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Fathers and sons are the heroes of the problem. The problems and poetics of Turgenev's novel "Fathers and Sons" by I.S.

The problems of the novel "Fathers and Sons"

The novel "Fathers and Sons" was created by Turgenev in a hot time for Russia. The growth of peasant uprisings and the crisis of the serf system forced the government to abolish serfdom in 1861. In Russia, it was necessary to carry out a peasant reform. The society split into two camps: in one were revolutionary democrats , the ideologists of the peasant masses, in another - the liberal nobility, who stood for the reformist path.The liberal nobility did not put up with serfdom, but feared a peasant revolution.

The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is built on the opposition of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are the brightest representatives of these trends. Other questions are also raised in the novel: how one should treat the people, work, science, art, what transformations are necessary for the Russian countryside.

The title already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. So here, a representative of the younger generation, Evgeny Vasilyevich Bazarov, cannot, and does not want to understand the “fathers”, their life credo, principles. He is convinced that their views on the world, on life, on relations between people are hopelessly outdated. “Yes, I will spoil them ... After all, this is all pride, lion's habits, folly ...”. In his opinion, the main purpose of life is to work, to produce something material. That is why Bazarov has a disrespectful attitude to art, to sciences that do not have a practical basis; to "useless" nature. He believes that it is much more useful to deny what, from his point of view, deserves to be denied, than to watch indifferently from the side, not daring to do anything. “At the present time, denial is most useful - we deny,” says Bazarov.

For his part, Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted (“Aristocracy ... liberalism, progress, principles ... art ...”). He values habits and traditions more and does not want to notice the changes taking place in society.

The disputes between Kirsanov and Bazarov reveal the ideological intent of the novel.

These characters have a lot in common. Both in Kirsanov and in Bazarov pride is highly developed. Sometimes they can not calmly argue. Both of them are not subject to other people's influences, and only experienced and felt by them themselves makes the heroes change their views on some issues. Both the commoner democrat Bazarov and the aristocrat Kirsanov have a huge influence on those around them, and neither one nor the other can be denied strength of character. And yet, despite such a similarity of natures, these people are very different, due to the difference in origin, upbringing and way of thinking.

Differences already appear in the portraits of the heroes. The face of Pavel Petrovich Kirsanov is "unusually correct and clean, as if drawn with a thin and light chisel." And in general, the whole appearance of Uncle Arkady "... was graceful and thoroughbred, his hands were beautiful, with long pink nails." Bazarov's appearance is the complete opposite of Kirsanov. He is dressed in a long robe with tassels, he has red hands, his face is long and thin ", with a wide forehead and not at all an aristocratic nose. The portrait of Pavel Petrovich is a portrait of a "secular lion" whose manners match his appearance. The portrait of Bazarov undoubtedly belongs to a "democrat to the end of his nails", which is also confirmed by the behavior of the hero, independent and self-confident.

Eugene's life is full of vigorous activity, he devotes every free minute of his time to natural science studies. In the second half of the 19th century, the natural sciences were on the rise; there appeared materialistic scientists who, through numerous experiments and experiments, developed these sciences, for which there was a future. And Bazarov is the prototype of such a scientist. Pavel Petrovich, on the contrary, spends all his days in idleness and groundless, aimless reflections-memories.

The views of those arguing on art and nature are opposite. Pavel Petrovich Kirsanov admires works of art. He is able to admire the starry sky, enjoy music, poetry, painting. Bazarov, on the other hand, denies art (“Rafael is not worth a penny”), approaches nature with utilitarian standards (“Nature is not a temple, but a workshop, and man is a worker in it”). Nikolai Petrovich Kirsanov also does not agree that art, music, nature are nonsense. Coming out onto the porch, "... he looked around, as if wanting to understand how one can not sympathize with nature." And here we can feel how Turgenev expresses his own thoughts through his hero. A beautiful evening landscape leads Nikolai Petrovich to the “sorrowful and gratifying game of lonely thoughts”, brings back pleasant memories, opens up to him the “magic world of dreams”. The author shows that by denying admiring nature, Bazarov impoverishes his spiritual life.

But the main difference between a raznochint-democrat, who ended up on the estate of a hereditary nobleman, and a liberal lies in his views on society and the people. Kirsanov believes that aristocrats are the driving force behind social development. Their ideal is "English freedom", that is, a constitutional monarchy. The path to the ideal lies through reforms, glasnost, progress. Bazarov is sure that aristocrats are incapable of action and there is no benefit from them. He rejects liberalism, denies the ability of the nobility to lead Russia to the future.

Disagreements arise about nihilism and the role of nihilists in public life. Pavel Petrovich condemns nihilists because they "respect no one", live without "principles", considers them unnecessary and powerless: "You are only 4-5 people." To this, Bazarov replies: "Moscow burned down from a penny candle." Speaking of the denial of everything, Bazarov has in mind religion, the autocratic-feudal system, generally accepted morality. What do the nihilists want? First of all, revolutionary action. And the criterion is the benefit to the people.

Pavel Petrovich glorifies the peasant community, family, religiosity, patriarchy of the Russian peasant. He claims that "the Russian people cannot live without faith." Bazarov, on the other hand, says that the people do not understand their own interests, are dark and ignorant, that there are no honest people in the country, that “a man is happy to rob himself just to get drunk on dope in a tavern.” However, he considers it necessary to distinguish between popular interests and popular prejudices; he argues that the people are revolutionary in spirit, therefore nihilism is a manifestation of precisely the people's spirit.

Turgenev shows that, despite his tenderness, Pavel Petrovich does not know how to talk with ordinary people, “grimaces and sniffs cologne.” In a word, he is a real gentleman. And Bazarov proudly declares: "My grandfather plowed the land." And he can win over the peasants, although he teases them. The servants feel "that he is still his brother, not a gentleman."

This is precisely because Bazarov possessed the ability and desire to work. In Maryino, on the Kirsanov estate, Evgeny worked because he could not sit idle, “some kind of medical and surgical smell” was established in his room.

Unlike him, representatives of the older generation did not differ in their ability to work. So, Nikolai Petrovich tries to manage in a new way, but nothing works out for him. He says about himself: “I am a soft, weak person, I spent my life in the wilderness.” But, according to Turgenev, this cannot serve as an excuse. If you can't work, don't take it. And the biggest thing that Pavel Petrovich did was helping his brother with money, not daring to give advice, and “not jokingly imagined himself to be a practical person.”

And then the hot and passionate nature of Bazarov swept away all his theories. He fell in love, like a boy, with a woman whom he highly valued. “In conversations with Anna, Sergeevna, he expressed even more than before his indifferent contempt for everything romantic, and left alone, he indignantly recognized the romance in himself.” The hero is going through a severe mental breakdown. “…Something…was possessed by him, which he never allowed, over which he always mocked, which revolted all his pride.” Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity.

And Pavel Petrovich, who also loved very much, could not leave with dignity when he became convinced of the woman’s indifference to him: couldn't get in the right track." And in general, the fact that he seriously fell in love with a frivolous and empty secular lady says a lot.

Bazarov is a strong person, he is a new person in Russian society. And the writer carefully considers this type of character. The last test he offers his hero is death.

Anyone can pretend to be whoever they want. Some people do this all their lives. But in any case, before death, a person becomes what he really is. All pretense disappears, and it is time to think, maybe for the first and last time, about the meaning of life, about what good you did, whether they will remember or forget as soon as they are buried. And this is natural, because in the face of the unknown, a person discovers something that he may not have seen during his lifetime.

It is a pity, of course, that Turgenev "kills" Bazarov. Such a brave, strong man would live and live. But, perhaps, the writer, having shown that such people exist, did not know what to do with his hero further ... The way Bazarov dies could do honor to anyone. He does not pity himself, but his parents. He is sorry to leave life so early. Dying, Bazarov admits that he "fell under the wheel", "but still bristles." And bitterly he says to Odintsova: “And now the whole task of the giant is how to die decently .., I won’t wag my tail.”

Bazarov is a tragic figure. It cannot be said that he defeats Kirsanov in a dispute. Even when Pavel Petrovich is ready to admit his defeat, Bazarov suddenly loses faith in his teaching and doubts his personal need for society. "Does Russia need me? No, apparently I don't," he reflects. Only the proximity of death restores Bazarov's self-confidence.

Whose side is the author of the novel on? It is definitely impossible to answer this question. Being a liberal by conviction, Turgenev felt the superiority of Bazarov, moreover, he claimed: "My whole story is directed against the nobility as an advanced class." And further: "I wanted to show the cream of society, but if cream is bad, then what is milk?"

Ivan Sergeevich Turgenev loves his new hero and in the epilogue gives him a high rating: "... a passionate, sinful, rebellious heart." He says that not an ordinary person lies in the grave, but really a person Russia needs, smart, strong, with non-stereotypical thinking.

It is known that I.S. Turgenev dedicated the novel to Belinsky and argued: "If the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, it is my fault that I did not achieve my goal. Bazarov is my favorite brainchild."

Turgenev wrote the novel "Fathers and Sons" in the last century, but the problems raised in it are relevant in our time. What to choose: contemplation or action? How to relate to art, to love? Is the generation of fathers right? Each new generation has to solve these questions. And, perhaps, it is the impossibility of solving them once and for all that drives life.

Most often, the title of a work is the key to its content and understanding. This is what happens with the novel by I. S. Turgenev “Fathers and Sons”. Only two simple words, but so many concepts that divided the characters into two opposite camps. Such a simple title reveals the essence of the novel "Fathers and Sons" in a complex issue.

The main problem of the novel

In his work, the author not only raises the problem of the collision of two opposite generations, but also tries to find a solution, to indicate the way out of the current situation. The confrontation between the two camps can be seen as a struggle between the old and the new, radicals and liberals, between democracy and aristocracy, purposefulness and confusion.

The author believes that the time has come for change and tries to show it in the novel. The old representatives of the nobility are being replaced by the young and restless, searching and fighting. The old system has already outlived itself, but the new one has not yet been formed, has not yet appeared, and the meaning of the novel "Fathers and Sons" clearly indicates the inability of society to live either in the old way or in the new way. This is a kind of transitional time, the border of eras.

New society

The representative of the new generation is Bazarov. It is he who is assigned the main role that creates the conflict of the novel "Fathers and Sons". He represents a whole galaxy of young people who have taken the form of complete denial for faith. They reject everything old, but they bring nothing to replace this old one.

A very clearly conflicting worldview is shown between Pavel Kirsanov and Evgeny Bazarov. Straightforwardness and rudeness against manners and sophistication. The images of the novel "Fathers and Sons" are multifaceted and contradictory. But, the system of his values \u200b\u200bclearly indicated by Bazarov does not make him happy. He himself outlined his purpose for society: to break the old. But how to build something new on the ruined foundation of ideas and views is no longer his business.
The problem of emancipation is considered. The author shows this as a possible alternative to the patriarchal system. But only the female image of the emancipe is given unsightly, completely different from the usual Turgenev girl. And, again, this was not done by chance, but with a clear intention to show that before destroying something that has been established, it is necessary to find a replacement for it. If this does not happen, then the changes will not succeed, even what was clearly intended for a positive solution to the problem may change in a different direction and become a sharply negative phenomenon.

Essays on Literature: Problems of the novel "Fathers and Sons" The novel "Fathers and Sons" was created by Turgenev in a hot time for Russia. The growth of peasant uprisings and the crisis of the serf system forced the government in 1861 to abolish serfdom. In Russia it was necessary to carry out a peasant reform. The society split into two camps: in one there were revolutionary democrats, ideologists of the peasant masses, in the other - the liberal nobility, who stood for the reformist path. The liberal nobility did not put up with serfdom, but feared a peasant revolution. The great Russian writer shows in his novel the struggle between the worldviews of these two political trends. The plot of the novel is built on the opposition of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are the brightest representatives of these trends.

Other questions are also raised in the novel: how one should treat the people, work, science, art, what transformations are necessary for the Russian countryside. The title already reflects one of these problems - the relationship between two generations, fathers and children. Disagreements on various issues have always existed between the youth and the older generation. So here, a representative of the younger generation, Yevgeny Vasilyevich Bazarov, cannot, and does not want to understand the "fathers", their life credo, principles. He is convinced that their views on the world, on life, on relations between people are hopelessly outdated. "Yes, I will spoil them ... After all, this is all pride, lion's habits, folly ...". In his opinion, the main purpose of life is to work, to produce something material.

That is why Bazarov has a disrespectful attitude to art, to sciences that do not have a practical basis; to "useless" nature. He believes that it is much more useful to deny what, from his point of view, deserves to be denied, than to watch indifferently from the side, not daring to do anything. "At the present time, denial is the most useful - we deny," says Bazarov. For his part, Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted ("Aristocracy ... liberalism, progress, principles ... art ..."). He values habits and traditions more and does not want to notice the changes taking place in society. The disputes between Kirsanov and Bazarov reveal the ideological intent of the novel.

And yet, despite such a similarity of natures, these people are very different, due to the difference in origin, upbringing and way of thinking. Differences already appear in the portraits of the heroes. The face of Pavel Petrovich Kirsanov is "unusually correct and clean, as if drawn with a thin and light chisel." And in general, the whole appearance of Uncle Arkady "...

he was graceful and thoroughbred, his hands were beautiful, with long pink nails. "Bazarov's appearance is the complete opposite of Kirsanov. He is dressed in a long robe with tassels, he has red hands, his face is long and thin, with a wide forehead and not at all an aristocratic nose. Portrait Pavel Petrovich is a portrait of a "secular lion", whose manners match his appearance. The portrait of Bazarov undoubtedly belongs to a "democrat to the end of his nails", which is also confirmed by the behavior of the hero, independent and self-confident. Eugene's life is full of vigorous activity, he gives his every free In the second half of the 19th century, the natural sciences experienced an upsurge, materialistic scientists appeared who, through numerous experiments and experiments, developed these sciences, for which there was a future.And Bazarov is the prototype of such a scientist.

Pavel Petrovich, on the contrary, spends all his days in idleness and groundless, aimless reflections-memories. The views of those arguing on art and nature are opposite. Pavel Petrovich Kirsanov admires works of art. He is able to admire the starry sky, enjoy music, poetry, painting. Bazarov, on the other hand, denies art (“Rafael is not worth a penny”), approaches nature with utilitarian standards (“Nature is not a temple, but a workshop, and man is a worker in it”). Nikolai Petrovich Kirsanov also does not agree that art, music, nature are nonsense. Out on the porch, "...

he looked around, as if wanting to understand how one could not sympathize with nature. "And here we can feel how Turgenev expresses his own thoughts through his hero. The beautiful evening landscape leads Nikolai Petrovich to the "sorrowful and gratifying game of lonely thoughts", evokes pleasant memories, reveals to him a "magic world of dreams". The author shows that by denying admiring nature, Bazarov impoverishes his spiritual life. But the main difference between a raznochint-democrat, who ended up on the estate of a hereditary nobleman, and a liberal lies in his views on society and the people. Kirsanov believes that the aristocrats are the driving force of social development. Their ideal is "English freedom", that is, a constitutional monarchy. The path to the ideal lies through reforms, publicity, and progress.

Bazarov is sure that aristocrats are not capable of action and there is no use from them. He rejects liberalism, denies the ability of the nobility to lead Russia to the future. Disagreements arise about nihilism and the role of nihilists in public life. Pavel Petrovich condemns nihilists because they "respect no one", live without "principles", considers them unnecessary and powerless: "You are only 4-5 people." To this, Bazarov replies: "Moscow burned down from a penny candle." Speaking of the denial of everything, Bazarov has in mind religion, the autocratic-feudal system, generally accepted morality. What do the nihilists want?

First of all, revolutionary action. And the criterion is the benefit to the people. Pavel Petrovich glorifies the peasant community, family, religiosity, patriarchy of the Russian peasant. He claims that "the Russian people cannot live without faith." Bazarov, on the other hand, says that the people do not understand their own interests, are dark and ignorant, that there are no honest people in the country, that "a man is happy to rob himself just to get drunk on dope in a tavern." However, he considers it necessary to distinguish between popular interests and popular prejudices; he argues that the people are revolutionary in spirit, therefore nihilism is a manifestation of precisely the people's spirit. Turgenev shows that, despite his tenderness, Pavel Petrovich does not know how to talk with ordinary people, "grimaces and sniffs cologne."

In a word, he is a real gentleman. And Bazarov proudly declares: "My grandfather plowed the land." And he can win over the peasants, although he teases them. The servants feel "that he is still his brother, not a gentleman."

This is precisely because Bazarov possessed the ability and desire to work. In Maryino, on the Kirsanov estate, Evgeny worked because he could not sit idle, "some kind of medical-surgical smell" was established in his room. Unlike him, representatives of the older generation did not differ in their ability to work. So, Nikolai Petrovich tries to manage in a new way, but nothing works out for him. He says about himself: "I am a soft, weak person, I spent my life in the wilderness." But, according to Turgenev, this cannot serve as an excuse. If you can't work, don't take it. And the biggest thing that Pavel Petrovich did was to help his brother with money, not daring to give advice, and "not jokingly imagined himself to be a practical person."

Of course, most of all a person is manifested not in conversations, but in deeds and in his life. Therefore, Turgenev, as it were, leads his heroes through various trials. And the strongest of them is the test of love. After all, it is in love that the soul of a person is revealed fully and sincerely. And then the hot and passionate nature of Bazarov swept away all his theories. He fell in love, like a boy, with a woman whom he highly valued. "In conversations with Anna Sergeyevna, he expressed his indifferent attitude even more than before.<йрение ко всему романтическому, а оставшись наедине, он с негодованием сознавал романтика в самом себе". Герой переживает сильный душевный разлад.

"...Something...was possessed in him, which he never allowed, over which he always mocked, which revolted all his pride." Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity. And Pavel Petrovich, who also loved very much, could not leave with dignity when he became convinced of the woman’s indifference to him: “.. he spent four years in foreign lands, either chasing her, or with the intention of losing sight of her ... and already couldn't get in the right track." And in general, the fact that he seriously fell in love with a frivolous and empty secular lady says a lot. Bazarov is a strong person, he is a new person in Russian society.

The problems of the novel by I. S. Turgenev "Fathers and Sons"

"Fathers and Sons" can be safely called a new novel, since for the first time a new type of hero appears in it, a new person - a common democrat Yevgeny Bazarov.

In the title of the novel, the author sought to reflect not just the relationship of two generations, but the confrontation between two social camps. Showing the clash of two different social forces, Turgenev brought a new hero to the historical arena, a new force that marked the onset of a new era. In the face of social change, noble culture had to be tested.

All the acute social problems of Russian life in the 50s of the XIX century were reflected in the disputes between Bazarov and the Kirsanovs. Turgenev believed that "a poet must be a psychologist, but secret." He must know and feel the roots of a phenomenon, but imagine only the phenomena themselves in their flourishing or fading. “To accurately and strongly reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies,” Turgenev wrote in his article “On Fathers and Children,” setting this reproduction as his task. Therefore, he sought to comprehensively show his heroes and their belief systems, without leaning towards any of the points of view.

And this principle he observes throughout the novel. Turgenev shows the clash between Bazarov and Pavel Petrovich, who rigidly oppose each other and do not agree on anything. Pavel Petrovich does not accept anything that is in Bazarov, and vice versa. When Arkady tries to explain to his father and uncle who the nihilists are, he says that nihilists are those who do not take a single principle on faith, doubt everything, deny love. His uncle replies to this that “there were Hegelists before, and now there are nihilists,” but in essence everything is the same. This moment is very revealing, it says that Pavel Petrovich does not want to come to terms with the fact that time and views are changing.

Turgenev is a master of detail. Through such a stroke as a knife with butter, Turgenev shows Pavel Petrovich's dislike for Bazarov. The episode with the frogs has exactly the same role.

Bazarov, with his characteristic youthful maximalism, denies everything: he understands a person like a frog. Bazarov believes that “first you need to clear the place”, and then build something, he believes only in science. Paul

Petrovich is indignant, and Nikolai Petrovich is ready to think, perhaps, indeed, he and his brother are backward people.

In Chapter X, Bazarov and Pavel Petrovich approach the most important thing - the question of who has the right to speak on behalf of the people, who knows the people better. The most interesting thing is that each of them thinks that the opponent has no idea about how things really are. “I do not want to believe that you, gentlemen, know the Russian people exactly, that you are representatives of their needs, their aspirations! No, the Russian people are not what you imagine,” says Pavel Petrovich, who insisted that the Russian people are “patriarchal” and “cannot live without faith.” Bazarov, in turn, believed that “the freedom that the government is fussing about will hardly work for us, because our peasant is happy to rob himself just to get dope in a tavern.” Thus, it turns out that one embellishes, and the other denigrates, and in this contrast Turgenev seeks to show the farce and absurdity of the situation.

Bazarov is too pessimistic about the current state of the people: he talks about superstitions, about underdevelopment, about the lack of enlightenment of the people. He grandiloquently declares: "My grandfather plowed the land," thus trying to show closeness to the people, to prove to Pavel Petrovich that he better understands the peasants and their needs. But in fact, this phrase is an exaggeration, since Bazarov's father was poor, but still a landowner, and "was formerly a regimental doctor." Turgenev writes that, despite the fact that Bazarov was a commoner and considered himself close to the people, he "did not even suspect that in their eyes he was still something like a pea jester."

The attitude towards the people of Pavel Petrovich is also described in the novel rather ironically. He idealized the people, believed that he loved and knew them, but at the same time, speaking with a peasant, he "wrinkles his face and sniffs cologne." At the end of the novel, Turgenev writes that Pavel Petrovich went to live in Germany, “he doesn’t read anything Russian, but he has a silver ashtray in the form of a peasant’s bast shoes on his desk.”

The history of the relationship of these irreconcilable debaters ends with a duel. This happens after Pavel Petrovich sees that Bazarov is kissing Fenechka in the arbor.

Turgenev very carefully approached the description of the duel scene, which is presented in the novel as if on behalf of the author, but it is clear from everything that this episode is shown through the eyes of Bazarov. Before the duel, a verbal duel takes place, where there is one ambiguous symbolic detail: in response to the French phrase of Pavel Petrovich, Bazarov inserts an expression in Latin into his speech. Thus, Turgenev emphasizes that his heroes really speak different languages. Latin is the language of science, reason, logic, progress, but it is a dead language. French, in turn, is the language of the Russian aristocracy of the 18th-19th centuries, it implies a huge cultural layer. Two cultures stand on the historical arena, but together they have no place on it - and a duel takes place between them.

All the pathos of the author's position regretfully states that the best people of Russia do not understand, do not hear each other. Their trouble is that no one wants to make concessions. Turgenev mourns that they speak different languages, cannot agree and understand each other.

The secret psychologism of the novel lies in the fact that the narration is conducted on behalf of the author, but it still seems that the author's position is close to that of Bazarov. Due to the fact that the description of the duel is given as if on behalf of Bazarov, it has a mundane character. Bazarov is not close to this noble tradition, he is a man of a different culture, a physician, and for him this is doubly unnatural.

The duel produces a certain coup in Pavel Petrovich. He now looks differently at the civil marriage of Nikolai Petrovich and Fenechka - he blesses his brother for marriage with her.

Turgenev masterfully combines the comic and the serious. This is especially well manifested in the description of the duel, or rather the commandant Peter, who turned green, then turned pale, and after the shot he hid somewhere. The wounded Pavel Petrovich, seeing Peter appear, says: “What a stupid physiognomy!”, Which is also, of course, an element of the comic.

In Chapter XXIV, Turgenev allows himself a direct authorial word: “Yes, he was a dead man,” in relation to Pavel Petrovich. This should be understood as a statement that a “change” has already taken place: it is clear that the era of Pavel Petrovich is ending. But the author resorted to a direct expression of his own views only once, and usually Turgenev used hidden or indirect ways to show his attitude, which, undoubtedly, is one of the types of Turgenev's psychologism.

Working on the novel "Fathers and Sons", Turgenev strives to be objective, therefore he is ambiguous in relation to his heroes. On the one hand, Turgenev shows the inconsistency of the nobility, and on the other hand, he says about Bazarov that he cannot accurately answer the question of why he killed him. “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death, because she still stands on the eve of the future.” - Turgenev wrote in a letter to K. K. Sluchevsky.