic person”! But the hero himself does not feel unhappy. “There are not as few of us as you think,” he throws at Pavel Petrovich in an argument. In fact, Bazarov is pleased that he did not meet “a person who would not give up” in front of him. Evgeniy is self-confident. He understands the complexity of solving the problem (“to clear the place”), but he also considers his strength sufficient to “break down a lot of things.” He doesn't need understanding or support.
Bazarov's tragedy lies elsewhere. He is a really strong, extraordinary person. His philosophical views are not borrowed from a popular book. Refusing the experience of centuries, Eugene himself built his own theory, which explained the world and gave him the problem in life. He earned the right to unlimited faith in the universality of his concept. Among other things, Bazarov denied the existence of a “mysterious look,” love, “principles,” or moral standards, the human soul, the beauty of nature, and the value of art. But life did not fit into the framework proposed to it, and the depth of Bazarov’s personality lies in the fact that he could not help but notice this. Having met Odintsova, Bazarov saw a romantic in himself, noticed “something special” in the expression on Anna Sergeevna’s face, let a “dark, soft night” into the room, finally admitted that he loved her, and did not follow his slogan: “You like the lady ... - try to achieve some sense, but you can’t - well, don’t, turn away - the ground is not like a wedge.”
Eugene saw that nihilism could not explain real life. The hero was faced with the problem of revaluation of values, a difficult problem all the time, and especially when a person believed so much in what he now had to reject, when he had to give up the consciousness of being a “god”, to recognize the entire non-material side of life.
The tragedy of Bazarov’s personality lies in the fact that, being a nihilist and at the same time an extraordinary person, he inevitably had to come to the painful consciousness of the need to break much of what had been built over the years. A thoughtful supporter of any narrow theory sooner or later comes to disappointment in it. Such is the fate of Evgeniy.
This is just one of the hero's problems. Another one is no less tangible for him. Bazarov is ready to accomplish something extraordinary, but it turns out that there is no place for feat in the life around him. Realizing this, Evgeniy turns to practicing medicine on his father’s estate. But he himself did not intend to be a zemstvo doctor; Neither Arkady, nor Odintsova, nor his father saw him in this role. Bazarov languishes without a task that would completely captivate him and require him to use all his talents and knowledge. Having resigned himself to the everyday life, Eugene would not have shown himself, so Turgenev kills his hero. Bazarov wastes his strength only on dying with dignity, unable to find any other use for himself due to his inability to see the great in the small. But Turgenev did not set such a task for the character he created. The writer believed that Bazarov’s energy was unclaimed, since he was born too early.
A senseless death caused yet another tragedy. Shortly before blood poisoning, Bazarov began to listen to people, felt restless, and regretted that he did not have a family. This regret can be heard in his last conversation with Arkady.
The independent Bazarov could not have a wife and children, a “nest,” not only because there was no woman worthy of him, but also because he “was not created” for a family. He was not a husband, just as he was not a son. Love for parents
Bazarov as a tragic hero (based on the novel by I. S. Turgenev “Fathers and Sons”) The hero of the era of the 60s of the 19th century was a democrat commoner, a staunch opponent of the noble-serf system, a materialist, a person who went through the school of labor and deprivation, an independent thinker and independent. This is Evgeny Bazarov. The writer is very serious in assessing his hero. He presented the fate and character of Bazarov in truly dramatic tones. Turgenev understood that the fate of his hero could not have turned out differently. I consider Yevgeny Bazarov the most romantic of all literary heroes.
His personal tragedy lies within himself, since a person cannot exist while in constant conflict with himself. Throughout the novel, he argues with Pavel Petrovich Kirsanov on a variety of topics. But no matter what they talk about - whether about art or about Slavophilism - for some reason it seems to me that he is arguing not with Kirsanov, but with himself. It’s as if he is stubbornly trying to eradicate from himself some character traits that make his resemblance to the very aristocrats against whom he rebels.
There are, however, features that distinguish him favorably from the Kirsanov family and the like. Bazarov is a hard worker, and he considers work a necessary condition for gaining independence, which he values above all else. He does not recognize authorities and subjects everything to the strict judgment of his own thoughts. However, many of his statements sound wild, I mean his discussions about poetry, art, nature and love. He declares: “A decent chemist is twenty times more useful than any poet.” Raphael, from his point of view, “is not worth a penny.” He is not inclined to admire the beauty of nature: “Nature is not a temple, but a workshop, and man is a worker in it.” What does he say about love? “Still, I will say that a man who put his whole life on the card of female love and when this card was killed for him, became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male.” His other statement is equally surprising: “And what is this mysterious relationship between a man and a woman? We physiologists know what this relationship is.
Study the anatomy of the eye: where does that mysterious look come from, as you say? This is all romanticism, nonsense, rot, art.” He puts the words “romanticism” and “rotten” on the same level; for him they are like synonyms.
A man of the kindest soul, subtle and sensitive, at all costs wants to seem cynical and insensitive. Meanwhile, Fenechka’s six-month-old child easily walks into his arms, and Bazarov is not at all surprised: he says that all the children come to him because that he knows such a “thing”. It must be said that only exceptional people know such a “thing”, and Bazarov is one of them. He could have been a gentle husband and father, if fate had decided differently.
After all, what a loving son he was, although he tried to hide his love behind the same carelessness in his treatment, behind which he hid all his sincere feelings, for example, affection for Arkady. He could not cope with only one feeling.
It turned out to be no less an element than the nihilism that distorted his entire life. Love consumed him so much that there was no trace left of his cynicism and calm confidence of a materialist and physiologist. He no longer “dissects the eye,” although he tries to fight his passion - a clear refutation of all his artificial theories. Only a desperate person can confess his love to a woman like Anna Sergeevna Odintsova. romantic. Knowing the character of this lady, realizing that for her calmness is more important than strong feelings, he still opens his heart to her.
He receives a refusal, and this grief, as well as love, remains with him until his last breath. Before his death, he wants to say goodbye to the woman he loves, and his farewell words are filled with such tenderness and sadness that you can’t help but wonder if this is the person who tried with all his might to convince himself and those around him that love does not exist. He asks Odintsova to console her parents: “After all, people like them cannot be found in your big world during the day.” Turgenev describes the departure of the main character from life in truly tragic tones.
Bazarov is a rebellious, passionate and strong personality. Even on the edge of the grave, he does not stop for a minute the hard work of his mind and heart. Bazarov’s last words are filled with true drama: “Russia needs me. No, apparently I don’t. And who needs me?” The tragic fate of Bazarov can be explained not only by his personal qualities, but also by the fact that he is one of the first, one of those who pave the way for others.
Turgenev wrote that this is “a figure doomed to death, but despite his aspirations, she still stands on the threshold of the future.” And I want to believe that someday Russia will need all the people and they will not have to break their souls and minds in order to become useful to it.
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