"Trial by death". Illness and death of Bazarov

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. Life position Eugene lies in the fact 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 in him a simple and smart 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 understanding what they have always occupied 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 feel for Bazarov not pity, but respect, and at the same time we remember that before us - ordinary person with their 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 about a failed task. Bazarov devoted his whole life to the desire to benefit the country, science. We imagine him 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 behaves well, even makes fun of himself, but at the same time both he and Bazarov are embarrassed / Nikolai Petrovich, from whom they hid true reason duel, also behaves in the most noble manner, finding justification 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 has no relative 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 most strong people they begin to deceive themselves, to entertain unrealizable 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, 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 this is "deliberate shocking good taste"? And if this is a challenge: I dress and comb my hair the way I want. Then it's bad, immodest. A 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 brings down 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 pressure bazar's force and firmness, confidence, 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!"

The tragedy of the hero is also in complete solitude, both among his own and among strangers, although both Fenechka and the emancipated servant Peter sympathize with him. He doesn't need them! The peasants, who called him "pea jester", feel his inner contempt for them. His tragedy lies in the fact that he is also inconsistent in relation to the people whose name he hides behind: “... I hated this last peasant, Philip or Sidor, for whom I have to climb out of my skin and who won’t even thank me ... And why should I thank him? Well, he will live in a white hut, and burdock will grow out of me - well, and then?

Interestingly, before his death, Bazarov recalls the forest, that is, the world of nature, which he had previously essentially denied. Even religion now he calls for help. And it turns out that the hero of Turgenev in his short life passed by everything that is so beautiful. And now these manifestations of true life seem to triumph over Bazarov, around him and rise in him.

First, the hero of the novel makes a feeble attempt to fight the disease and asks his father for a hell stone. But then, realizing that he is dying, he ceases to cling to life and quite passively gives himself into the hands of death. It is clear to him that comforting himself and others with hopes of healing is a waste of time. The main thing now is to die with dignity. And this means - do not whine, do not relax, do not give in to panic, do not give in to despair, do everything to alleviate the suffering of old parents. Not at all deceiving his father, reminding him that everything now depends only on the time and pace of the course of the disease, he nonetheless invigorates the old man with his own stamina, speaking in professional medical language, advising him to turn to philosophy or even religion. And for the mother, Arina Vlasyevna, her assumption about her son's cold is supported. This concern for loved ones before death greatly elevates Bazarov.

The hero of the novel has no fear of death, no fear of parting with his life, he is very courageous in these hours and minutes: "It's all the same: I won't wag my tail," he says. But resentment does not leave him for the fact that his heroic forces are dying in vain. In this scene, the motive of Bazarov's strength is especially emphasized. First, it was conveyed in the exclamation of Vasily Ivanovich, when Bazarov pulled out a tooth from a visiting peddler: "Eugene has such strength!" Then the hero of the book himself demonstrates his power. Weakened and fading away, he suddenly lifts the chair by the leg: "Strength, strength, that's all there is, but you have to die!" He authoritatively overcomes his semi-forgetfulness and speaks of his titanism. But these forces are not destined to manifest themselves. "I'll break off a lot of things" - this task of the giant has remained in the past as an unrealized intention.

The farewell meeting with Odintsova is also very expressive. Eugene no longer restrains himself and utters words of delight: "glorious", "so beautiful", "generous", "young, fresh, pure". He even talks about his love for her, about kisses. He indulges in such "romanticism" that would have led him to indignation before. And the highest expression of this is last phrase hero: "Blow on the dying lamp and let it go out."

Nature, poetry, religion, parenthood and filial affection, the beauty of a woman and love, friendship and romanticism - all this takes over, wins.

And here the question arises: why does Turgenev “kill” his hero?

But the reason is much deeper. The answer lies in life itself, in the social and political situation of those years. The social conditions in Russia did not provide an opportunity for the realization of the aspirations of the raznochintsy for democratic reforms. In addition, they remained isolated from the people to whom they were drawn and for whom they fought. They could not carry out the titanic task that they set for themselves. They could fight, but not win. The seal of doom lay on them. It becomes clear that Bazarov was doomed to the impracticability of his affairs, to defeat and death.

Turgenev is deeply convinced that the Bazarovs have come, but their time has not yet come. What is left for an eagle when he cannot fly? Think about death. Eugene among his everyday life often thinks about death. He unexpectedly compares the infinity of space and the eternity of time with his short life and comes to the conclusion about "own insignificance." It is amazing that the author of the novel wept when he ended his book with the death of Bazarov.

According to Pisarev, "to die the way Bazarov died is like doing a great feat." And this last feat is performed by Turgenev's hero. Finally, we note that in the scene of death, the thought of Russia arises. It is tragic that the motherland loses its big son, a real titan.

And here we recall the words of Turgenev, spoken about the death of Dobrolyubov: "It is a pity for the lost, wasted strength." The same author's regret is felt in the scene of Bazarov's death. And the fact that powerful opportunities turned out to be wasted makes the death of the hero especially tragic.

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Question

How did you react to the last pages of the novel? What feelings did Bazarov's death cause in you?

Answer

The main feeling that the last pages of the novel evoke in readers is a feeling of deep human pity that such a person is dying. Emotional Impact these scenes are great. A.P. Chekhov wrote: "My God! What a luxury “Fathers and Sons”! Just at least shout the guard. Bazarov's illness was made so strong that I became weak and there was a feeling as if I had contracted it from him. And the end of Bazarov?.. The devil knows how it's done. It's just brilliant."

Question

How did Bazarov die? (Ch. XXVII)

“Bazarov was getting worse every hour; the disease took on a rapid course, which usually happens with surgical poisons. He had not yet lost his memory and understood what was said to him; he was still fighting.

“I don’t want to rave,” he whispered, clenching his fists, “what nonsense!” And then he said: “Well, subtract ten from eight, how much will it come out?” Vasily Ivanovich walked around like a madman, offering one remedy, then another, and doing nothing but covering his son's legs. “Wrap in cold sheets... vomit... mustard plasters to the stomach... bloodletting,” he said with tension. The doctor, whom he begged to stay, agreed with him, gave the patient lemonade to drink, and for himself he asked for tubes, then “strengthening-warming”, that is, vodka. Arina Vlasyevna sat on a low stool near the door, and only from time to time went out to pray; a few days ago the dressing-mirror slipped out of her hands and broke, which she always considered a bad omen; Anfisushka herself could not tell her anything. Timofeich went to Odintsova.

“The night was not good for Bazarov ... The cruel fever tormented him. By morning he felt better. He asked Arina Vlasyevna to comb his hair, kissed her hand and drank two sips of tea.

“The change for the better did not last long. The attacks of the disease have resumed.

“It's over with me. Got hit by a wheel. And it turns out that there was nothing to think about the future. The old thing is death, but new for everyone. Until now, I'm not afraid ... and then unconsciousness will come, and fuit! (He waved his hand weakly.)

“Bazarov was no longer destined to wake up. By evening, he fell into complete unconsciousness, and the next day he died.

Question

Why D.I. Pisarev said: “To die the way Bazarov died is the same as doing a great feat ...”?

Answer

Bazarov's fatal illness is his last test. In the face of the inevitable force of nature, courage, strength, will, nobility, humanity are fully manifested. This is the death of a hero, and a heroic death.

Not wanting to die, Bazarov struggles with illness, with unconsciousness, with pain. Until the last minute, he does not lose his clarity of mind. He shows willpower and courage. He made himself an accurate diagnosis and calculated the course of the disease almost by the hour. 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.

“... now, for real, and the hellish stone is not needed. If I've been infected, it's too late now."

“Old man,” Bazarov began in a hoarse and slow voice, “my business is lousy. I am infected, and in a few days you will bury me.”

“I didn't expect to die so soon; this is an accident, very, to tell the truth, unpleasant.

“Strength, strength,” he said, “all is still here, but you have to die! .. The old man, at least, managed to wean himself from life, and I ... Yes, go and try to deny death. She denies you, and that's it!

Question

According to the ideas of believers, those who took communion were forgiven all their sins, and those who did not take communion fell into eternal torment in hell. Does Bazarov agree or not to take communion before his death?

Answer

In order not to offend his father, Bazarov "finally said": "I do not refuse, if this can console you." And then he adds: “... but it seems to me that there is still nothing to rush. You yourself say that I'm better." This phrase is nothing but a polite refusal to confess, because if a person is better, then there is no need to send for a priest.

Question

Does Bazarov himself believe that he is better off?

Answer

We know that Bazarov himself accurately calculated the course of the disease. The day before, he tells his father that “tomorrow or the day after tomorrow his brain will resign.” “Tomorrow” has already arrived, there is still a maximum of a day left, and if you wait longer, the priest will not have time (Bazarov is accurate: on that day “by evening he fell into complete unconsciousness, and the next day he died”). It cannot be understood otherwise than as a clever and delicate refusal. And when the father insists on “doing the duty of a Christian,” he becomes harsh:
"No, I'll wait," Bazarov interrupted. - I agree with you that the crisis has come. And if you and I are wrong, well! after all, even the memoryless are communed.
- Have mercy, Eugene ...
- I'll wait. And now I want to sleep. Do not disturb me".

And in the face of death, Bazarov rejects religious beliefs. It would be convenient for a weak person to accept them, to believe that after death he can go to "paradise", Bazarov is not deceived by this. And if he is still communed, then he is unconscious, as he foresaw. Here his will is not: this is an act of parents who find consolation in this.

Answering the question why Bazarov's death should be considered heroic, D.I. Pisarev wrote: “But to look into the eyes of death, to foresee its approach, not trying to deceive yourself, to remain true to yourself until the last minute, not to weaken and not be afraid - this is a matter strong character... such a person who knows how to die calmly and firmly, will not retreat in front of an obstacle and will not be afraid in the face of danger ”.

Question

Did Bazarov change before his death? Why did he become closer to us before his death?

Answer

The dying Bazarov is simple and human: there is no need to hide his "romanticism". He thinks not of himself, but of his parents, preparing them for a terrible end. Almost like Pushkin, the hero says goodbye to his beloved and speaks in the language of a poet: “Blow on the dying lamp, and let it go out.”

He finally uttered “other words” that he had been afraid of before: “... I loved you! .. Goodbye ... Listen ... I didn’t kiss you then ...” “And caress your mother. After all, people like them cannot be found in your big world during the day with fire ... ". Love for a woman, filial love for father and mother merge in the mind of the dying Bazarov with love for the motherland, for mysterious Russia, which remained an unsolved riddle for Bazarov: “There is a forest here.”

Bazarov became better before his death, more humane, softer.

Question

In life, Bazarov dies from an accidental cut on his finger, but is the death of the hero in the composition of the novel accidental?

Why, after all, does Turgenev end his novel with the scene of the death of the protagonist, despite his superiority over other characters?

Answer

About his departure, Bazarov says: “Russia needs me ... No, apparently not needed. And who is needed?

Any plot-compositional device reveals ideological concept writer. The death of Bazarov, from the author's point of view, is natural in the novel. Turgenev defined Bazarov as a tragic figure, "doomed to perish."

There are two reasons for the hero's death - his loneliness and internal conflict. Both of these interrelated reasons were part of the author's intention.

Question

How does Turgenev show the hero's loneliness?

Answer

Consistently, in all Bazarov's meetings with people, Turgenev shows the impossibility of relying on them. The Kirsanovs are the first to fall away, then Odintsova, then the parents, then Fenechka, he has no true students, Arkady leaves him, and, finally, the last and most important clash occurs with Bazarov before his death - a clash with the people.

“Sometimes Bazarov went to the village and, bantering as usual, entered into a conversation with some peasant.
- What were you talking about?
- It is known, master; does he understand?
- Where to understand! - answered the other peasant, and, shaking their hats and pulling down their sashes, they both began to talk about their affairs and needs. Alas! Bazarov, who contemptuously shrugged his shoulders and knew how to talk to the peasants (as he boasted in an argument with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was still something like a pea jester ...

The new people look lonely compared to the vast mass of the rest of society. Of course, there are few of them, especially since these are the first new people. Turgenev is right, showing their loneliness in the local and urban noble environment, right, showing that here they will not find helpers for themselves.

The main reason for the death of Turgenev's hero can be called socio-historical. The circumstances of Russian life in the 1960s did not yet provide an opportunity for fundamental democratic changes, for the implementation of the plans of Bazarov and others like him.

"Fathers and Sons" caused a fierce controversy throughout the history of Russian literature XIX century. Yes, and the author himself, with bewilderment and bitterness, stops before the chaos of contradictory judgments: greetings from enemies and slaps from friends.

Turgenev believed that his novel would serve the cause of rallying the social forces of Russia, that Russian society heed his warnings. But his dreams did not come true.

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

Exercise

1. Share your feelings about the novel.
2. Did the hero cause you sympathy or antipathy?
3. Do such assessments and definitions coexist in your idea of ​​him: clever, cynic, revolutionary, nihilist, victim of circumstances, “genius nature”?
4. Why does Turgenev lead Bazarov to death?
5. Read your thumbnails.

Death test. This last test Bazarov also has to go through in parallel with his antagonist. Despite the successful outcome of the duel, Pavel Petrovich had long since died spiritually. Parting with Fenechka broke the last thread that tied him to life: “Illuminated by bright daylight, his beautiful emaciated head lay on a white pillow, like the head of a dead man ... Yes, he was a dead man. His opponent also passes away.

Surprisingly persistent in the novel are references to an epidemic that spares no one and from which there is no escape. We learn that Fenechka's mother, Arina, "died of cholera." Immediately upon the arrival of Arkady and Bazarov at the Kirsanov estate, "there came better days a year”, “the weather was beautiful”. “True, cholera was threatening again from afar,” the author remarks meaningfully, “but the inhabitants of *** ... the province managed to get used to her visits.” This time, cholera “pulled out” two peasants from Maryin. The landowner himself was in danger - "Pavel Petrovich had a rather strong seizure." And again, the news does not amaze, does not frighten, does not disturb Bazarov. The only thing that hurts him as a doctor is the refusal to help: “Why didn’t he send for him?” Even when his own father wants to tell "a curious episode of the plague in Bessarabia" - Bazarov decisively interrupts the old man. The hero behaves as if cholera alone does not pose any danger to him. Meanwhile, epidemics have always been considered not only the greatest of earthly adversities, but also an expression of God's will. The favorite fable of the beloved Turgenev fabulist Krylov begins with the words: "The most severe scourge of heaven, nature's horror - the pestilence rages in the forests." But Bazarov is convinced that he is building his own destiny.

“Every person has his own destiny! - thought the writer. - Just as clouds are first formed from the vapors of the earth, rise from its depths, then separate, alienate from it and bring it, finally, grace or death, so around each of us is formed<…>a kind of element, which then has a destructive or saving effect on us<…>. To put it simply: everyone makes his own destiny and she makes everyone ... "Bazarov understood that he was created for a" bitter, tart, bean" life public figure perhaps a revolutionary agitator. He accepted this as his calling: “I want to mess with people, at least scold them, but mess with them”, “Give us others! we need to break others!” But what to do now, when the former ideas have been justifiably questioned, and science has not given an answer to all questions? What to teach, where to call?

In Rudin, the astute Lezhnev remarked which idol is most likely to “act on the youth”: “Give her conclusions, results, even if they are incorrect, but results!<…>Try to tell the youth that you cannot give them the full truth because you do not own it yourself.<…>, young people will not listen to you ...>. It's necessary that you yourself<…>believed that you possess the truth ... "But Bazarov no longer believes. He tried to find the truth in a conversation with a peasant, but nothing happened. Too condescendingly, lordly-arrogantly, the nihilist addresses the people with a request "to state their views on life." And the peasant plays along with the master, presenting himself as a stupid, submissive idiot. It turns out that it is not worth sacrificing your life for this. Only in a conversation with a friend does the peasant take his soul away, discussing the “pea jester”: “It is known, master; does he understand?

What remains is work. Help father in a tiny estate of several souls of peasants. One can imagine how small and insignificant all this must seem to him. Bazarov makes a mistake, also petty and insignificant - he forgets to burn a cut on his finger. A wound obtained from dissecting a decomposing corpse of a man. "A democrat to the marrow of his bones," Bazarov invaded the lives of the people boldly and self-confidently<…>, which turned against the "healer" himself. So is it possible to say that Bazarov's death is accidental?

“To die the way Bazarov died is the same as doing a great feat,” D.I. Pisarev. One cannot but agree with this observation. The death of Yevgeny Bazarov, in his bed, surrounded by relatives, is no less majestic and symbolic than the death of Rudin at the barricade. With complete human self-control, in a medically short way, the hero states: “... My case is lousy. I am infected, and in a few days you will bury me…” I had to be convinced of my human vulnerability: “Yes, go and try to deny death. She denies you, and that's it! “It doesn’t matter: I won’t wag my tail,” says Bazarov. Although "no one cares about this", the hero cannot afford to sink - until "he has not yet lost his memory<…>; he was still fighting.

The proximity of death for him does not mean the rejection of cherished ideas. Such as atheistic rejection of God's existence. When the religious Vasily Ivanovich, “down on his knees,” begs his son to make a confession and be cleansed of sins, he outwardly carelessly answers: “There is still nothing to hurry ...” He is afraid of offending his father with a direct refusal and only asks to postpone the ceremony: “After all, they also commune the memoryless … I'll wait". “When he was unctioned,” says Turgenev, “when the holy myrrh touched his chest, one of his eyes opened and, it seemed, at the sight of the priest<…>, censer, candles<…>something like a shudder of horror instantly reflected on the dead face.

It seems like a paradox, but death in many ways frees Bazarov, encourages him not to hide his real feelings anymore. Simply and calmly, he can now express his love for his parents: “Who is crying there? …Mother? Will she feed someone now with her amazing borscht? .. ”Affectionately bantering, he asks the grief-stricken Vasily Ivanovich to be a philosopher in these circumstances. Now you can not hide your love for Anna Sergeevna, ask her to come and take his last breath. It turns out that you can let simple human feelings into your life, but at the same time not “raw up”, but become spiritually stronger.

The dying Bazarov utters romantic words that express true feelings: “Blow on the dying lamp, and let it go out ...” For the hero, this is an expression of only love experiences. But the author sees more in these words. It is worth recalling that such a comparison comes to the lips of Rudin on the verge of death: “... It’s all over, and there is no oil in the lamp, and the lamp itself is broken, and the wick is about to finish smoking ...” Turgenev’s tragically cut short life is likened to a lamp, like in the old poem:

Blazed with a midnight lamp Before the shrine of goodness.

Bazarov, who is dying, is hurt by the thought of his uselessness, uselessness: “I thought: I won’t die, where! There is a task, because I am a giant! ”,“ Russia needs me ... no, apparently not needed! .. A shoemaker is needed, a tailor is needed, a butcher ..." Likening him to Rudin, Turgenev recalls their common literary “ancestor”, the same selfless wanderer Don- Quixote. In his speech “Hamlet and Don Quixote” (1860), the author lists the “generic features” of the Don Quixotes: “Don Quixote is an enthusiast, a servant of the idea, and therefore is covered with its radiance”, “He lives all outside of himself, for his brothers, for the extermination of evil, for counteracting forces hostile to humanity. It is easy to see that these qualities form the basis of Bazarov's character. According to the largest, "don Quixote" account, his life was not lived in vain. Let Don Quixotes seem funny. It is this kind of people, according to the writer, who move humanity forward: “If they are gone, let the book of history be closed forever: there will be nothing to read in it.”

We chose Turgenev's novel "Fathers and Sons", and in it the scene of Bazarov's death.

In order to do this job, you need to define what an episode is. According to explanatory dictionary Russian language by S. I. Ozhegov and N. Yu. Shvedova, episode - "part literary work, possessing relative independence and completeness. "The scene of Bazarov's death fully meets this criterion. We will also refer to the corresponding article of the literary encyclopedic dictionary, who interprets the term "episode" as "a relatively independent unit of action" of the work, "fixing what happened in the easily visible boundaries of space and time."
Since this article divides the actions into work of art into "external" and "internal", then the proposed episode can be considered as an independent unit of internal action, when "the hero's mentality is more subject to change" than his behavior. In the selected episode, it develops and ends final stage storyline associated with the main character - the illness and death of Bazarov. The time frame of the selected episode is three days (the last stage of Bazarov's illness), the scene is Bazarov's room in his father's house. Thus, the passage we have chosen about the death of Bazarov is quite suitable for the analysis of the episode.

This episode begins with the words: "The doctor, the same county doctor who did not have a hellish stone, came and, having examined the patient, advised to adhere to the methods of waiting and immediately said a few words about the possibility of recovery," and ends with the words: "And that's enough! - he said and sank down on the pillow. - Now ... darkness ... ". We defined the boundaries of the episode in this way, because the text limited to these phrases is completely devoted to the fading of Bazarov: from the moment when he began to take possession of unconsciousness to last word spoken in the mind.

We chose several phrases that, in our opinion, reflect the deep feelings of the hero, his state of mind.

Bazarov "suddenly grabbed the leg of a heavy table that stood near the sofa, shook it and moved it from its place." Bazarov realizes his powerlessness before death, is indignant that in the prime of life and full physical strength, he is forced to resign himself to the inevitability and recognize a more powerful force that "denies" himself - death.

"I don't want to rave," he whispered, clenching his fists, "what nonsense!" Bazarov is still struggling, trying to resist the disease.

"He asked Arina Vlasyevna to comb his hair, kissed her hand ....." It is no coincidence that Bazarov shows uncharacteristic tenderness for his mother: inwardly he has already realized the inevitability of death and, in the face of eternal parting, does not want to hide his true feelings for his mother - love, respect.

When his father invites him to take communion, "...something strange crawled across his son's face, although he continued to lie with his eyes closed." This is "strange", as can be seen from the following phrases, consent to communion. He, who denied religion, has changed so much inwardly that he is ready to accept a religious rite.

"Farewell," he said with sudden force, and his eyes flashed with a last gleam.

The last flash of consciousness revealed the power of his love.

So we see how deep soul feelings and changes occur to the hero in the last moments of his life.

In the episode, the central figure is himself main character, Evgeny Bazarov, and although there are others characters novel (parents of Bazarov, Odintsov), they are only the background for the full disclosure of Bazarov's character. In the selected episode, the main character is revealed with a new, unexpected side. In it, he appears as a tragic figure, as Turgenev himself wrote: "The death of Bazarov (...) should, in my opinion, put the last line on his tragic figure."

In order to understand the meaning of this scene, it is important to remember what the image of Bazarov in the novel is. This is a strong, active, purposeful nature, and at first glance, nature is whole. He sees the meaning of his life in the destruction of the old foundations of society, in serving the new society. He denies all the basic foundations of the former society, both social and moral-philosophical, believing that denial is his main task, believing that he has enough strength to carry it out. But in the episode of death, the hero realizes that he is powerless, denial is impossible and meaningless: "Yes, go and try to deny death. It denies you, and that's it!" He thought he was the owner own life and fate, that he can make grandiose plans and strive for their implementation. But now he finds himself in a situation that at once crossed out all his confidence with a simple and indisputable fact: he fell ill and will inevitably die. "And I also thought: I'll break off a lot of things, I won't die, where! There is a task, because I'm a giant! And now the whole task of a giant is how to die decently, although no one cares about this ...." Not only that, his plans not destined to come true main principle life is nonsense, so he also understands how lonely he is and, perhaps, not needed by the new society for which he wanted to work. "Russia needs me... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher... he sells meat... a butcher... wait, I'm confused..." The internal split he feels is exposed: somewhere in the depths of his soul, Bazarov has doubts about the usefulness and expediency of his activities for the benefit of society. And immediately the revelations of Bazarov come to mind, which he shares with Arkady: "I hated this last peasant. Well, he will live in a white hut, and burdock will grow out of me (...)". It was to this inner tragedy of his hero, revealed in his dying insights, that Turgenev led the reader throughout the entire novel. The suffering of the nihilist and the destroyer is laid bare in the scene of his death. It is no coincidence that this trait of Bazarov's character was noticed by F.M. Dostoevsky, calling the hero of Turgenev "yearning Bazarov".

According to literary encyclopedia, climax - "moment highest voltage actions in the work, when the plot conflict, the goals of the characters, their inner qualities are especially clearly revealed. In the work large form, where several storylines are intertwined, two or more culminations are possible. "Of course, in the novel by I. S. Turgenev" Fathers and Sons "one can distinguish several climaxes. One of them is the duel scene ( story line relations between Bazarov and Pavel Petrovich). The other is the scene of Bazarov's explanation with Odintsova (the storyline of Bazarov's love for Odintsova).

However, in our opinion, in the novel, all these events, one after another, serve another purpose - to reveal the character of the protagonist Bazarov more and more vividly and versatile. And we believe that it is the episode of the death of the protagonist that fully reveals his contradictory nature, being thus the culmination of the development of the image of the protagonist.

The work was done by students of grade 10-1 Mikhail Ignatiev and Igor Khmelev.