Characteristics of Bazarov in the novel "Fathers and Sons" by Turgenev in quotes: a description of the personality and character of Evgeny Bazarov. How does the inner world of Bazarov appear in this fragment? based on the novel Fathers and Sons (Turgenev I. S.) Evgeny Bazarov's deeds

In the novel "Fathers and Sons" Turgenev's philosophical interests were especially expressive (we remind you that he was precisely a philosopher by university education).

Philosophical views of Turgenev in the work

A.I. Batyuto showed that in a number of places the works are interspersed, for example, reminiscences from the works of B. Pascal (for example, they are actively used in Bazarov's dying monologue). Turgenev agrees with some of Pascal's thoughts, while he actively disputes some. Love and death, life and death, the life vocation of a person - these are the global problems, the "eternal" themes of art that are raised by the author in his most famous novel. Directly or implicitly present in the text of "Fathers and Sons", they give them a special intonational and semantic turn and to a large extent determine the high artistic significance, the very literary and reader's "longevity" of this Turgenev's work. Having long lost its topicality, which so attracted contemporaries, "Fathers and Sons" retained, however, in addition to the named global "timeless" problems, they also retained the bright extravagance of the image of the protagonist, frapping here and shocking those around him in exactly the way that young people often try to behave at all times. who wants to look original and unusual.

The young doctor Bazarov rightly believes that, as a physician, he knows the causes of bodily diseases only “approximately”, but he thinks that he knows exactly the causes of social “diseases” and the methods of their treatment - although here he is by no means an expert.

Bazarov's behavior

Bazarov and Arkady Kirsanov alternately visit four places in the novel: Arkady's home, the provincial town, Odintsova's estate (thrice) and the house of Bazarov's parents (according to him, he himself, the son of a military doctor, did not grow up in it at all and generally lived there only “for two years in a row”, all the time “leading a wandering life” with his parents - that is, this deeply unhappy person does not even have a home). Bazarov usually carries himself everywhere with a rude bravado bordering on boorishness (only next to Anna Odintsova does he at times seem to “open a little”, become more natural). Obviously embarrassed in front of Arkady by the poverty and ignorance of his “old men”, he only enhances such features in their house (as if putting on a familiar “speech mask” deeper): for example, he evilly mocks his own late grandfather, a Suvorov officer, and repeatedly without visible causes "pulls up" the father, attacking his old-fashioned romantic phraseology (for example, the father jokingly suggests going "into the arms of Morpheus", and the son immediately corrects grumpily: "That is, it's time to sleep," etc.).

Bazarov and parents

It is interesting that it is with his parents that Bazarov begins to develop pessimistic philosophemes in front of Arkady, at first unusual in his mouth (“the part of the time that I will be able to live is so insignificant before eternity, where I was not and will not be”, etc.). Such reasoning is partly psychologically motivated by Eugene’s shocked and depressed state after an unsuccessful final explanation with Anna (he realized that she does not love him and will never love him), partly they gradually prepare a quick and outwardly unexpected tragic ending of the novel (this also includes a pit with an aspen on the edge , to which Evgeny suddenly points out to Arkady). Here the reader also gets acquainted with Bazarov’s simple naive-materialistic ideas that everything in the world supposedly depends “on sensations” and everything is determined by them (“there are no principles, but there are sensations”, “and honesty is a sensation”, etc.).

Duel Bazarov

After Bazarov's return to the Kirsanovs' estate, Maryino, the author guides his protagonist through a very characteristic situation. In the house of Nikolai Petrovich, the father of Arkady, lives a peasant woman, Fenechka, the mother of his child. Bazarov once allowed himself to kiss this young woman. The act is rude, inappropriate, and Nikolai Petrovich's elder brother Pavel challenged the offender of family honor to a noble duel (Pavel Petrovich himself is secretly almost in love with Fenechka, who reminds him of his youthful love, Princess R., involuntarily brightening up his half-existence with her presence somewhere nearby). There are many ironic, if not parodic, parallels in the duel scene with the duel between Onegin and Lensky from Eugene Onegin (like Onegin, Bazarov offers a simple valet as witnesses, like him, he is inexperienced in shooting, but inadvertently defeats the enemy, etc.). However, the finale of Turgenev’s duel has an almost farcical character: despising this “feudal” affair, everywhere pretending to be a commoner alien to aristocrats, Bazarov, nevertheless, unexpectedly accurately hits Pavel Petrovich in the thigh (a sight in the thigh was supposed when the duelist nobleman intended only easily injure the enemy). at the same time, Pavel Petrovich's bullet "zipped" at his temple - an obvious plot reminiscence of Pushkin's "Cock each other the trigger and aim at the thigh or at the temple." After this event, Eugene returns to his parents (having visited the estate of Anna Odintsova on the way), and at home he becomes infected with typhus, accidentally cutting his finger during a medical autopsy of a sick man, and dies in his prime.

Bazarov's death

Throughout the plot, various heroes have repeatedly expressed confidence that Bazarov has a great future, and he himself more than once expresses his intention to accomplish a lot in life. However, Eugene passes away - he leaves courageously, but without having time to accomplish anything. With the death of the hero, Turgenev confirms and illustrates his own favorite thoughts, about which A.I. Batyuto rightly wrote in the work already mentioned:

“So, Bazarov’s reflections on life and death, on eternity and human insignificance are close to the author’s thoughts, and through the author to Pascal’s thoughts” (and also, as has been said more than once in science, to the thoughts of Turgenev’s older contemporary A. Schopenhauer).

However, one should not think that the meaning of Turgenev's reflections is limited to hopeless pessimism in the spirit of the same Schopenhauer. Yes, Bazarov dies fruitlessly (before his death, having almost lost faith in the very possibility of those “great” achievements for which he was preparing himself), but Arkady Kirsanov, like his father Nikolai Petrovich, becomes an excellent family man (and, moreover, a good owner). He is married in a rural church with Katya (Odintsova's younger sister) on the same day that Nikolai Petrovich is married with Fenechka. It is no coincidence that Arkady will name his child after his father Kolya: it is the father and son of the Kirsanovs, their wives, and then their children who will live their lives the way fathers lived, as a simple person should; live by doing only that which is due to mortal man.

Bazarovsky type

However, the philosophical aspect of the novel, undoubtedly extremely important for the author, was clearly underestimated by modern criticism and was generally little noticed by the reader of Turgenev's time, who found problems of burning interest to himself in other aspects of the multifaceted plot of Fathers and Sons. Turgenev's book has become a desktop among Russian youth. Soon after the release of the novel, as if by magic, the Bazarov type also appeared in the real life of the country - the type of a nihilist commoner who tries to despise art, to deny its social significance ("A decent chemist is twenty times more useful than any poet," Bazarov used to say), carried away by natural sciences, perceiving through their prism and the laws of development of society (the so-called "social Darwinism"). In the country of Lomonosov, Lobachevsky and Mendeleev, these real young people, as a rule, in Bazarov's way "did not have a flattering idea" about domestic scientists, in Bazarov's way they considered the "Germans" to be their "teachers".

Nesterova I.A. Bazarov's character // Encyclopedia of the Nesterovs

Artistic characteristics of Bazarov and the incompatibility of the elements of his image.

In 1862, Turgenev's novel "Fathers and Sons" was published. The central place in the composition of the work is occupied by the image of Bazarov.

The general assessment of the image of Bazarov is a doctor by education, a nihilist by way of thinking. He is not attracted to poetry and painting. Bazarov believes that

a decent chemist is twenty times more useful than any poet

I cannot agree with this and believe that Bazarov himself thought so because he was young. In fact, he is a romantic at heart. Turgenev emphasized this in the death scene of the protagonist.

The appearance of the hero is quite unusual.

Bazarov is tall, dressed in a long robe with tassels, his face is long and thin with a broad forehead, flat top, pointed nose, large green eyes and drooping sandy whiskers, it was enlivened by a calm smile and expressed self-confidence and intelligence.

Evgeny Bazarov is very smart. Evidence of this is the passion for science. The protagonist knows how to analyze the problems of modern society.

Bazarov is a man of labor. This can be seen from his "red bare hand". During his stay in Maryino, Bazarov did not forget things: every morning he woke up before everyone else and got to work.

Evgeny Vasilyevich Bazarov is proud. He is in no hurry to bow before the aristocrats.

Nikolai Petrovich quickly turned around and, going up to a man in a long robe, who had just climbed out of the carriage, tightly squeezed his bare red hand, which he did not immediately give him.

The character of Bazarov perfectly combines intelligence, diligence, pride, resourcefulness, wit. He doesn't mince words. For any remark during a dispute with Pavel Petrovich, Bazarov has a witty retort. Bazarov is sure of the correctness of his thought.

Bazarov despises the conventions and rules of etiquette established by aristocratic society. However, he does not treat ordinary people with any arrogance. When Nikolai Petrovich became worried that Bazarov would scorn his love for Fenechka, Arkady said:

As for Bazarov, please don't worry. He is above all this.

Village peasants treat Bazarov well, as they consider him a simple and intelligent person, but they perceive him as a pea jester. He is a stranger to them, because he is not familiar with their way of life.

Bazarov was a great hunter of women and female beauty.

But the soul of Bazarov is looking for a real high feeling. Cynicism and belief in materialism prevent him from understanding people correctly. When he fell in love with Odintsova, it seemed that this love would be happy. But here Turgenev emphasized the incompatibility between romanticism and nihilism. During his declaration of love to Odintsova, it seemed that his romanticism broke out, but no, this did not happen. Bazarov turned and left with the firm intention of conquering his feelings. Later he tells Arkady:

I already noticed in the clinic who is angry at his pain - he will certainly overcome it.

Turgenev endowed his hero with nobility. Not everyone would help a person who hates him. During the duel, Bazarov wounded Pavel Petrovich, but immediately cast aside his hostility and gave him first aid.

The main tragedy of Bazarov is that he cannot find permanent like-minded people, but only temporary fellow travelers. It is as alien to the nobility as it is to the peasantry.

The fact that Bazarov is alien to the aristocracy, Turgenev says through Katya:

Well, then I'll tell you that he ... not that I don't like it, but I feel that he is a stranger to me, and I am a stranger to him, and you are a stranger to him.

After analyzing the personality traits of Bazarov, I came to the conclusion that the author created a true hero of his time. In Bazarov's soul there was a struggle between romanticism and materialism. He tried to solve the most difficult problems of life and consciousness. No matter how much Bazarov valued the past, all his thoughts and efforts were directed to the present. Bazarov was alone. I completely agree with Pisarev's words:

Bazarov's personality closes in on itself, because outside of it, around it, there are almost no elements related to it at all.

Turgenev allowed his hero to die, as he believed that Bazarov's ideas would not lead to anything good. Before his death, Bazarov says the key phrase:

Russia needs me... No, apparently not needed.

In this fragment, we see Bazarov from another side, previously hidden to us. The hero changes, which makes his friend, Arkady, also surprised.

In the above episode, we see how the principles and beliefs of Bazarov begin to crumble. Readers are presented not with a person who denies everyone and everything, but with a person who is able to feel, experience strong emotions, genuine pleasure from a conversation.

Under the influence of his feelings, although the hero tries, he cannot fully control himself: he is embarrassed, even blushes, which greatly surprises his friend, Arkady.

In a conversation with Odintsova, he shows obvious attention to her, trying to interest her, which he does not do either in a conversation with Kukshina and Sitnikov, or in communication with Arkady’s relatives, which is not at all like the hero’s usual demeanor: “He spoke, contrary to usual, rather a lot and obviously tried to occupy his interlocutor.

It is worth noting that despite the fact that Bazarov, noting the beauty of Anna Sergeevna, admires her rather with scientific interest, he still cannot deny her, which again contradicts his principles: “Such a rich body! ... At least now to the anatomical theater.

Thus, on the basis of the above episode, we can conclude that the inner world is much deeper than it seems at first glance. Bazarov is characterized, despite the denial, by a peculiar vision of beauty, genuine attention and interest. He is not as invulnerable as not only the reader initially sees him, but also as he wants to seem to himself. And he, like every person, is characterized by doubts and self-doubt, from which he cannot escape even being a nihilist.

Updated: 2017-05-02

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• Bazarov is a man of a new generation. Nihilism. The attitude of the author to Bazarov. Bazarov's theory. Image of Bazarov. External and internal conflict of Bazarov. Victory and defeat, the death of Bazarov and the role of the epilogue in the novel

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Answer to ticket number 16

The image of Bazarov in the novel by I.S. Turgenev “Fathers and Sons”, the attitude of the author to him.

1. Socio-political situation in the creation of the novel "Fathers and Sons".

2. I.S. Turgenev about his hero.

3. Bazarov - "new man": democracy; harsh life school; “I want to work”: passion for natural sciences; the humanism of the hero; self-esteem. Nihilism of Bazarov.

5. Love in the life of Bazarov and its influence on the views of the hero.

6. The death and worldview of Bazarov is the main meaning of the finale.

1. The novel “Fathers and Sons” was written by I.S. Turgenev during the revolutionary situation in Russia (1859-1862) and the abolition of serfdom. The writer revealed in the novel a turning point in the public consciousness of Russia, when noble liberalism was supplanted by revolutionary democratic thought. This division of society was reflected in the novel in the person of Bazarov, a raznochint-democrat (“children”) and the Kirsanov brothers, the best of the liberal nobles (“fathers”).

2. Turgenev himself ambivalently perceived the image he created. He wrote to A. A. Fet: “Did I want to scold Bazarov or exalt him? I don’t know this myself, for I don’t know whether I love him or hate him!” And in a note on “Fathers and Sons,” Turgenev writes: “Bazarov is my favorite brainchild ... This is the prettiest of all my figures.”

3. The personality of Bazarov, the spokesman for the ideas of revolutionary democracy, is of interest to Turgenev, because he is a hero of the time, who has absorbed the distinctive features of the era of social change. Turgenev singles out democracy in Bazarov, manifested in the noble habit of work, which is developed from childhood. On the one hand, the example of parents, on the other - a harsh school of life, studying at the university for copper pennies. This feature distinguishes him from the Kirsanovs and for Bazarov is the main criterion for evaluating a person. The Kirsanovs are the best of the nobles, but they do nothing, they do not know how to get down to business. Nikolai Petrovich plays the cello, reads Pushkin. Pavel Petrovich carefully monitors his appearance, changes clothes for breakfast, lunch, dinner. Arriving to his father, Bazarov says: "I want to work." And Turgenev constantly. emphasizes that the "fever of work" is characteristic of the hero's active nature. A feature of the generation of Democrats of the 60s is a passion for the natural sciences. After graduating from the Faculty of Medicine, Bazarov instead of rest “cuts frogs”, preparing himself for scientific activity. Bazarov does not confine himself only to those sciences that are directly related to medicine, but reveals extensive knowledge in botany, and in agricultural technology, and in geology. Realizing the limitations of his abilities due to the deplorable state of medicine in Russia, Bazarov still never refuses to help those in need, regardless of his employment: he treats both his son Fenichka and the peasants of the surrounding villages, helps his father. And even his death was due to infection at autopsy. Bazarov's humanism is manifested in his desire to benefit the people, Russia.

Bazarov is a man with a great sense of his own dignity, in no way inferior to aristocrats in this respect, and in some ways even surpasses them. In the story of the duel, Bazarov showed not only common sense and intelligence, but nobility and fearlessness, even the ability to make fun of himself at the moment of mortal danger. Even Pavel Petrovich appreciated his nobility: “You acted nobly ...” But there are things that Turgenev denies in his hero - this is Bazarov’s nihilism in relation to nature, music, literature, painting, love - everything that makes up the poetry of life that elevates a person. Everything that is devoid of a materialistic explanation, Bazarov denies.

He considers the entire political system of Russia to be rotten, therefore he denies “everything”: autocracy, serfdom, religion - and what is generated by the “ugly state of society”: popular poverty, lack of rights, darkness, ignorance, patriarchal antiquity, family. However, Bazarov does not put forward a positive program. When P.P. Kirsanov tells him: “... You are destroying everything ... Why, you need to build,” Bazarov replies: “This is no longer our business ... First we need to clear the place.”

4. When Bazarov stigmatizes exaggerated, abstract "principles", he wins. And the author shares his position. But when Bazarov enters the sphere of refined experiences, which he never accepted, not a trace remains of his confidence. The harder it is for Bazarov, the more tangible is the author's empathy for him.

5. In love for Odintsova, Bazarov’s ability to have a strong feeling and respect for a woman, her mind and character were expressed - after all, he shared his most cherished thoughts with Odintsova, filling his feeling with reasonable content.

Turgenev reflects the deep psychological experiences of the hero, their passionate tension, integrity and strength. In a love conflict, Bazarov looks like a big personality. Rejected, he wins a moral victory over a selfish woman, but his feelings for her and the gap are tragic for Bazarov. Love for Odintsova helped Bazarov reconsider his views, rethink his convictions. He has a new psychological attitude: isolation, introspection, attraction to problems previously alien to him. Bazarov speaks with pain about the brevity of human existence: “The narrow place that I occupy is so tiny in comparison with the main space ... and the part of the time that I manage to live is so insignificant before eternity ...” A complex reappraisal of values ​​begins. For the first time, Bazarov loses faith in his future, but does not give up his aspirations and opposes complacency. Boundless Rus' with its dark, dirty villages becomes the subject of his close attention. But he never acquires the ability to “talk about the affairs and needs” of the peasants and only helps the rural population in the medical practice of his father.

6. Turgenev showed the greatness of Bazarov during his illness, in the face of death. In the speech of the dying, pain from the consciousness of the near inevitable end. Each remark addressed to Odintsova is a clot of spiritual suffering: “Look, what an ugly sight: a half-crushed worm” and also bristles. And after all, I also thought: I’ll break off my grandfather a lot, I won’t die, where! There is a task, because I am a giant!.. Russia needs me... No, apparently, it is not needed. And who is needed? Knowing that he will die, he comforts his parents, shows sensitivity to his mother, hiding the danger that threatens him from her, makes a dying request to Odintsova to take care of the old people: “After all, people like them cannot be found in your big world during the day with fire. ..” The courage and steadfastness of his materialistic and atheistic views manifested itself in his refusal to confess when, yielding to the pleas of his parents, he agreed to take communion, but only in an unconscious state, when a person is not responsible for his actions. Pisarev noted that in the face of death, "Bazarov becomes better, more humane, which is proof of the integrity, completeness and natural wealth of nature." Having not had time to realize himself in life, Bazarov only in the face of death gets rid of his intolerance and for the first time truly feels that real life is much wider and more diverse than his ideas about it. This is the main point of the ending. Turgenev himself wrote about this:

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - still doomed to death - because it still stands on the eve of the future.”

Roman I.S. Turgenev's "Fathers and Sons" was published in 1862, and in it the author reflected the main conflict that split Russian society on the eve of the reform era. This is a conflict between raznochintsy-democrats, who advocate decisive reforms, and liberals, who prefer the path of gradual reforms. Turgenev himself belonged to the second camp, but he made his ideological opponent, a commoner by birth and a nihilist in his views, Yevgeny Bazarov, the hero of the novel.
Our first meeting with the hero takes place on May 20, 1859, when Arkady Kirsanov, returning after graduation to his native “noble nest”, brings with him his new friend, Bazarov. The figure of Bazarov immediately attracts our attention: he feels inner strength, calm confidence, independence in views, actions, judgments. He undoubtedly had a strong influence on Arkady. Turgenev draws the reader's attention to Bazarov's casual manners, to his clothes, a "hoodie with tassels", which the hero himself calls "clothes", to his naked red hand, which obviously did not know white gloves and was used to work. The author draws a portrait of the hero: we see his long and thin face with a wide forehead, "it was animated by a calm smile and expressed self-confidence and intelligence." Bazarov studied to be a doctor and the next year he was going to "keep on a doctor."
Bazarov's main subject of interest is the natural sciences. He possessed deep and wide knowledge in physics, chemistry, biology, and medicine. He, in the words of Arkady, "knows everything." But, as we will soon see, Bazarov's knowledge was somewhat one-sided. The hero recognized only those sciences that bring visible practical benefits. Therefore, Bazarov bowed to the natural sciences and did not recognize philosophy and art at all. He said: “And what is science - science in general? There are sciences, just as there are crafts, knowledge, but science does not exist at all.”
This narrow-mindedness is explained by Bazarov's convictions. He calls himself a "nihilist", that is, a person who "does not bow to any authority, who does not accept a single principle on faith, no matter how respected this principle may be." Bazarov believes only in what can be verified by experience, by experiment. He denies the usefulness of literature, painting, music, art in general for a person, because they do not bring, as it seems to him, practical benefits. “A decent chemist is twenty times more useful than any poet,” says Bazarov. “Rafael is not worth a penny.” The hero of Turgenev does not understand that art is as important for a person as practical sciences. No wonder there is a wise Russian proverb: "Man does not live by bread alone." These views of Bazarov, undoubtedly, impoverish him as a person, and we cannot accept them. In this regard, the image of Nikolai Petrovich Kirsanov seems to me more attractive, who knows how to subtly feel and understand beauty: he loves Pushkin, plays the cello with enthusiasm, admires the beauty of Russian nature. Bazarov, on the other hand, is indifferent to the beauty of nature, he looks at it purely practically. “Nature is not a temple, but a workshop, and man is a worker in it,” he says.
But in the views of Bazarov there are also positive aspects - this is the denial of outdated concepts and ideas. First of all, this refers to his views on the nobility and, in particular, on the aristocracy. Bazarov always emphasized his non-noble origin, although his mother comes from impoverished nobles and his parents even have their own small estate and eleven serfs. The hero is proud of his closeness to the people, he even introduces himself in a popular way - Evgeny Vasiliev. “My grandfather plowed the land,” says Bazarov. He was accustomed to work from childhood, studied with "copper money", supported himself, did not take a penny from his parents. Great diligence, hard work, perseverance, willpower, practicality - these are the qualities that Bazarov can be deservedly proud of and that attract us to Bazarov. He constantly works: puts experiments, "cuts frogs", is engaged in medical practice. These activities of Bazarov contrast sharply with the "sybarism" of Arkady and the aristocratic idleness of Pavel Petrovich, whom Bazarov sincerely despises and considers a worthless person.
But not all the actions of Eugene cause our sympathy. We cannot approve of his feelings for his parents, to whom he treats with a somewhat arrogant and condescending attitude and whom he unwittingly hurts. But they sincerely love him, are so proud of him! Bazarov's attitude towards Arkady can also not always be called comradely. Eugene sometimes seems rude, insensitive. But behind this outward rudeness lies a tender, vulnerable heart, capable of deep feelings. Although Bazarov denies the feeling of love, he himself is able to deeply and sincerely love. This proves his attitude towards Anna Sergeevna Odintsova. It is her dying Bazarov who asks to be called to him in order to see him again before his death.
The death of Bazarov, so truthfully depicted in the novel, makes a strong impression on us. Turgenev himself considered Bazarov a tragic person, because, according to the author, he had no future. DI. Pisarev wrote in the article “Bazarov”: “Unable to show us how Bazarov lives and acts, Turgenev showed us how he dies ... To die the way Bazarov died is the same as doing a great feat.” The hero dies without renouncing his views, his convictions, without betraying himself. And the tragic death of Bazarov is the final chord of his short but bright life.
The personality of Yevgeny Bazarov, his views, actions, of course, are ambiguous, we can accept or not accept them. But they certainly deserve our respect.