What happened to the heroes after the death of Bazarov. The symbolic meaning of Bazarov's death

The novel "Fathers and Sons" by I.S. Turgenev ends with the death of the main character. Understanding the reasons why the author ends his work in this way is possible through an analysis of the episode "Bazarov's death". "Fathers and Sons" is a novel in which the death of the protagonist is certainly not accidental. Perhaps such an ending speaks of the failure and convictions of this character. So, let's try to figure it out.

Who is Bazarov?

An analysis of the episode of Bazarov's death is impossible without understanding what this character is like. Thanks to what is told about Eugene in the novel, we imagine a smart, self-confident, cynical young man who denies generally accepted moral principles and ideals. He considers love to be "physiology", in his opinion, a person should not depend on anyone.

Subsequently, however, Turgenev reveals to us in his hero such qualities as sensitivity, kindness, and the ability for deep feelings.

Bazarov is a nihilist, that is, a person who denies all generally accepted values, including he does not share the enthusiasm of amateurs. In his opinion, only that which brings practical benefit is significant. Everything beautiful he considers meaningless. Eugene designates his main "work for the benefit of society." His task is "to live for the great goal of renewing the world."

Attitude towards others

An analysis of the episode of Bazarov's death in Turgenev's novel "Fathers and Sons" cannot be carried out without understanding how the relationship of the protagonist with the people who made up his social circle was built. It should be noted that Bazarov treated others with contempt, he put others lower than himself. This was manifested, for example, in the things he said to Arkady about himself and his relatives. Attachment, sympathy, tenderness - all these feelings Eugene considers unacceptable.

Lyubov Bazarova

An analysis of the episode of Bazarov's death requires mentioning that, with all his disdain for lofty feelings, he, ironically, falls in love. His love is unusually deep, as evidenced by the explanation with Anna Sergeevna Odintsova. Realizing that he is capable of such a feeling, Bazarov ceases to treat him as physiology. He begins to consider the existence of love possible. Such a change of views could not pass without a trace for Eugene, who lived with the ideas of nihilism. His former life is destroyed.

Bazarov's explanation of love is not just words, it is a recognition of his own defeat. Eugene's nihilistic theories are shattered.

Turgenev considers it inappropriate to end the novel with a change in the views of the protagonist, but decides to end the work with his death.

Bazarov's death - an accident?

So, in the finale of the novel, the main event is the death of Bazarov. Analysis of the episode requires remembering the reason why, according to the text of the work, the main character dies.

His life becomes impossible due to an unfortunate accident - a small cut that Bazarov received during the autopsy of the body of a peasant who died of typhus. Ironically, he, a doctor doing a useful job, cannot do anything to save his life. The realization that he was going to die gave the protagonist time to evaluate his accomplishments. Bazarov, aware of the inevitability of his death, is calm and strong, although, of course, being a young and energetic person, he regrets that there is so little left to live.

Bazarov's attitude to death and to himself

An analysis of the episode of Bazarov's death is impossible without a deeper understanding of how the hero relates to the proximity of his end and death in general.

Not a single person can calmly realize the approaching end of his life. Eugene, being a man, certainly strong and self-confident, is no exception. He regrets that he did not fulfill his main task. He understands the power of death and speaks of the approaching last minutes with bitter irony: "Yes, go ahead, try to deny death. It denies you, and that's it!"

So, the death of Bazarov is approaching. Analysis of the episode, which is one of the key ones in the novel, needs to understand how the character of the protagonist has changed. Eugene becomes kinder and more sentimental. He wants to meet his beloved, once again to say about his feelings. Bazarov is softer than before, treats his parents, now understanding their importance.

An analysis of the episode of Bazarov's death shows how lonely the protagonist of the work is. He does not have a close person to whom he could convey his beliefs, therefore, his views have no future.

Understanding True Values

In the face of death they change. Understanding what is really important in life comes.

An analysis of the episode “The Death of Bazarov” based on the novel by I. S. Turgenev requires an understanding of what values ​​the protagonist now considers to be true.

The most important thing for him now is his parents, their love for him, as well as his feelings for Odintsova. He wants to say goodbye to her, and Anna, not afraid to get infected, comes to Evgeny. With her, Bazarov shares his innermost thoughts. He comes to the understanding that Russia does not need it at all, it needs those who do their usual work every day.

It is harder for Bazarov to come to terms with his death than for any other person, because he is an atheist and does not believe in life after death.

Turgenev ends his novel with the death of Bazarov. The principles by which the hero lived are destroyed. Stronger, new ideals did not appear in Bazarov. Turgenev notes that it was precisely the deep commitment to nihilism that killed the protagonist, which forced him to abandon the universal values ​​that allow him to live in this world.

Plan of work on the analysis of an episode of a literary work. 1. Set the boundaries of the episode 2. Determine the main content of the episode and which characters are involved in it. 3. Track the change of moods, feelings of the characters, the motivation for their actions. 4. Consider the compositional features of the episode, its plot. 5. Follow the logic of the development of the author's thought. 6. Note the artistic means that create its emotional atmosphere in this episode. 7. Show the role of the episode in the work, how it is linked to other episodes, the role in revealing the author's intention 8. How the general ideological intent of the entire work is reflected in this episode.

Something to remember!!! 1. The main danger is the replacement of analysis by retelling 2. The analysis of an episode is an essay-reasoning that requires special attention to the text of the work. 3. The analysis of the episode involves attention to details, understanding their role, meaning for the image as a whole. 4. At the end of the analysis, there must be a synthesis, i.e. summary of the above.

The ideological concept of the novel "Fathers and Sons" In April 1862, Turgenev wrote to the poet K.K. Sluchevsky: "I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death." And indeed, the writer carried out this plan - endowed Bazarov at the end of the novel with gloomy pessimism, skeptical attitudes towards peasants, and even forced him to say the phrase: “Russia needs me ... No, apparently not needed.” At the end of the novel, Bazarov’s “sinful, rebellious heart” is contrasted by Turgenev with “great calmness” of “indifferent nature”, “eternal reconciliation and endless life”.

We are writing an essay ... Set the boundaries of the episode The episode of the death of Yevgeny Bazarov is included in the penultimate chapter of the novel. It is important for revealing the image of the protagonist, since a completely different Bazarov appears before us, humane, weak, exalted, loving. The scene of Bazarov's death is the finale of the novel. Bazarov gradually remains alone (the Kirsanovs are the first to fall away, then Odintsova, Fenechka, Arkady. Bazarov goes to the village to his parents in order to be closer to the people. But the scene of a conversation with a peasant separates him from the people (he realizes that for a peasant he is like a jester pea )

To determine the main content of the episode and which characters participate in it Bazarov, being in the village with his parents, begins to help his father in medical practice, he examines the patients, makes them dressings. Once Yevgeny was not at home for three days, he went to the neighboring village, from where they brought a typhoid peasant, for an autopsy, explaining his absence by the fact that he had not practiced this for a long time. At the autopsy, Bazarov cut himself. On the same day, Bazarov becomes ill, both (both father and son) understand that it is typhus, that Yevgeny's days are numbered. Bazarov asks his father to go to Odintsova and invite her to him. Odintsova arrives on the very eve of Yevgeny's death with a German doctor, who states the inevitable death of Bazarov. Bazarov confesses his love for Odintsova and dies.

Track the change of moods, feelings of the characters, the motivation of their actions. To die the way Bazarov died is the same as accomplishing a feat: at the moment of death, and the expectation of death, willpower and courage were manifested in him. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, and most importantly, remained true to himself and his convictions. He gets closer before death. The mood of Yevgeny's parents, of course, changes: at first, the father was frightened when he learned about his son's cut, but then he was seized by a feeling of fear, making sure that Yevgeny was definitely sick with typhus, "... and collapsed on his knees in front of the images." Turgenev, depicting the behavior of all the participants in the episode, is trying to prove to us that a person is such a creature that is afraid to die and lose his life at any moment. But at the same time, he contrasts the behavior of the protagonist: we understand that Bazarov is ready for death, he is not afraid of it, he accepts it as something inevitable, due, only regretting a little “And I also thought: I’ll break off a lot of things, I won’t die, where ! There is a task, because I am a giant! And now the whole task of the giant is how to die decently.

Consider the compositional features of the episode, the plot. Bazarov's disease is made so strong that sometimes it seems that you yourself can get infected from it. And the end of Bazarov's life? This is so skillfully done ... You are seized by a feeling of pity, an internal contradiction: but why did he die, why did Bazarov not succeed, because in essence he is a positive hero, capable of much in life? All this is possible thanks to the skillful construction (composition) of the episode.

Composition of the episode: Exposure: bringing a patient with typhus, unconscious, quick death in a cart on the way home. The plot: Yevgeny was not at home for three days, he opened a man who had died of typhus. Development of the action: the father finds out that Yevgeny cut his finger, Bazarov becomes ill, crisis, a short improvement in his condition, the arrival of a doctor, typhus, the arrival of Odintsova Climax: a farewell meeting with Odintsova, Bazarov's death The denouement: Bazarov's funeral, moaning parents.

Follow the logic of the development of the author's thought. Bazarov dies from an accidental cut on his finger, but his death, from the author's point of view, is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish". That's why he "killed" the hero. Two reasons: loneliness and internal conflict of the hero. The author shows how Bazarov becomes lonely. New people, who is Bazarov, look lonely compared to the bulk of a huge society. Bazarov is a representative of an early revolutionary raznochinets, he is one of the first in this matter, and it is always difficult for the first. Bazarov does not have a positive program: he only denies everything. "What's next?". This is the main reason for the death of Bazarov in the novel. The author failed to predict the future. The second reason is the internal conflict of the hero. Turgenev believes that Bazarov died because he became a romantic. Turgenev wins bazaars as long as he is a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.

Note the artistic means that create its emotional atmosphere in this episode. To clearly reflect the train of thought of the protagonist, Turgenev uses connecting constructions in the text: "... even if something like ... infection", "well, what can I tell you ... I loved you!" The use of a question-answer form in Bazarov’s speech (“Who is crying? Mother! Poor!”) is one of the ways to show the hero’s thoughts about the meaning of life, death, and human destiny. I would especially like to note Turgenev's metaphors, the author preferred uncomplicated verbal metaphors, which naturally arise from direct observations of life (“I won’t wag my tail”, “the worm is half-crushed, but still bristles”). They give Bazarov’s speech a certain ease, simplicity, help win over the hero, believe that he is not afraid of the approach of death, it is she (death) who should be afraid of him.

Conclusion Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, exalted, able to love ... will doom itself not the only possible, fatal, tragic - Bazarov - fate. However, Turgenev completed his novel with an enlightened picture of a quiet rural cemetery, where Bazarov’s “passionate, sinful, rebellious heart” rested and where “two already decrepit old men often come from a nearby village - a husband and wife - Bazarov’s parents”

Figurative and expressive means of language Anaphora - places accents. Epiphora - places accents. Antithesis - opposition. Oxymoron - based on unique, unexpected semantic associations; shows the complexity of the phenomenon, its multidimensionality, attracts the reader's attention, enhances the expressiveness of the image. Gradation - specifies the concept in the direction of increasing or decreasing Ellipse - shows the emotional state of the speaker (excitement), accelerates the pace. Silence - makes you think about what the author does not say. Rhetorical appeal - emphasizes the emotionality of the author's speech, directed to the subject of the artistic image. Rhetorical question - emphasizes the emotionality of the author's speech (the question does not require an answer) Polyunion - gives solemnity to the speech, slows down the pace. Non-union - makes speech more dynamic, excited. Lexical repetition - highlights the most significant keyword of the text.

Topic: Analysis of the episode "The Death of Bazarov" (based on the novel by I.S. Turgenev "Fathers and Sons") Objectives: Educational 1. To identify the specifics of the episode as an object of analysis on the material of chapter 27 of the novel by I.S. Turgenev "Fathers and Sons". 2. Prepare students for an essay on the analysis of the episode: designation of the place of the episode in terms of volumetric-pragmatic opinion and ideological-compositional unity. 3. To form the ability to characterize the content side of the episode, using the so-called. retelling - analysis. 4. To form the skill of analyzing artistic means (dialogue, double epithet), through which the inner world of the hero is revealed with the greatest completeness. Developing: 1. Development of creative and literary abilities, the ability to think logically, compare and draw conclusions. Educational: Equipment: the text of the novel "Fathers and Sons", an analysis-episode scheme, a reference table of vocabulary and syntactic constructions for students' creative work, a reference table "Subject and non-plot elements", a support for a resume, an illustration made independently by a student of this class, computer presentation. The content of the lesson corresponds to the 10th grade program and calendar-thematic planning, which provides 2 hours for learning to analyze the episode as a final work that allows children to answer the question: why does Turgenev end the novel with the main character's death scene. Burning with unbelief and withered, Today he endures the unbearable... And he recognizes his death, And he longs for faith - but he does not ask for it... He will not say forever, with prayer and tears, As he does not mourn in front of the closed door: “Let me in! - I believe, my God! Come to the aid of my unbelief!” Fedor Tyutchev. "Our age" The course of the lesson. 1. Statement of the problem situation: In the system of lessons for this novel, this work is given two hours, which should be final. Both lessons will be built around 2 judgments of literary critics: 1) “To die the way Bazarov died is the same as doing a great feat” (D.I. Pisarev, 1862). 2) "Bazarov is defeated not by persons, not by the accidents of life, but by the very idea of ​​\u200b\u200bthis life." (N.N. Stakhov. I.S. Turgenev “Fathers and Sons”, 1862) I think you noticed that both articles were written immediately after the publication of the novel, almost simultaneously; drew attention to the fact that both literary critics gave a diametrically opposite assessment of the final scene of the novel by I.S. Turgenev "Fathers and Sons". The question inevitably arises: is Bazarov's death a strength or a weakness of the hero? It is inevitable that today, trying to answer the question: why does Turgenev end the novel with the scene of the death of the protagonist, we return again and again to the history of Turgenev’s creative concept and to the ambiguity in assessing the image of Bazarov - both by Turgenev’s contemporaries and by researchers of Turgenev’s work in the 20-21st century. Therefore, at home for the next lesson, I propose to consider the point of view of F.M. Dostoevsky, assessment by D.I. Pisarev and the universal significance of the novel in the book by G. Friedlander, in the article “On the Disputes about“ Fathers and Sons ”, to consider how the idea of ​​life triumphed in the death of Bazarov. Our joint task today: 1. Reveal the significance of the episode for understanding the general idea of ​​the novel; 2. Find out and motivate the connections of this part of the work with others (in terms of thematic and compositional unity); 3. Prepare for an essay on the analysis of the episode (using the memo that we will work on today), firstly, because the analysis of the episode is one of the genres of school essays that is being actively introduced into school practice, and secondly, it allows you to show your creative and literary abilities, the ability to think and analyze. 4. This topic seems to me quite difficult, so one of our tasks is to identify the specifics of the episode as an object of analysis. 2. Actualization of knowledge, skills a) Definition of the concept of "episode". In the "Dictionary of Lexical Difficulties of the Russian Language", published in 1994, the word "episode" is defined as "a scene, passage, fragment of any work of art, which has relative independence and completeness." - It is necessary to find out how you understand what "relative independence and completeness" is? b) Implementation of individual homework (approximate report of the student). Based on the lexical meaning of the word "relative": 1. relating to something, associated with something, 2. established in comparison, in comparison, evaluated depending on any conditions, phenomena; the relative independence of the episode means that the episode can be considered “somewhat apart from the work”, but at the same time, being an integral part of the whole text, it is woven into the artistic fabric of the work and is connected by invisible, countless threads with both the previous and subsequent content. c) It is necessary to recall the role of the episode in the text. We are always trying to understand why any fragment is needed in the text, what is its role in the work. Read what functions of the episode can be in the text (working with the support prepared by the student). The role of the episode in the text 1.Characterological. The episode reveals the character of the hero, his worldview. 2.Psychological. The episode reveals the state of mind of the character. 3. Rotary. The episode shows a new twist in the relationship of the characters. 4. Estimated. The author gives a description of a character or event. d) An episode as part of a plot. The episode is part of a plot element. Read a set of plot elements. Plot elements Exposition Tie-in Development of the action Climax Fall of the action Denouement Epilogue An episode can be an extra-plot element. Read this set. Extra-plot elements 1. Description: landscape, portrait, interior 2. Author's digressions. 3. Insert episodes. Teacher: Now the thesis was made about the multiple invisible connections of the episode, which in another way can be called subtext information. 3. Starting work on the analysis of the episode, it is necessary: ​​1. to designate its place in terms of volumetric-pragmatic division of the work. What does it mean? (in which chapter, part, in what action is this episode). 2. to identify the connections of the episode with the main idea and issues. 3. to analyze the means of artistic expression that the author uses to reveal the inner world of the hero. (group work on the episode analysis plan, presentation of the group research product). 1st group. Characteristics of the place of the episode "Death of Bazarov". The final episode "Death of Bazarov" is located in the last 27 chapter of the novel, it shows us not just what the author wanted to say, but what affected them; this, that was dictated not by his sympathies, as we know from the history of the emergence and development of the creative concept, but as a result of the generalizing power of the artist. This episode allows us to trace the final refraction of Bazarov's views. At the end of the novel, the author forced the hero to say the phrase “Russia needs me ... no, apparently not needed. A shoemaker is needed, a tailor is needed. And who is needed? Such a pessimistic ending shows that Turgenev did not believe in the prospects of Bazarov’s activities (as we know, for personal reasons), but he does not ironic over the defeated, because Turgenev’s hero reveals only certain features inherent in the revolutionary democrats of that time: the denial of old principles, criticism the nobility and aristocracy of the liberal nobles, the desire to "calculate the future." Bazarov is only the forerunner of future revolutionaries. Therefore, the author does not sneer at him, but, on the contrary, pities him, sympathizes with him, arouses in the reader sympathy for the tragic fate of his hero. 2nd group. The connections of the episode with the main idea and problems of the novel .. The author showed us Bazarov in his relationship with all the main characters: Kirsanov, Odintsova, his parents, partly with the people. Everywhere, the objective superiority of Bazarov over the main characters became clear. Nevertheless, from the 22nd chapter, the 2nd cycle begins to repeat in plot and composition: the hero's wanderings. Bazarov first gets to the Kirsanovs, then to Odintsova and again to his parents. Why do you think the author did this? The author shows that Bazarov makes the 2nd circle of wanderings already changed. This is a new Bazarov, who knows doubts, painfully trying to save his theory. Neither in Maryino nor in Nikolskoye do we recognize the former Bazarov; his brilliant disputes fade, unhappy love burns out. And only in the finale, in the mighty in its poetic power, the scene of Bazarov's death will flare up with a bright flame, his disturbing, but life-loving soul, to fade away forever. Teacher: So, a very interesting question arises: is Bazarov's death an accident or his own fatal decision? 2) if it is his own decision - then what is his weakness or strength? To find out what this episode gives us new in understanding Bazarov's views on life, art, nature, we will try to explore what means the author uses to reveal the inner world of the hero. (See point 3 in terms of episode analysis) 3rd group. Various researchers of Turgenev’s work (P.G. Pustovoit, I.A. Fogelson) note that the author prefers dialogue to characterize literary heroes, because in a socio-psychological novel (namely, Turgenev himself defined the genre of the novel in this way), dialogue makes it possible to develop relevant political problems, covering them from various points of view; finally, the character of the characters is revealed in the dialogue. For example, let's turn to the text: once a peasant from a neighboring village brought Vasily Ivanovich his brother, who was sick with typhus. Three days later, Bazarov asked his father if he had a hellish stone: he needed to cauterize the “wound”. In this word “wound”, in Bazarov’s most outwardly carefree tone, his concern for his father, his “newly acquired” humanity, which the hero theoretically rejected earlier, is clearly manifested. “It would have to be done earlier, but now the hell stone is really not needed,” says Bazarov. And the reader has a question: why didn’t he bother to cauterize the wound before? Isn't he a doctor himself? Let's continue the analysis of the dialogue. Vasily Ivanovich, who gave him his word not to worry, could not stand it at dinner on the third day. "Why don't you eat?<… > You must have caught a cold?" - What becomes quite obvious to the reader from this dialogue? (That infection has become inevitable and death is inevitable) The next day he says to his father (expressive reading of the fragment) “Old .... My business is rubbish. I am infected, and in a few days you will bury me.” - Pay attention to the double epithet "hoarse and slow voice", which characterizes the subject from different angles: the patient's condition - "it's rubbish"; at the same time, the emphasized brevity of Bazarov's phrases catches the eye of the reader. Indicative in this regard is the continuation of the dialogue with the father, “All the signs of infection, you yourself know” ... (Students should again pay attention to the double epithet: ominous red spots that confirm what they just said; to the characteristics of the verbs of speech: Bazarov repeated sternly and clearly) - Reading the dialogue further, we note the author's deliberate use of Latin terms. It is no coincidence that in a conversation with his father, Bazarov resorts to Latin terms, why? (Pyemia (Greek) is blood poisoning, for Bazarov medical terms are a necessary accessory of the scientific language, the language of the naturalist - physician. This is a characteristic feature of Bazarov's language). Teacher. At the same time, Bazarov is trying to convince his father that everything that happened to him is an accident: “I did not expect that I would die so soon, this is an accident, to tell the truth, an unpleasant one.” “Accident,” Bazarov said to his father, and almost all those who wrote about Bazarov repeated: an accident, Bazarov died by accident. - One of the researchers of Turgenev's work writes: “Bazarov died as a result of an accident. This accident was deliberately invented by the author, who realized the impossibility of describing the power of a public figure at that time. (M.V. Avdeev. Our society in the heroes and heroines of literature). what is your opinion? Answers of the students: - I think that Bazarov is only trying to console his father, especially since he says next: “Now both of you and your mother should take advantage of the fact that religion is strong in you.” And then Bazarov, an atheist, is invariably true to himself: "Here is your chance to put him on trial." - Yes, that's right. But Turgenev now invariably endows his hero with an unusual warmth, sensitivity, care for the reader, removing the now inappropriate buffoonery. Teacher. Indicative in this regard is the dialogue with the doctor (reading “strength, strength ...) It is not by chance that Bazarov speaks of denial? Why? - What do we see behind this "amazing borscht" of the mother, about which Bazarov, who was previously not prone to sentimentality, speaks? (Bazarov has become more humane and kinder) Teacher. It is well known that the material of the highest human values, according to Turgenev, was the attitude towards a woman, the ability to true love. In chapter 25 of the novel, the meeting between Bazarov and Odintsova sums up their relationship. (implementation of individual homework - reading by heart the fragment “Anna Sergeevna wished to see Bazarov .... She was still embarrassed with Bazarov, although she assured herself that everything was forgotten”) True, the author does not really believe the words of her heroes, which is why in chapter 27 he writes: “The fever of work jumped off him and was replaced by dreary boredom and muffled anxiety. A strange fatigue was noticed in all his movements, even his gait, swift and firm, changed. And yet they meet again, albeit under tragic circumstances for Bazarov. No matter how brave Bazarov was before, no matter how he blamed himself for “rawing up at the sight of this woman, he - hiding his embarrassment under the guise of irony and swagger, he - expressing his contempt for everything romantic, in the end, being captured by the denied by him earlier than love, on the eve of death, he asks his father to inform Odintsov: “Evgeny, they say, Bazarov ordered to bow and ordered to say that he was dying.” No matter how much Bazarov tries to resist his feelings, nevertheless, his words on the eve of death, addressed to Odintsova, are the last romantic chord of the hero. And we see that Turgenev fulfilled his plan: he forced the hero to retreat before love, before the romance he despised. 4. Analysis of the farewell dialogue between Bazarov and Odintsova (frontal conversation): 1) The role of artistic means in the dialogue between Bazarov and Odintsova. - At the moment of the last meeting, the use of Turgenev's favorite double epithets is striking: “Bazarov’s inflamed and dead face”, “his cloudy eyes directed at her”, all this caused her “cold and languishing fright” - these epithets show us the originality of psychological analysis in the novel: they allow the author to show not only the external, but also the internal side of the depicted object. Bazarov turns to Odintsova: “Look, what an ugly sight: a half-crushed worm, and still bristling ...” - reading). The last words of Bazarov are especially significant: “Russia needs me ... no, I don’t need it ...” Why does such a strange imagery appear: a shoemaker, a tailor, a butcher. Why do Russia need them and not Bazarovs? We draw attention to the last words of Bazarov: “Now it’s darkness ...” (it can hardly be doubted that Turgenev wanted to remind readers of the last words of Hamlet, who almost became a suicide: “Further silence ...”. Hamlet was held back by uncertainty after death, fear of a country from which no one returned ... Prayer helped to keep Hamlet from the devilish temptation, while Bazarov is an atheist: he is well aware that "burdock will grow." "On endless life" is the last phrase of the novel. "Endless Life" reconciles the arguing. Now it makes no sense to oppose fathers and children, liberals and democrats. And the union "and", acting at a certain stage as an adversative, again becomes connecting. A person should not be exceptional, should not rebel against life. Not to reconcile, but to reconcile with everything that is sent to you, to live, honestly doing your job - this is the destiny of a person. According to Turgenev, nature, for which both man and the smallest insect are equal, does not forgive pride, attempts to deny the laws of life. - Tell me, how many times in this passage is the name used? What is it connected with? Answer. The name is used only once. And then only words indicating family relations: husband, wife, parents, son. And this suggests that the family is the main thing in a person’s life, and in it is parental love, filial love, love between a man and a woman. 5. Summing up. Modeling semantic bridges between the main characters. (implementation of individual homework - see attachments to the lesson). Our lesson was devoted to the study of the episode of Bazarov's death, I propose to generalize our observations on the text in the form of reconstruction (modeling) of the so-called semantic bridges between the main characters, which will help motivate the connections of this episode with others. 1) The line of Bazarov and Arkady from the point of view of thematic unity. The easiest way is for Bazarov to part with Arkady, although if we follow the changes in the plan according to the traditional text and the manuscript, the parting scene would have a stronger look (Bazarov had to turn away slightly and, not without some excitement, said “there is, Arkady, there is ...”) - all this testified to Bazarov’s excitement, but then Turgenev removed it, leaving “he said calmly”, the author will repeatedly emphasize the lack of acting and Bazarov’s self-control, although for these “there are other words” - much is worth: those deep internal changes that Bazarov is afraid to admit himself, and which the scene of his death showed us with such obviousness. 2) Line Bazarov and parents. The tragic loneliness of Bazarov is manifested not only in the break with Arkady, but also in his communication with his parents, because. he cannot close his eyes to the difference of views and goals of life. But it is hardly possible to speak of Bazarov's insensitivity. Bazarov's restrained exclamation, even despite Bazarov's outward callousness in relations with his parents, it sounds like an exclamation of filial love. And to the direct question of the dull Arkady, without bluntness and buffoonery, he answers: “I love you, Arkady.” . Bazarov, who tried to break the link between generations, was punished. Maybe Turgenev does not bring this idea so clearly and distinctly, but it is here. A truly cultured intelligent person in Russia is distinguished by "love for his native ashes, love for his father's coffins." Bazarov, on the other hand, is bored with these "ashes", "coffins". 3) Line Bazarov - Odintsova. If we trace the evolution of the protagonist according to the canonical text and the manuscript, then as a result of the comparison, we can see that Turgenev attached great importance to the relationship between Bazarov and Odintsova. The purpose of this "plowing" was the desire of the artist to show the collision of "temporary" ideals with the "eternal laws" of inexorable life, the incomprehensible and "eternal" secrets of love and hate. The words (“And caress your mother ...”) addressed to Odintsova were not in the manuscript, they were added by Turgenev when preparing the novel for a separate edition, when the writer sought to “plow the hero” (in Turgenev’s own words). Bazarov in love and death is much higher than Odintsova: he surpasses her in the depth and seriousness of his feelings. At one time, he confesses to Odintsova: "I love you stupidly and madly ...". In response, she hears: “You didn’t understand me,” she whispered with hasty fright. What was Odintsova afraid of? Perhaps disturbed calmness: "This is not a joke, calmness is still the best thing in the world." When she comes to say goodbye to Bazarov, she catches herself thinking: "she wouldn't feel the same if she loved him." All this makes you think: what was on the part of Odintsova - farewell, love, pity? 4) The line of Bazarov and nature, Bazarov and art, Bazarov is a man. Turgenev endowed Bazarov with a peculiar attitude towards art, nature, and man. (“Nature is nothing…”). Of course, in many respects he is mistaken. But in chapter 21, he says to Arkady: “The narrow place that I occupy under a haystack is so tiny in comparison with the rest of the space where I am not and where they don’t care about me, and the part of the time that I manage to live is so insignificant before eternity, where I was not and will not be... In this atom, in a mathematical point, the blood circulates, the brain works. He wants something too ... What a disgrace! What nonsense!” It is impossible not to catch in this scene a particle of that mournful pathos with which Turgenev performs the epilogue of the novel, conveying this feeling with the help of a detailed metaphor: a sinful rebellious heart before eternity, before “the great calm of indifferent nature”). Reading the last chapters of the novel, as if we feel the doom of the hero, the inevitability of his death. Turgenev could not show how the hero lives and acts, and showed how he dies. The whole pathos of the novel lies in this. Bazarov is a strong and bright personality, but he is not an ideal. It cannot be a guiding star for youth, because one cannot live without beauty, art, love... The teacher's word. Concluding our lesson - research, I see a lot of questions facing you. But this is the great value of the classic works of Russian literature - eternal questions, answers to which everyone finds himself. Concluding the conversation about the death of Bazarov, let's summarize: can Bazarov's death be called a feat? And what is the role of this scene in the novel? Let us return to the statements of Stakhov and Pisarev and try to argue our point of view. 9 student responses). - I think that in the face of death, the supports supporting the lordly self-confidence turned out to be weak: medicine and the natural sciences, having discovered impotence, retreated, leaving Bazarov alone with himself. And then the forces came to the aid of the hero, once denied by him, but stored at the bottom of his soul. It is them that the hero mobilizes to fight death, and they restore the integrity and stamina of his spirit in the last test. - The dying Bazarov is simple and human: there is no need to hide his "romanticism", dying, he thinks not about himself, but about his parents. Almost like Pushkin, he romantically says goodbye to his beloved. Love for a woman, love for father and mother merge in the mind of the dying Bazarov with love for the Motherland, for mysterious Russia, which he did not fully know. - I think that the words of F.M. Dostoevsky "Looking at the picture of the novel ...". In other words, the All-conquering love that conquered death triumphs. Therefore, in the epilogue, the flowers on Bazarov's grave call us to "endless life", to faith in the omnipotence of holy devoted love. I think that Bazarov is rebelling against the laws of objective necessity, which cannot be changed or circumvented. The final word of the teacher: So, summing up, I want to remind you that Bazarov is in many ways not a Turgenev figure: Turgenev did not and could not believe in the prospects of the revolutionary-democratic program of the 60s. On the other hand, here is what Turgenev's letter dated December 11, 1961, regarding the death of Dobrolyubov testifies: “I regretted the death of Dobrolyubov, although I did not share his views: the man was gifted, young ... Sorry for the lost, wasted strength.” The death of Bazarov also seemed to Turgenev "wasted, doomed." Although at that moment, the willpower and courage of the protagonist of the novel manifested itself. Feeling the inevitability of the end, he did not get scared, did not try to deceive himself, remained true to himself and his convictions. At the same time, he attracts us not only with heroism, but also with humanity of behavior. It is no coincidence that the novel ends: "What a strange rebellious heart ...", these lines speak of eternal reconciliation and endless life. As if once again, Turgenev emphasizes the idea that nothing can be effective against the eternity of the spirit. Everything “material” will hide in the grave, and the temple, indifferent to human passions and the troubles of nature, is eternal. 6) I propose to sum up in the form of a “kind of summary”, answering the question “How did the truth of life triumph in Bazarov’s death?” Using the following initial syntactic constructions as a support: 1) Bazarov’s death, from the author’s point of view, is natural; There are several reasons for this: 2) In the face of death, Bazarov's best qualities are manifested: 3) The pages depicting Bazarov's illness and death perhaps most clearly express the author's attitude towards the hero: Appendix 1. Modeling semantic bridges between the main characters. Parents “And you, Vasily Ivanovich, also seem to be sniffing? .. be a stoic, a philosopher, or something!” “And caress your mother. After all, people like them cannot be found in your big world during the day with fire. Bazarov 1. “Hey! How gray he is, however, poor fellow!” 2. I love, Arkady ... ”Student's comment. Bazarov's restrained exclamation “Hey! How he turned gray, however, poor fellow! ”, Even despite the outward rudeness and callousness of Bazarov, in dealing with his parents, it sounds like an exclamation of sons' love. To a direct question of the dull Arkady, he answers without bluntness and buffoonery: "I love you, Arkady ...". These words (“And caress your mother. After all, you can’t find people like them in your big world during the day with fire”) addressed to Odintsova were not in the manuscript; they were completed by Turgenev when preparing the novel for a separate edition, when the author sought to "plow the hero" (in his own words). Arkady: "Are you saying goodbye to me forever, Eugene?" Arkady muttered sadly, "Do you have any other words for me?" Bazarov: “Yes, Arkady, I have other words, but I won’t say it, because this is romanticism, it means: crumble.” Student comment. The easiest way is for Bazarov to part with Arkady, although if we follow the changes in the plan in the traditional text and the manuscript, the parting scene would have had a stronger look (Bazarov had to turn away slightly and, not without some excitement, say “there is, Arkady, there is ...”) - all this testified to Bazarov’s excitement, but then Turgenev removed it, leaving, “said it calmly”, the author will repeatedly emphasize the lack of acting and Bazarov’s self-control, although there is a lot behind this “there are other words”: those deep internal changes in which he is afraid to admit, he is himself and which the scene of his death obviously showed us. Bazarov “I love you stupidly and madly” Odintsova 1. “You can’t joke about this, calmness is still the best thing in the world” 2. “You didn’t understand me,” she whispered with hasty fright” 3. “The thought that she wouldn’t be I felt if I loved him." Student comment. Bazarov in love and in death is much higher than Odintsova: he surpasses her in the depth and seriousness of his feelings. At one time, he confesses to Odintsova: "I love you stupidly and madly." In response, she hears: “You didn’t understand me,” she whispered with hasty fright. What was Odintsova afraid of? Perhaps disturbed calmness: "This is not a joke, calmness is still the best thing in the world." Arriving to say goodbye to Bazarov, she thinks that she "would not feel it if she loved him." All this makes us think: what was on the part of Odintsova - farewell, love or pity? Bazarov Nature. Art. Human. “Nature is not a temple, and man is a worker in it.” “People are like trees in the forest; not a single botanist will deal with every birch ... ". “The narrow place that I occupy is so tiny in comparison with the rest of the space where I am not there and where I don’t care .... And in this atom, in this mathematical point, the blood circulates, the brain works, something is wanted too. .. What an outrage! What nonsense!” Student comment. Bazarov is a representative of a new generation. Turgenev endowed him with a peculiar attitude towards art, nature, and man. He does not take anything for granted, he wants to check everything empirically. For him, there are no recognized authorities; he rejects poetry and art as occupations that are useless to society. Evgeny Vasilyevich, in a word - a nihilist. A doctor by education, he rejects any romance and lyrics, saying that any chemist is more important than a writer and musician. The hero denies the beauty of nature and art, which are an integral part of life. Everything beautiful, worthy of admiration for Bazarov is just “nonsense”. Evgeny Vasilievich declares: "Nature is not a temple, and man is a worker in it." However, the picturesque descriptions of nature, which the novel is filled with, convince us that this is not so. Nature is a temple, and only nature can bring happiness to a person. Bazarov considers himself a preacher of nihilism, but later it turns out that this is only a mask. Bazarov treats people in a special way: “... People are like trees in the forest; not a single botanist will deal with every single birch." According to Bazarov, all people are similar to each other: "One human specimen is enough to judge all others ...". But in chapter 21, Evgeny Vasilyevich says to Arkady: “... The narrow place that I occupy is so tiny in comparison with the rest of the space where I am not and where I don’t care ... And in this atom, in this mathematical point, the blood circulates, the brain works, something is also wanted ... What a disgrace! What nonsense!” It is impossible not to catch in this scene a particle of that mournful pathos with which Turgenev performs the epilogue of the novel, conveying this feeling with the help of a detailed metaphor "a sinful, rebellious heart in front of eternity, in front of the great calmness of" indifferent "nature." Reading the last chapters of the novel, as if we feel the doom of the hero, the inevitability of his death. Turgenev could not show how his hero lives and acts, and showed how he dies. The whole pathos of the novel lies in this. Bazarov is a strong and bright personality, but he is not an ideal, he cannot be a guiding star for youth, because one cannot live without beauty, art, and love for nature. Annex 2. Resume support. Bazarov's death is natural, from the author's point of view; There are several reasons for this: In the face of death, the best qualities of Bazarov are manifested: Pages depicting Bazarov’s illness and death perhaps most clearly express the author’s relationship to the hero: Appendix 3. Supporting vocabulary, lexical turns for creative works Syntactic constructions Ethical vocabulary Every detail convinces that. . . Brings suffering. . . Our idea will be one-sided if ... The tragic fate of the hero The true meaning of Bazarov's life is not immediately revealed. The objective superiority of Bazarov On the one hand ........., he ..... on the other hand. . . "Regained Humanity" It is quite obvious that. . . Removing unnecessary buffoonery is striking. . . . Highest human values ​​Boldly looks into the eyes. . . Omnipotent Love Romantic chord of the hero Appendix 4. Supporting vocabulary, lexical turns for creative works Socio-political literary thinking socio-psychological worldview plot dynamics current political problems subtext information public figure dialogue vulgar materialism double epithets materialistic views brevity of phrases public good psychological analysis moral positions creative the general idea of ​​the novel

Bazarov in the face of death is one of the most striking images created by Ivan Sergeevich Turgenev in his famous work Fathers and Sons. This work became a landmark for the generation that grew up in the 60s of the XIX century. Many perceived this hero as an ideal, a role model.

Roman Turgenev

Bazarov appears in the face of death at the very end of this novel. His actions take place in 1859, on the eve of the peasant reform, which forever abolished serfdom in Russia. The main characters are Evgeny Bazarov and Arkady Kirsanov. These are young people who come to visit the Maryino estate with their father and uncle Arkady. Bazarov develops a difficult and tense relationship with the older Kirsanovs, as a result of which he is forced to move out of them. Arkady, carried away by his comrade, goes after him. In a provincial town they find themselves in the company of progressive youth.

Later, at a dinner party at the governor's, they meet Odintsova, perhaps the main female character in the novel. Bazarov and Kirsanov go to her estate called Nikolskoye. Both of them are infatuated with this woman. Bazarov even confesses his love to her, but this only frightens Odintsova. Eugene is again forced to leave. This time again, together with Arkady, he goes to his parents. They love their son too much. Bazarov is soon frankly tired of this, so he returns to Maryino. There he has a new hobby - the girl's name is Fenechka. They kiss, and it turns out that Fenechka is the mother of Arkady's father's illegitimate son. All this leads to a duel between Bazarov and Pavel Petrovich Kirsanov, Arkady's uncle.

Meanwhile, Arkady himself goes to Nikolskoye alone and stays with Odintsova. True, he is not fond of the mistress of the estate, but of her sister, Katya. Bazarov also comes to Nikolskoye. He explains with Odintsova, apologizes for his feelings.

The fate of the heroes

The novel ends with Bazarov, having said goodbye to his friend, leaving for his parents. He helps his father in a difficult task - the treatment of patients with typhus. During the operation, he accidentally cut himself during the autopsy of another deceased and contracted a fatal infection.

Before his death, he asks Odintsova to see him for the last time. The fate of the rest of the characters is as follows: the progressive Pavel Petrovich goes abroad, Nikolai Petrovich marries Fenechka, and Arkady Kirsanov marries her sister, Katya Odintsova.

Problems of the novel

In Turgenev's novel "Fathers and Sons", as a result of Bazarov, it turns out to be in the face of love and death. The author's decision to complete his work with the death of the protagonist says a lot about the intention that the creator had. Turgenev's Bazarov dies in the finale. Therefore, it is so important to understand why the author treated him this way, why the description of this death is so important for understanding the meaning of the whole work. A detailed study of the episode dedicated to the death of the central character helps to answer these questions. How does Bazarov find himself in the face of death? You can find a summary of the denouement of the novel in this article.

The image of Evgeny Bazarov

Describing the main character of his work, the author notes that Bazarov was the son of a doctor. When he grew up, he decided to continue the work of his father. The author himself characterizes him as an intelligent and cynical person. At the same time, somewhere inside, in the depths of his soul, he remains attentive, sensitive and kind.

Bazarov has a specific life position, which in subsequent years received a large number of adherents and supporters. Eugene denies any moral values ​​of contemporary society, as well as morality and any ideals. Moreover, he does not recognize any art, he does not perceive love, which is sung by many poets, since he considers it to be pure physiology. At the same time, he does not recognize any authorities in life, believing that each person should focus only on himself, not following anyone.

Nihilism

Bazarov is a supporter of nihilism, but at the same time he differs from other young people who adhere to a similar philosophy, for example, from Kukshin or Sitnikov. For them, the denial of everything around is nothing more than a mask that helps to hide their own failure and callous deep vulgarity.

Bazarov is not at all like them. He does not prevaricate at all, defending his views with his characteristic ardor. He believes that the main thing for which a person should live is work that benefits the whole society. At the same time, Eugene condescendingly treats most of those around him, even despises many of them, puts him below himself.

Meeting with Odintsova

This life philosophy of Bazarov, in the inviolability of which he was sure, changed radically after meeting with Odintsova. Bazarov truly falls in love for the first time, and after that he realizes how much his beliefs diverge from the truths of life.

The collapse of ideals

The main character of Turgenev's novel feels that love is not only physiology, but also a real, strong feeling. An epiphany sets in, which changes a lot in the hero's worldview. All his beliefs are crumbling, and after them his whole life loses its meaning. Turgenev could write about how this person eventually abandons his ideals, turning into an average person. Instead, he puts Bazarov in the face of death.

It is worth recognizing that the death of the hero happens stupidly and largely by accident. It becomes the result of a small cut that was obtained during the autopsy of the body of a person who died of typhus. However, death was not at all sudden. Knowing that he was ill, Bazarov was able to evaluate what had been done and realize the extent of what he would never accomplish. It is noteworthy how Bazarov behaves in the face of death. He doesn't look scared or confused. Instead, Eugene is strong, surprisingly calm and steadfast, almost unflappable. The reader begins at these moments to feel for him not pity, but sincere respect.

Bazarov's death

At the same time, the author does not let us forget that Bazarov is still an ordinary person who has various weaknesses. No one perceives his death indifferently, and therefore Eugene frankly worries. He constantly thinks about what he could still do, about the power that is in him, but has remained unspent.

At the same time, Bazarov remains ironic and cynical to the last in the face of death. Quote "Yes, go ahead, try to deny death. She denies you, and that's it!" it only confirms. Here, behind the irony of the hero, we can consider bitter regret about the passing minutes. In the last moments of his life, he longs for a meeting with his beloved woman, with whom he could not be together. Bazarov, in the face of death, asks Odintsova to come to him. She fulfills this wish.

On his deathbed, the protagonist softens to his parents, realizing that in reality they have always occupied an important place in his life, shaped his essence and worldview. Everyone would probably like to look like Bazarov in the face of death. He calmly analyzes everything done during his short but fruitful life, which he devoted to science, wanting to benefit his country. Death for the protagonist is not only the cessation of physical existence, but also a sign that Russia does not really need him. All his dreams to change something end in virtually nothing. The physical death of the protagonist is preceded by the death of his views. Together with Bazarov, his genius also dies, as well as his powerful character and sincere convictions.

Bazarov's death

The protagonist of I. S. Turgenev's novel "Fathers and Sons" - Yevgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing his father's work. Eugene's life position is that he denies everything: views on life, a feeling of love, painting, literature and other forms of art. Bazarov is a nihilist.

At the beginning of the novel, there is a conflict between Bazarov and the Kirsanov brothers, between a nihilist and aristocrats. Bazarov's views differ sharply from the beliefs of the Kirsanov brothers. In disputes with Pavel Petrovich Kirsanov, Bazarov wins. Therefore, there is a gap for ideological reasons.

Eugene meets Anna Sergeevna Odintsova, a smart, beautiful, calm, but unhappy woman. Bazarov falls in love, and, having fallen in love, he understands that love appears to him no longer as “physiology”, but as a real, sincere feeling. The hero sees that Odintsova highly appreciates her own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark on Bazarov's soul. Unrequited love.

The "imaginary" followers of Bazarov include Sitnikov and Kukshina. Unlike them, for whom denial is just a mask that allows them to hide their inner vulgarity and inconsistency, Bazarov, with confidence in his abilities, defends the views close to him. Vulgarity and insignificance.

Bazarov, having arrived at his parents, notices that he is getting bored with them: neither with his father nor with his mother Bazarov can talk like he talks with Arkady, even argue like he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father treat sick peasants. People of different generations, different development.

Bazarov likes to work, for him work is satisfaction and self-respect, so he is close to the people. Bazarov is loved by children, servants and peasants, because they see him as a simple and intelligent person. The people are his understanding.

Turgenev considers his hero doomed. Bazarov has two reasons: loneliness in society and internal conflict. The author shows how Bazarov remains lonely.

Bazarov's death was the result of a small cut that he received while opening the body of a peasant who died of typhus. Eugene is waiting for a meeting with his beloved woman in order to once again confess his love to her, he also becomes softer with his parents, deep down, probably still realizing that they have always occupied a significant place in his life and deserve a much more attentive and sincere attitude. Before death, he is strong, calm and imperturbable. The death of the hero gave him time to evaluate what he had done and realize his life. His nihilism turned out to be incomprehensible - after all, both life and death now deny him. We do not feel pity for Bazarov, but respect, and at the same time we remember that before us is an ordinary person with his own fears and weaknesses.

Bazarov is a romantic at heart, but he believes that romanticism has no place in his life now. But nevertheless, fate made a revolution in the life of Eugene, and Bazarov begins to understand what he once rejected. Turgenev sees him as an unrealized poet, capable of the strongest feelings, possessing fortitude.

DI. Pisarev claims that “It’s still bad for the Bazarovs to live in the world, even though they hum and whistle. There is no activity, there is no love - therefore, there is no pleasure either. The critic also claims that one must live, “as long as one lives, eat dry bread when there is no roast beef, be with women when one cannot love a woman, and generally not dream of orange trees and palm trees, when there are snowdrifts and cold tundras underfoot.”

The death of Bazarov is symbolic: for life, medicine and the natural sciences, on which Bazarov relied so much, turned out to be insufficient. But from the author's point of view, death is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish." The author loved Bazarov and repeatedly said that he was “clever” and “hero”. Turgenev wanted the reader to fall in love with Bazarov with his rudeness, heartlessness, ruthless dryness.

He regrets his unspent power, his unfulfilled task. Bazarov devoted his whole life to the desire to benefit the country, science. We imagine him as a smart, reasonable, but deep down, sensitive, attentive and kind person.

According to his moral convictions, Pavel Petrovich challenges Bazarov to a duel. Feeling embarrassed and realizing that he is sacrificing his principles, Bazarov agrees to shoot with Kirsanov Sr. Bazarov slightly wounds the enemy and gives him first aid himself. Pavel Petrovich keeps well, even makes fun of himself, but at the same time both he and Bazarov are embarrassed / Nikolai Petrovich, from whom the true reason for the duel was hidden, also behaves in the most noble way, finding an excuse for the actions of both opponents.

"Nihilism", according to Turgenev, challenges the enduring values ​​of the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the cause of his inevitable death.

Evgeny Bazarov can by no means be called an "extra person". Unlike Onegin and Pechorin, he does not get bored, but works hard. Before us is a very active person, he has "immense strength in his soul." One job is not enough for him. In order to really live, and not drag out a miserable existence, like Onegin and Pechorin, such a person needs a philosophy of life, its goal. And he has it.

The worldviews of the two political directions of the liberal nobles and the revolutionary democrats. The plot of the novel is built on the opposition of the most active representatives of these trends, the commoner Bazarov and the nobleman Pavel Petrovich Kirsanov. According to Bazarov, aristocrats are not capable of action, they are of no use. Bazarov rejects liberalism, denies the ability of the nobility to lead Russia to the future.

The reader understands that Bazarov has no one to convey to anyone what little, but the most precious thing he has - his convictions. He does not have a close and dear person, and therefore, there is no future. He does not think of himself as a district doctor, but he cannot be reborn, become like Arkady either. He has no place in Russia, and perhaps abroad, too. Bazarov dies, and with him his genius dies, his wonderful, strong character, his ideas and convictions. But true life is endless, the flowers on the grave of Eugene confirm this. Life is endless, but only true...

Turgenev could have shown how Bazarov would gradually abandon his views, he did not do this, but simply “killed” his main character. Bazarov dies from blood poisoning and before his death recognizes himself as an unnecessary person for Russia. Bazarov is still alone, therefore doomed, but his fortitude, courage, stamina, perseverance in achieving the goal make him a hero.

Bazarov does not need anyone, he is alone in this world, but he does not feel his loneliness at all. Pisarev wrote about this: “Bazarov alone, by himself, stands at the cold height of a sober thought, and it’s not hard for him from this loneliness, he is completely absorbed in himself and work”

In the face of death, even the strongest people begin to deceive themselves, to entertain unrealistic hopes. But Bazarov boldly looks into the eyes of inevitability and is not afraid of it. He only regrets that his life was useless, because he did not bring any benefit to the Motherland. And this thought gives him a lot of suffering before his death: “Russia needs me ... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher is needed ... "

Let us recall the words of Bazarov: "When I meet a person who would not give in to me, then I will change my mind about myself." There is a cult of power. “Hairy,” Pavel Petrovich said about Arkady's friend. He is clearly jarred by the appearance of a nihilist: long hair, a hoodie with tassels, red, unkempt hands. Of course, Bazarov is a working man who does not have time to take care of his appearance. It seems to be so. Well, what if it's a "deliberate shocking of good taste"? And if this is a challenge: as I want, I dress and comb my hair. Then it's stupid, immodest. The disease of swagger, irony over the interlocutor, disrespect ...

Speaking purely humanly, Bazarov is wrong. In the house of a friend he was greeted cordially, however, Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony, he immediately enters into a heated argument. His judgments are uncompromising. "Why should I recognize authorities?"; "A decent chemist is twenty times more useful than a poet"; he reduces high art to "the art of making money." Later, Pushkin, and Schubert, and Raphael will get it. Even Arkady remarked to a friend about his uncle: "You insulted him." But the nihilist did not understand, did not apologize, did not doubt that he had behaved too boldly, but condemned: "Imagine himself a sensible person!" What is the relationship between a man and a woman...

In the X chapter of the novel, during a dialogue with Pavel Petrovich Bazarov, he managed to speak out on all the fundamental issues of life. This dialogue deserves special attention. Here Bazarov claims that the social system is terrible, and one cannot but agree with this. Further: there is no God as the highest criterion of truth, which means, do what you want, everything is permitted! But not everyone will agree with this.

There is a feeling that Turgenev himself was at a loss, exploring the nature of the nihilist. Under the pressure of Bazarov's strength and firmness, the writer was somewhat embarrassed and began to think: "Maybe it's necessary? Or maybe I'm an old man who has ceased to understand the laws of progress?" Turgenev clearly sympathizes with his hero, and treats the nobles condescendingly, and sometimes even satirically.

But one thing is a subjective view of the characters, another thing is the objective thought of the whole work. What is it about? About tragedy. The tragedies of Bazarov, who, in his thirst for "long work", in his enthusiasm for his god-science, trampled on universal values. And these values ​​are love for another person, the commandment "Thou shalt not kill" (shot in a duel), love for parents, indulgence in friendship. He is cynical about a woman, mocks Sitnikov and Kukshina, narrow-minded people, greedy for fashion, miserable, but still people. Eugene excluded from his life lofty thoughts and feelings about the "roots" that feed us, about God. He says: "I look at the sky when I want to sneeze!"