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Bazarov is a democrat-raznochinets? The court will decide! Raznochinets Evgeny Bazarov Sample text of the essay according to I. S.

Bazarov is a democrat-raznochinets. Oh is it!?
The court of a small county town N had only a few premises. In fact, the courtroom itself, the closet where the jury deliberated, an even smaller room where the accused and bailiffs were kept, and a long narrow hallway, where journalists and just idle onlookers languished in anticipation of the trials, I don’t understand why they came.
The wood-panelled walls, covered with cheap wallpaper, were saturated with the smell of tobacco and languid expectation. Pancake benches without backs, cleaned over many years with sweaty asses, gleamed friendly, hinting that winter had already ended and that the spring sun was warming the earth more and more.
However, today the people in the court were gloomy, concentrated, and more often looked at the floor than at those around them. Even all the indispensable conversations and discussions of the upcoming business were forgotten today. And even the local Sharks of Pera, brisk in language and pen, somehow shyly pressed against the walls, trying not to attract attention to themselves.
The huge grandfather clock standing at the entrance to the meeting room resoundedly struck twelve times, the people started up and reached into the hall. All also quietly silently taking seats in their places. Everyone's eyes were drawn to the empty space in the cage where the prisoners were kept. Everyone knew who was accused today and for what. At the tables in front of the judge's podium sat the prosecutor and the lawyer.
A plump, mustachioed bailiff, standing in front of the judge's podium, cleared his throat loudly, attracting attention to himself, waited a bit and began surprising with his high-pitched, slightly chirping dialect, immediately showing himself as a representative of a certain nation:
-Attention! The case of Yevgeny Vasilyevich Bazarov is being heard! - He waved his hand into the cage under the arms they brought in a tall, thin young man with long, unkempt shoulder-length tresses in a greasy, shabby frock coat of a medical student. Without looking at anyone, Bazarov threw himself on a chair that stood in the center of his cramped little world and stared at the floor in silence.
- The case from the side of the prosecution is supported by the chief prosecutor of the city N. Olga Petrovna D. - from the table that was standing closer to the high Gothic window, a short, slender build of middle years, cut in modern English fashion in a green prosecutor's coat, stood up from the table that stood closer to the high gothic window, briefly nodding her blond head sank back.
- The lawyer of the accused Nikolai K. - from the table that was standing closer to Bazarov's cage, a dapper-looking young man crawled out, with a haircut but not combed in the morning and it is not clear why he put on a shirt-front, without having a mantle on his shoulders, she looked very stupid. Turning to the people sitting behind, he waved his hand and separately nodded to the prosecutor with a dirty smile. The prosecutor looked at him as if he were an empty place - apparently their paths often crossed in court. Without waiting for an answer, the lawyer grinned even wider and sat back down.
- Honorable Judge Turenev Ivan Sergeevich! - the bailiff's voice rose to an unprecedented height, which caused the decanter of water standing on the prosecutor's table to crack. The judge entered - it was a tall, gray-bearded man who looked extremely solid and weighty in his judicial robes. When the judge appeared, everyone stood up, and only when he took his place and waved his hand did they sit down again.
- The word is given to the prosecutor! - Olga Petrovna left the table and turning to the jury began her speech;
- Dear Court! Gentlemen of the jury, jurors and guests! Today we have a very difficult task before our eyes. We need to figure out if the defendant is a Democrat. And not just a democrat, but also a commoner. Yes, it may be difficult for us, but nevertheless it is necessary to find out the truth. In my speech, I will give evidence of my position and you can be convinced of my correctness. Firstly, no one will question the fact that Bazarov is educated - he has a diploma. Secondly, he never once or twice expressed his liberal democratic convictions and was not shy about them. Moreover, being born in a noble environment, by his mother, he deliberately avoided the rights, privileges and duties attached to his nobility. The accused himself wrote a confession with his own hand and asked not to treat him with condescension, for he repented and fully admitted his guilt. I have all Your Honor!
- The word is given to the lawyer! - Slightly knocking the table down to the podium, Nikolai K. came out. And taking a theatrical pose, he froze. He was silent for several minutes, causing those present to begin to worry.
“Of course,” he began. “There is a confession written by the defendant. There are even witnesses to the prosecutor, but there is also a person in front of us. - He went up to the cage and pointed to the person sitting in it, continued - Look at him! - The eyes of those in the hall involuntarily stared at Bazarov, which made him even more haggard and hunched over. What do you see? You see a broken man tired of life. A man who was ready to do anything just to stop experiencing mental anguish that torments his big, vulnerable heart! What kind of wound you ask me?! I will answer! Eugene told me this secret during one of our meetings. When, under great excitement, he opened up to me. While still a schoolboy, Eugene had a chance to go to his future alma mater. He was then a pure open gentle boy! His heart was full of love for people! His father, a zemstvo doctor, taught him to sympathize with the pain of others and, of course, with a feat to take the path of a Doctor. The doctor and healer not only sewed bodies, but also our souls. Yes, he was young and inexperienced, but he was eager to help the man! And there, in the new big world of student fraternity, he met his first true love. - At these words, Bazarov threw up his head, but did not utter a word when he saw the lawyer's gesture. - Her name was Olga. She was a sweet, smart and lively girl, wise, but with a strong character. Her funny curls and little nose sunk into Bazarov's soul, which is why he lost sleep. He returned from his university already in love. But when autumn came and Eugene, full of love, came to the university, he found out that his beloved could not pay for her studies and did not enter. His grief is familiar to anyone who has ever experienced unrequited love. The strength of his love was comparable only to the strength of the pain that now struck him forever. He became rude, he became intolerable. Immersed in science and learning, he sought salvation in it and did not find it, and his every day was full of suffering. Having fallen under the influence of his fellow student Arkady Kirsanov, he was filled with the ideas of liberalism that were fashionable at that time, but being a conservative at heart, he could not come to terms with them. Yes, we should recognize that it is Arkady who is both a democrat and a commoner, but by no means Yevgeny. Eugene was a supporter of the monarchy, his views wavered only for a moment under the blows of Arkady's conviction, but still did not fall. In each of his actions, in each of his words, Eugene shouted about it!
So. Dear court, gentlemen of the jury, guests! You can once again look at our defendant and ask yourself - is it possible that he is a democrat and, moreover, a commoner? And the answer is of course no! He is a conservative, he is a supporter of the traditional way of life. And in the subsequent debate, if, of course, there will be, I will prove this with the witnesses headed by Pavel Petrovich Kirsanov.
A huge grandfather clock resounded and terribly beat thirteen blows in the courtroom, an agonizing oppressive silence hung ...

RESPONSE PLAN

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 the natural sciences; the humanism of the hero; self-esteem.

4. Nihilism of Bazarov.

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

7. 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 period of 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 disengagement 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 about "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 state 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. 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 entreaties 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 richness 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.”

ADDITIONAL QUESTIONS

1. Who and what influenced the spiritual evolution of Bazarov?

2. What do you accept in Bazarov and what can you argue with?

27. The conflict of two worldviews in the novel I. S. Turgeneva "Fathers and Sons".

RESPONSE PLAN

1. Socio-political situation in Russia in the 60s.

2. Conflict of irreconcilable worldviews:

a) P.P. Kirsanov is a typical representative of his era;

b) Yevgeny Bazarov - raznochinets democrat.

3. Duel P. P. Kirsanov and Bazarov; its significance for ideological opponents.

4. Spiritual loneliness of Bazarov.

5. Rethinking the life of Bazarov.

6. The tragedy and greatness of Bazarov's position.

1. The events that I. S. Turgenev describes in the novel take place in the middle of the 19th century. This is the time when Russia was going through another era of reforms. The idea contained in the title of the novel is revealed very widely, since it is not only about the originality of different generations, but also about the opposition of the nobility, descending from the historical stage, and the democratic intelligentsia, moving forward into the center of social and spiritual life of Russia, representing its future .

Philosophical reflections on the change of generations, on the eternal movement of life and the eternal struggle of the old and the new sounded more than once in the works of Russian writers before Turgenev (“Woe from Wit” by A. S. Griboyedov). Similar thoughts and feelings, along with disputes about the peasant community, about nihilism, about art, about aristocracy, about the Russian people, sound in Turgenev's novel. But there are also universal human problems that the author reflects on.

2. In the center of the novel is the figure of the commoner Bazarov, embodying the type of person of the newest generation. "Fathers" are represented by the Kirsanov brothers and Bazarov's parents. Consider the positions of the most prominent representatives of the irreconcilable worldviews of "fathers" and "children" - Pavel Petrovich Kirsanov and Evgeny Bazarov.

a) Pavel Petrovich was a typical representative of his era and the environment in which he spent his youth. He followed the "principles" everywhere and in everything, continuing to live even in the countryside the way he used to live. He is forty-five years old, he is always shaved, he walks in a strict English suit, the collar of his shirt is always white and starched. The face is correct and clean, but bilious. “The whole appearance of Pavel Petrovich, elegant and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after twenty years.” In appearance and convictions, Pavel Petrovich is "an aristocrat to the marrow of his bones." He kept his aristocratic habits unchanged: he changed clothes for breakfast, lunch and dinner, drank “his cocoa” at the appointed hour, argued the need for “principles” in disputes. What are his "principles"? Firstly, he adhered to the same views on the state structure as most of the nobles of his time, did not tolerate dissent. He liked to talk about Russian peasants, but when he met them, he sniffed a handkerchief soaked in cologne. Talking about Russia, about the "Russian idea", he used a huge number of foreign words. He speaks with pathos about the public good, about serving the fatherland, but he himself sits idly by, satisfied with a well-fed and calm life.

b) Pavel Petrovich is opposed to the protagonist of the novel - a raznochinets democrat Yevgeny Bazarov. If Pavel Petrovich says about himself: “We are people of the old century ... you can’t take a step without principles, you can’t breathe,” then Bazarov will say about himself: “We act by virtue of what we recognize as useful ... At the present time, denial is most useful , we deny. According to Bazarov, a nihilist, that is, “a person who does not bow to any authorities, who does not take a single principle on faith,” is how Arkady speaks of nihilism under the influence of Bazarov. Bazarov's political views boil down to sharp criticism of the current situation in the country. He soberly judges people as beings that combine the needs of the soul and the body, and explains moral differences with the “ugly state of society”: “Fix society, and there will be no disease.” In his judgments one can feel a bold thought, harmonious logic.

But everything that is devoid of a materialistic explanation, Bazarov denies. If Pavel Petrovich is a man of noble culture, then Bazarov is a man of knowledge. Eternal principles taken on faith, he opposes real knowledge and scientific experiment. He understands nature as a "workshop", in which a person is a "worker".

3. The antagonism of the views of Pavel Petrovich and Bazarov is revealed in heated disputes between them. But in disputes with Bazarov, Pavel Petrovich cannot defeat the nihilist, cannot shake his moral foundations, and then he resorts to the last means of resolving the conflict - to a duel. Bazarov accepts the challenge of the crazy "aristocrat". They shoot, and Yevgeny wounds Kirsanov. The duel could not resolve their contradictions. The author emphasizes the absurdity of Pavel Petrovich's behavior, because it is ridiculous and pointless to believe that it is possible to force the younger generation to think in the same way as the generation of "fathers". They part, but each of them remains in his opinion. True, Pavel Petrovich was forced to recognize the nobility of Bazarov, who helped him after being wounded: “You acted nobly ...” An absurd duel helps Bazarov see a person in the enemy, his advantages and disadvantages. He discovers that the gulf between him and Pavel Petrovich is not so insurmountable. Yes, and Pavel Petrovich saw and appreciated the nobility of Bazarov.

4. Nikolai Kirsanov is also unable to resist Bazarov, as he is a "loose" and "weak" nature. It is quite enough for him in the life of Pushkin, the cello and Fenichka.

The old Bazarovs also do not understand their son. Life moves forward rapidly, and a chasm inevitably appears between them and their son. Vasily Ivanovich, Bazarov's father, is aware of this and bows his head to the youth: “Of course, you, gentlemen, know better; where can we keep up with you? You've come to replace us."

5. Bazarov in the novel stands apart, as a person, he is immeasurably more significant than other heroes. Even Odintsova, outstanding, smart, inquisitive, beautiful, but selfish, could not compare with him. She only helped him discover in himself those "hidden places" that Bazarov did not suspect. He not only suffers from love failure, but also thinks in a new way, has a new attitude to life. And it is no longer a denial of the past, but an acutely painful comprehension of a life that is being cut short, of goals taken away, emanates from the farewell words of the dying Bazarov.

6. With his novel “Fathers and Sons”, Turgenev discovered for all epochs the important process of replacing obsolete forms of consciousness with new ones, the difficulty of their germination, the courage and self-denial of advanced people, the tragedy of their position and the greatness of their spirit.

ADDITIONAL QUESTIONS

1. What is the meaning of the title of the novel?

2. How did the clash of temporal and eternal ideals manifest itself in the novel?

3. What is the role of dialogue in the novel?

28. The main motives of the lyrics N. A. Nekrasova . Reading by heart one of the poems.

RESPONSE PLAN

1. A word about a poet.

2. The theme of the poet and poetry.

3. The theme of the people and the moral ideal.

4. Landscape lyrics.

5. Love lyrics.

6. Conclusion.

1. “I dedicated the lyre to my people,” N. A. Nekrasov rightfully said about himself. The poet lived in an era of great transformations, when social and political reforms demanded reforms in art, including poetry. Such a profound reform was, in essence, the work of N. A. Nekrasov, who turned poetry to face the people, filling it with a people's worldview and a living folk language. He is one of the first who paved the way for democratic poetry.

The theme of the poet and poetry

The theme of the purpose of the poet and poetry is traditional for Russian literature. It can be traced in the works of Derzhavin, Kuchelbeker, Ryleev, Pushkin, Lermontov. N. A. Nekrasov is no exception. If Kuchelbecker, Pushkin, the poet - "prophet" is above the crowd in the struggle for the ideals of freedom, goodness and justice, goes to people "to burn hearts with the verb", then Lermontov's prophet is already different: he runs away from people into the desert. Seeing their vices, he does not find the strength to fight. To the poet, Nekrasov is a prophet who was "sent to the people by the god of anger and sorrow", his path is thorny, because the poet goes this path with a punishing lyre in his hands, indignant and denouncing. The poet understands that it is impossible to win universal love in this way:

He is haunted by blasphemy:

He catches the sounds of approval

Not in the sweet murmur of praise,

And in the wild cries of anger.

…………………………………..

From all sides they curse him,

And, only seeing his corpse,

How much he did, they will understand

And how he loved - hating!

But his position is the position of a poet-citizen, the son of his Motherland:

The son cannot look calmly

On the mother's mountain.

The poet's poetic manifesto was the poem "The Poet and the Citizen" (1856), written in the form of a dialogue between the poet and the reader - a citizen, a democrat in his convictions, who makes demands on the poet on behalf of the best people in the country - these requirements correspond to the spirit of the times, the spirit of life itself:

It's time to get up! You know yourself

What time has come;

In whom the sense of duty has not cooled down,

Who has an incorruptible heart,

In whom is talent, strength,

accuracy,

Tom shouldn't sleep now...

………………………………………..

Wake up: smash the vices boldly ...

………………………………………..

No time to play chess

It's not time to sing songs!

………………………………………..

Be a citizen! Serve the art

Live for the good of your neighbor

Subordinating your genius to feeling

All-embracing love...

Before us is not a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. The citizen convinces the poet that his role in the life of society is significant and requires from him not only artistic talent, but also civic convictions:

You may not be a poet

But you have to be a citizen.

What is a citizen?

Fatherland worthy son.

………………………………………..

He, like his own, wears on his body

All the ulcers of their homeland.

And the poetry of the 19th century includes the Muse of Nekrasov - the sister of the suffering, tormented, oppressed people:

Yesterday at six o'clock

I went to Sennaya;

They beat a woman with a whip,

A young peasant woman

Not a sound from her chest

Only the whip whistled, playing ...

And I said to the Muse: “Look!

Your own sister!"

Muse - "a sad companion of the sad poor", "crying, grieving", "humbly asking" for the fate of the people, went along with the poet through his whole life:

Through the dark abysses of Violence and Evil,

Labor and Hunger she led me -

Taught me to feel my suffering

And blessed the world to announce them ...

At the end of his life, the poet, referring to his Muse, says:

O Muse! our song is sung.

Come close the poet's eyes

To the eternal sleep of nothingness,

Sister of the people - and mine!

The poet is sure that his Muse will not allow the “living, blood union” between him “and honest hearts” to “break for a long time” even after his death. In the poem "Elegy", the poet reflects on the most pressing issues of our time, about youth, about his own fate and the fate of the people. "The people are liberated, but are the people happy?" It is this disturbing thought that permeates the entire poem. But the people about whom he thinks, the poet writes, are silent:

Nature listens to me

But the one about whom I sing in the evening silence

To whom are the dreams of the poet dedicated -

Alas! he does not heed - and does not give an answer ...

The poem "Elegy" is a poetic testament of a citizen poet who has fulfilled his duty:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm ...

Raznochinets-democrat in the "noble nest"

Approximate text of the essay according to I. S. Turgenev

The name of Turgenev's novel indicates the conflict of generations, due to the change of which society develops. At the same time, the older generation most often adheres to conservative views, and young people are usually committed to the new ideas of the time, which are just entering life. At the time when Turgenev's novel was being created, there was a stratification in the ranks of the intelligentsia in society about the further prospects for the development of the country. A new type of people has appeared - democrats, nihilists, who deny the entire existing way of Russian life. These people, as a rule, adhered to materialistic views, were fond of the natural sciences, in which they saw a clear and precise explanation of all life phenomena.

I. S. Turgenev had a wonderful gift to see and feel what was happening in Russian public life. The writer expressed his understanding of the brewing social conflict between liberal aristocrats and revolutionary democrats in the novel Fathers and Sons. The carriers of this conflict were the nihilist Bazarov and the nobleman Pavel Petrovich Kirsanov. We see here a struggle of ideas, a clash of strong, strong-willed characters who, however, did not realize their potential. The life of Bazarov ends tragically, the fate of Pavel Petrovich takes a dramatic turn. Why do these heroes come to such a sad end? To answer this question, you need to trace the history of their relationship, listen to their endless disputes, understand the essence of their characters.

Let us return to the beginning of the novel, depicting the arrival of the commoner Yevgeny Bazarov with his friend and follower Arkady to the Kirsanov family estate. Here the hero meets his future ideological opponent, Uncle Arkady. A detailed description of the appearance of these characters shows how opposite they are to each other. The whole "graceful and thoroughbred" appearance of Pavel Petrovich, his chiseled, classical features, snow-white starched collars, "beautiful hand with long pink nails" reveal in him a rich, pampered aristocratic nobleman. In the portrait of Bazarov, the author insistently emphasizes such details as a "broad forehead", "large bulges of a spacious skull", which indicate that we are facing a man of mental labor, a representative of a raznochinny, labor intelligentsia. The appearance of the characters, their clothes and demeanor immediately cause a strong mutual dislike, which determines their future relationship. This means that at the first acquaintance with them, their opposite is striking, especially since the author persistently opposes the "plebeian manners" of Bazarov to the refined aristocracy of Pavel Petrovich. But it is impossible not to notice the similarities between them. Both Bazarov and Kirsanov are two smart, strong and strong-willed individuals who do not succumb to other people's influence, but, on the contrary, know how to subjugate others. Pavel Petrovich clearly suppresses his meek, good-natured brother. And Arkady is in a strong dependence on his friend, perceiving all his statements as an indisputable truth. Pavel Petrovich is proud and proud, calling similar features of his opponent "satanic pride." What is it that separates these heroes? Of course, their completely different views, different attitudes towards the people around them, the people, the nobility, science, art, love, family, the entire state structure of modern Russian life. These disagreements are clearly manifested in their disputes, which affect many social, economic, philosophical, cultural issues that worried Russian society in the early 60s of the XIX century. But the special nature of Kirsanov's disputes with Bazarov, their predilection for abstract, general subjects, such as, for example, authorities and principles, attracts attention. If Pavel Petrovich claims the inviolability of authorities, then Bazarov does not recognize this, believing that any truth should be subjected to doubt. In the views of Pavel Petrovich, his conservatism and reverence for the old authorities are manifested. Class lordly arrogance does not allow him to perceive new social phenomena, treat them with understanding. He accepts everything new with hostility, firmly defending the established principles of life. If Kirsanov had treated the younger generation wisely in a paternal way, forgiving him maximalism and arrogance, then perhaps he could understand and appreciate Bazarov. But the raznochinets hero does not treat the older generation in a filial way, with proud contempt denying all the cultural and moral values of the past. He laughs when he sees Nikolai Petrovich playing the cello, he gets annoyed when Arkady, in his opinion, "speaks beautifully." He does not accept the delicate politeness of Nikolai Petrovich and the lordly arrogance of his brother.

In the quiet "noble nest" of the Kirsanovs, a cult of admiration for beauty, art, love, and nature reigns. Beautiful refined phrases are devoid of concrete significant cases. And the nihilist Bazarov longs for a real gigantic activity that would destroy the whole way of life he hates. But the hero does not set any creative goals for himself, having gone too far in his denial. Let us recall his paradoxical aphorisms: “A decent chemist is twenty times more useful than any poet”, “Rafael is not worth a penny”, etc. In general, there is a feeling that Bazarov utters these phrases in polemical enthusiasm to shock his opponent. In addition, Eugene too sharply attacks poetry, music, love. This makes us doubt the sincerity of his denial. One gets the impression that Bazarov is trying to convince himself, first of all, that art, feelings are nonsense, "romanticism." He seems to be trying to kill in himself both the ability to love and the ability to feel beauty and poetry. The ending of the novel convinces us of the correctness of this assumption, which tells about the untimely accidental death of this powerful, remarkable nature. It is here that we see the real Bazarov, in whom there is no longer annoying self-confidence and swagger, sharpness and categorical judgments. He is simple and human in the face of impending death. The hero no longer hides his "romanticism", touchingly saying goodbye to his beloved woman, caring for orphaned old parents, thinking about mysterious Russia, rethinking his attitude to life. In this last test, Bazarov acquires integrity and fortitude, which help him adequately meet death.

The enormous forces of this powerful, extraordinary nature were left without use. The narrowness and limitations of Bazarov's nihilism did not give him the opportunity to accomplish something significant that left a mark on history. The Kirsanovs also live in their own closed world of love, poetry, music, beauty, fenced off from the surrounding reality with its social problems and goals. Their life cannot be called completed.

Thus, we see in Turgenev's novel a tragic discord between generations that refuse to understand each other, to combine common efforts for joint noble activity in the name of a lofty goal.

Bibliography

For the preparation of this work, materials from the site http://www.kostyor.ru/

The novel "Fathers and Sons", according to the definition of Nobel laureate Vladimir Nabokov, is "not only Turgenev's best novel, but also one of the most brilliant works of the 19th century." The central place here is occupied by long disputes between the young commoner nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. These heroes differ from each other in everything: age, social status, beliefs, appearance.
Let's start with appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels”; the face was “long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sandy whiskers, it was enlivened by a calm smile and expressed self-confidence and intelligence”; “dark blond hair, long and thick, did not hide the large bulges of a spacious skull”; "naked red" hand. This is a portrait of a man of undoubted intelligence, but of plebeian origin and emphasizing his disregard for social norms.
And here is a portrait of Bazarov's main opponent: “a man of average height, dressed in a dark English suit, a fashionable low necktie and patent leather ankle boots”; “He looked to be forty-five years old; his short-cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance ... graceful and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties”; Turgenev also notes "a beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal." We see a portrait of an outstanding person, but in relation to our own appearance - the exact opposite of Bazarov.
Senior Kirsanov is a person who cares extremely about his appearance, and wants to look as young as possible for his age. So befits a secular lion, an old heartthrob. Bazarov, on the contrary, does not care at all about appearance. In the portrait of Pavel Petrovich, the writer highlights the correct features and strict order, the refinement of the costume and the striving for ideal, unearthly matters. This hero will defend order in the dispute against Bazarov's transformative pathos. And everything in his appearance testifies to the adherence to the norm. Even Pavel Petrovich's height is average, so to speak, normal, while Bazarov's high growth symbolizes his superiority over others. And Yevgeny's facial features are emphatically wrong, his hair is unkempt, instead of an expensive English suit he has some kind of strange hoodie, his hand is red, rough, while Kirsanov's is beautiful, "with long pink nails." But the wide forehead and convex skull of Bazarov speak of intelligence and self-confidence. And Pavel Petrovich's face is bilious, but the increased attention to the toilet betrays in him a carefully concealed lack of self-confidence. We can say that this is Pushkin's Onegin, twenty years older, living in another era, in which there will soon be no place for this type of people.
The difference in appearance is the difference in worldview, which manifests itself in the constant, on many occasions, disputes between the heroes. So, Bazarov claims that "nature is not a temple, but a workshop, and man is a worker in it." Evgeny is deeply convinced that the achievements of modern natural science will in the future make it possible to solve all the problems of social life. Beautiful - art, poetry - he denies as unnecessary, in love he sees only a physiological beginning. Bazarov “applies to everything from a critical point of view”, “does not accept a single principle on faith, no matter how respect this principle is surrounded by”. Pavel Petrovich proclaims that “aristocratism is a principle, and without principles only immoral or empty people can live in our time” (even the word “principle” the hero pronounces “in the French manner”). However, the impression of this inspired ode to principles is noticeably weakened by the fact that Bazarov's opponent puts in the first place the “principle” of aristocracy closest to him. Pavel Petrovich, brought up in an atmosphere of a comfortable estate existence and accustomed to St. Petersburg secular society, it is no coincidence that he puts poetry, music, and love in the first place. He never engaged in any practical activity in his life, except for a short and easy service in the guards regiment, he was never interested in the natural sciences and knew little about them. Bazarov, the son of a poor military doctor, accustomed from childhood to work, and not to idleness, graduated from the university, fond of the natural sciences, had very little to do with poetry or music in his short life, maybe he didn’t really read Pushkin. Hence the harsh and unfair judgment of Yevgeny Vasilyevich about the great Russian poet: “... he must have served in military service ... on every page of him: to fight, to fight! for the honor of Russia!”
Bazarov does not have such experience in love as Pavel Petrovich, and therefore he is inclined to be too simplistic about this feeling. The elder Kirsanov had already experienced love suffering, it was an unsuccessful romance with Princess R. that prompted him to settle in the village with his brother for many years, and the death of his beloved aggravated his state of mind even more. Bazarov's love torment - an equally unsuccessful romance with Anna Sergeevna Odintsova - is yet to come. That is why, at the beginning of the novel, he so confidently reduces love to certain physiological relationships, and calls the spiritual in love romantic nonsense. Bazarov is a mundane realist, and Pavel Petrovich is a romantic, oriented towards the cultural values of romanticism of the first third of the 19th century, towards the cult of beauty. And, of course, he is jarred by Bazarov's statements about the fact that "a decent chemist is twenty times more useful than any poet" or that "Rafael is not worth a penny." Here Turgenev certainly does not agree with Bazarov's point of view. However, he does not give victory on this point of the dispute to Pavel Petrovich either. The trouble is that the refined Angloman aristocrat does not possess not only the abilities of Raphael, but also no creative abilities at all. His discourses about art and poetry, as well as about society, are empty and trivial, often comical. Pavel Petrovich cannot possibly be a worthy opponent to Bazarov. And when they part, Turgenev sums up: Kirsanov "was a dead man." Obviously, disputes with the nihilist somehow justified the meaning of his existence, if you think about it. Now Pavel Petrovich is doomed to a stagnant existence. This is how we see him abroad at the end of the novel.
The victory of the raznochintsy Bazarov over the aristocrat Kirsanov fully corresponded to Turgenev's plan. In 1862, in one of his letters about “Fathers and Sons,” the writer emphasized that “my whole story is directed against the nobility as an advanced class ... An aesthetic feeling forced me to take precisely good representatives of the nobility in order to prove my theme all the more correctly: if cream is bad, what is milk?.. if the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness - if he does not fall in love, I repeat, - I am to blame and did not achieve my goal. But I didn't want to "get pissed off," in his words, although through this I would probably immediately have young people on my side. I didn't want to buy popularity with that kind of concession. It's better to lose the battle... than to win it by ruse. I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death - because it still stands on the eve of the future ... ”Turgenev himself was a representative of the same generation, as Pavel Petrovich, but of the heroes of his novel, he felt the greatest sympathy for the young nihilist Bazarov, seeing in him the life-giving forces that could change Russia. And in a dispute with Kirsanov, Bazarov, according to the writer, and indeed any thoughtful reader, is right in his main positions: in the need to question established dogmas, to work tirelessly for the good of society, to be critical of the surrounding reality.

Let's start with appearance. Here is a portrait of Bazarov: “tall in a long robe with tassels”; the face was “long and thin, with a broad forehead, flat top, pointed nose, large greenish eyes and drooping sandy whiskers, it was enlivened by a calm smile and expressed self-confidence and intelligence”; “dark blond hair, long and thick, did not hide the large bulges of a spacious skull”; "naked red" hand. This is a portrait of a man of undoubted intelligence, but of plebeian origin and emphasizing his disregard for social norms.

And here is a portrait of Bazarov's main opponent: “a man of average height, dressed in a dark English suit, a fashionable low necktie and patent leather ankle boots”; “He looked to be forty-five years old; his short-cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance ... graceful and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties ”; Turgenev also notes "a beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal." We see a portrait of an outstanding person, but in relation to our own appearance - the exact opposite of Bazarov.

Senior Kirsanov is a person who cares extremely about his appearance, and wants to look as young as possible for his age. So befits a secular lion, an old heartthrob. Bazarov, on the contrary, does not care at all about appearance. In the portrait of Pavel Petrovich, the writer highlights the correct features and strict order, the refinement of the costume and the striving for ideal, unearthly matters. This hero will defend order in the dispute against Bazarov's transformative pathos. And everything in his appearance testifies to the adherence to the norm. Even Pavel Petrovich's height is average, so to speak, normal, while Bazarov's high growth symbolizes his superiority over others. And Yevgeny's facial features are emphatically wrong, his hair is unkempt, instead of an expensive English suit he has some kind of strange hoodie, his hand is red, rough, while Kirsanov's is beautiful, "with long pink nails." But the wide forehead and convex skull of Bazarov speak of intelligence and self-confidence. And Pavel Petrovich's face is bilious, but the increased attention to the toilet betrays in him a carefully concealed lack of self-confidence. We can say that this is Pushkin's Onegin, twenty years older, living in another era, in which there will soon be no place for this type of people.

The difference in appearance is the difference in worldview, which manifests itself in the constant, on many occasions, disputes between the heroes. So, Bazarov claims that "nature is not a temple, but a workshop, and man is a worker in it." Evgeny is deeply convinced that the achievements of modern natural science will in the future make it possible to solve all the problems of social life. Beautiful - art, poetry - he denies as unnecessary, in love he sees only a physiological beginning. Bazarov “applies to everything from a critical point of view”, “does not accept a single principle on faith, no matter how respect this principle is surrounded by”. Pavel Petrovich proclaims that “aristocratism is a principle, and without principles only immoral or empty people can live in our time” (even the word “principle” the hero pronounces “in the French manner”). However, the impression of this inspired ode to principles is noticeably weakened by the fact that Bazarov's opponent puts in the first place the “principle” of aristocracy closest to him. Pavel Petrovich, brought up in an atmosphere of a comfortable estate existence and accustomed to St. Petersburg secular society, it is no coincidence that he puts poetry, music, and love in the first place. He never engaged in any practical activity in his life, except for a short and easy service in the guards regiment, he was never interested in the natural sciences and knew little about them. Bazarov, the son of a poor military doctor, accustomed from childhood to work, and not to idleness, graduated from the university, fond of the natural sciences, had very little to do with poetry or music in his short life, maybe he didn’t really read Pushkin. Hence the harsh and unfair judgment of Yevgeny Vasilyevich about the great Russian poet: “... he must have served in military service ... on every page of him: to fight, to fight! for the honor of Russia!”

Bazarov does not have such experience in love as Pavel Petrovich, and therefore he is inclined to be too simplistic about this feeling. The elder Kirsanov had already experienced love suffering, it was an unsuccessful romance with Princess R. that prompted him to settle in the village with his brother for many years, and the death of his beloved aggravated his state of mind even more. Bazarov's love torment - an equally unsuccessful romance with Anna Sergeevna Odintsova - is yet to come. That is why, at the beginning of the novel, he so confidently reduces love to certain physiological relationships, and calls the spiritual in love romantic nonsense. Bazarov is a mundane realist, and Pavel Petrovich is a romantic, oriented towards the cultural values of romanticism of the first third of the 19th century, towards the cult of beauty. And, of course, he is jarred by Bazarov's statements about the fact that "a decent chemist is twenty times more useful than any poet" or that "Rafael is not worth a penny." Here Turgenev certainly does not agree with Bazarov's point of view. However, he does not give victory on this point of the dispute to Pavel Petrovich either. The trouble is that the refined Angloman aristocrat does not possess not only the abilities of Raphael, but also no creative abilities at all. His discourses about art and poetry, as well as about society, are empty and trivial, often comical. Pavel Petrovich cannot possibly be a worthy opponent to Bazarov. And when they part, Turgenev sums up: Kirsanov "was a dead man." Obviously, disputes with the nihilist somehow justified the meaning of his existence, if you think about it. Now Pavel Petrovich is doomed to a stagnant existence. This is how we see him abroad at the end of the novel.

The victory of the raznochintsy Bazarov over the aristocrat Kirsanov fully corresponded to Turgenev's plan. In 1862, in one of his letters about “Fathers and Sons,” the writer emphasized that “my whole story is directed against the nobility as an advanced class ... An aesthetic feeling made me take precisely good representatives of the nobility in order to prove my theme all the more correctly: if the cream is bad What about milk?.. if the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness - if he does not fall in love, I repeat, - I am to blame and did not achieve my goal. But I didn't want to "get pissed off," in his words, although through this I would probably immediately have young people on my side. I didn't want to buy popularity with that kind of concession. It's better to lose the battle... than to win it by ruse. I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death - because it still stands on the eve of the future ... ”Turgenev himself was a representative of the same generation, as Pavel Petrovich, but of the heroes of his novel, he felt the greatest sympathy for the young nihilist Bazarov, seeing in him the life-giving forces that could change Russia. And in a dispute with Kirsanov, Bazarov, according to the writer, and indeed any thoughtful reader, is right in his main positions: in the need to question established dogmas, to work tirelessly for the good of society, to be critical of the surrounding reality.

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