The image of Bazarov as an artistic discovery of Turgenev in the novel "Fathers and Sons". The regularity of the appearance of the image of a nihilist in Russian literature
In the novel Fathers and Sons, the image of the new man Yevgeny Vasilyevich Bazarov turned out to be complex, contradictory, and, of course, very interesting. It cannot leave indifferent the reader of both the last century and our contemporary.
From the moment the novel was published, a sea of criticism fell upon the author and its protagonist, a fierce controversy unfolded around the image of Bazarov. Conservative circles of the nobility, horrified by his strength and power, feeling in him a threat to their way of life, hated the main character. But at the same time, Bazarov was not accepted in the revolutionary-democratic camp, to which he himself belonged. His image was considered a caricature of the younger generation.
In many ways, such an assessment of the protagonist is the merit of the author himself. I. S. Turgenev himself did not decide on his attitude towards Bazarov. On the one hand, he justifies and appreciates Bazarov, quite sincerely admiring his intelligence, firmness, ability to defend his ideals and achieve what he wants; endows this image with features that he does not possess. But, on the other hand, the reader feels (there is no direct indication of this in the text, but this slips by itself, against the will of the author) that Bazarov is alien to the author, incomprehensible Turgenev sincerely wants to force himself to love his hero, to catch fire with his idea, but to no avail.
This is what prompts the thought of the monstrous loneliness of Bazarov. He is titanic, remarkably strong, but at the same time infinitely unhappy and lonely. Probably, this is the lot of any outstanding person. Yes, and Bazarov himself does not strive to please people, rather the opposite. According to his own remark, a real person is one about whom there is nothing to think about, but whom one must obey or hate. His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship and parody, not claiming more. And this is exactly what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who dares to resist this stormy onslaught is Pavel Petrovich Kirsanov, but not at all because he is the same titan, but because his principles, unlike those of Bazarov, who hang in the air and feed exclusively on the energy of their author, grow into century. Pavel Petrovich perceived these spiritual values, historical roots, way of life as a child. In his disputes with Bazarov, P.P. Kirsanov defends his past, his life, which he does not think of another, and this gives him strength in the fight with the titan, who can only oppose himself, his powerful personality, in this fight. But despite the obviousness that Bazarov is wrong, his uncompromising struggle is admirable.
The author, as it were, constantly reminds the reader that Bazarov is not a monster, not an evil genius, but, above all, an unfortunate person, lonely and, despite all the strength of his mind and energy, defenseless against the simplest human feelings. In relations with Odintsova, his vulnerability is manifested. Subconsciously, Bazarov is looking for love, but real, high love is not available to him, because he is soulless and immoral. Odintsova, on the other hand, expects mature feelings from him, she needs serious love, and not fleeting passion. In her life there is no place for upheavals, without which Bazarov cannot imagine himself. He does not understand that stability is an indispensable condition for achieving spiritual and moral ideals. And these ideals are inaccessible to him (although he suffers from their absence, without realizing it), because, being a pragmatist, he must feel everything, touch it.
And here it turns out some kind of vicious circle. Bazarov rushes about in this circle alone, desperate. He is contradictory to the point of absurdity. Bazarov denies romanticism, but is essentially a romantic, he renounces his parents, the stupid life of his fathers, but he himself, in a fit of revelation, confesses to Arkady his love for them, he does everything, in his opinion, for the well-being of the motherland, but he himself asks the question: Does Russia need me? No, apparently not needed. It’s scary to feel in such a vicious circle of contradictions, and it’s hard even for such a strong and independent person as Bazarov. How terrible, dying, to realize the futility, meaninglessness, uselessness of the life lived. After all, nothing can be fixed. And Bazarov, in my opinion, is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his lifetime he perceived so materialistically (I will die, and burdock will grow out of me, nature is not a temple, but a workshop, and man is a worker in it). In the face of nature, in the face of the universe, even such a titan as Bazarov seems like a miserable grain of sand. This is his tragic loneliness, he does not feel himself a part of this world, even after death the iron fence surrounding his grave separates him from the world. After death, he remains still alone.
Essay on literature on the topic: The tragic loneliness of Bazarov
Other writings:
- My God! What a luxury “Fathers and Sons”! Bazarov's illness was made so strong That I weakened, and there was such a feeling as if I had contracted it from him. A. P. Chekhov In the image of Bazarov, I. S. Turgenev portrayed the type of a new person who Read More ......
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- I. S. Turgenev himself claimed that his Bazarov was a “tragic face”. What is the tragedy of this hero? From the point of view of the writer, first of all, that the time of the Bazarovs has not come. Turgenevsky Bazarov himself feels it - dying, he utters bitter Read More ......
- Once, in a conversation with Flaubert, Turgenev said: “I believe that only love causes such a flowering of the whole being, which nothing else can give.” Love, according to the writer, makes a person reveal himself from the best sides. Why is the meeting between Bazarov and Odintsova not Read More ......
- Bazarov learns about the existence of Anna Odintsova from Kukshina, an acquaintance of his friend Sitnikov. The first time he sees her is at a ball at the head of the regional administration, where he arrived together with Arkady. “What is this figure? he said. – The rest of the women are not Read More ......
- The protagonist of the novel by I. S. Turgenev “Fathers and Sons” is Evgeny Vasilyevich Bazarov. He is a nihilist, a man who proclaims the idea of "complete and ruthless denial", recognizing no limits that can limit its implementation. He denies love, poetry, music, the beauty of nature, the philosophical Read More ......
Loneliness of Bazarov in the novel by I. S. Turgenev "Fathers and Sons".
Composition based on the novel by I.S. Turgenev "Fathers and Sons".
The pages of I. S. Turgenev's novel "Fathers and Sons" reflect social and political differences in the life of society in the middle of the 19th century. Time of action - 1853-1861 - a difficult period for Russia. The "shameful" for Russia war with Turkey has ended. The end of the 50s - the beginning of the 60s of the XIX century - the time of preparation of the peasant reform. Nicholas I was replaced by Alexander II, during whose reign the education of various strata of society flourished. The raznochintsy intellectuals, who had become a real social force, entered into a discussion with the liberal nobles, who were losing their leading role. There were disputes about all the key aspects of modern reality: issues of culture, literature, art, education, the agrarian issue, as a result of which the inability of the noble intelligentsia to continue the struggle became clear. Evgeny Bazarov is a representative of the views of the raznochintsy-democrats, who considered the cause of all the social ills that are happening in Russia to be the wrong arrangement of society. His opponent and antagonist in the novel is the liberal nobleman Pavel Petrovich Kirsanov.
Pavel Petrovich is the true antipode of Bazarov. This is manifested in everything from clothes to appearance and way of thinking. Pavel Petrovich was neat, did a manicure, which especially irritated Bazarov, and in every possible way followed his appearance and clothes. Bazarov was careless, he did not attach much importance to appearance. He didn't care what he looked like.
The social status of both characters is different. Pavel Petrovich - a native of the old aristocratic society. Despite the "englishness", a phenomenon typical in a noble environment, a genuine Russian master constantly peeps through Pavel Petrovich: "I want to prove eftim, dear sir ..." Bazarov is proud of his simple origin: "My grandfather plowed the land ..." He is the only son of a humble and poor retired head physician. Having entered the university, Bazarov himself begins to earn money to pay for his studies: "Every person must educate himself." Bazarov is a talented doctor, a scientist engaged in the natural sciences (for the sixties of the nineteenth century, a passion for the natural sciences was characteristic). Pavel Petrovich studied in the Corps of Pages, then entered the military service, which took place in the capital. "From childhood, Pavel Petrovich was distinguished by his beauty, was a little mocking and somehow amusingly bilious - he could not help but like him." And Bazarov can hardly be called handsome. His face was "long and thin, with a broad forehead, a flat top, a pointed nose, with large greenish eyes."
At the first meeting, Evgeny Bazarov and Pavel Petrovich felt mutual dislike. Bazarov declares that Uncle Arkady is an eccentric and classifies him as an "archaic phenomenon". From the first minutes, Pavel Petrovich felt "secret irritation" towards Bazarov. It was irritation that caused the unnecessary and not entirely skillful dispute started by Pavel Petrovich. Pavel Petrovich loses in this dispute, declaring to Bazarov: "What to do! It can be seen that young people are, for sure, smarter than us." Bazarov, on the other hand, confidently utters to Arkady: “You say that your uncle is unhappy; you better know, but he hasn’t got all the nonsense yet. from execution." The more Pavel Petrovich communicates with Bazarov, the more terrible hatred and dislike for the latter boil up in him. Pavel Petrovich believed that Bazarov treated his aristocratic person with disrespect. He "with all the strength of his soul hated the doctor, considered him impudent, arrogant, a cynic, a plebeian; he suspected that Bazarov almost despised him - him, Pavel Kirsanov." Pavel Petrovich confesses to his brother that he considers Bazarov a "charlatan", he wants to teach the "self-confident upstart" a lesson. But he especially has nothing to oppose to Bazarov's "denial". According to his worldview, Bazarov is a nihilist, a person who does not recognize any authorities, does not respect any orders and social norms. He refers to everything from the point of view of the usefulness and value of man, therefore he believes that "nature is not a temple, but a workshop, and man is a worker in it." Bazarov takes everything from nature, considering it to be moral, because, in his opinion, what is useful is moral. He is biased towards literature, he believes that any mathematician is better than a poet, "Raphael is a fool", and "Pushkin is not worth a penny." But his highest goal - to serve the progress of society and destroy and refute everything that hinders its development - is pure and moral. Nevertheless, all the forces of Bazarov are aimed at destroying and destroying the vulgar foundations and rules of an aristocratic society. In a conversation with Pavel Petrovich, he criticizes everything, denies it, but offers nothing in return: "First, you need to clear the place, and others will build it." Although he disrespects the order in the Kirsanovs' house: he allows himself not to arrive on time for breakfast, rejects the foundations of a noble society, nevertheless he sees in Pavel Petrovich a worthy rival. Pavel Petrovich was not a nihilist - a refuter of established views. He has a different outlook on life. He loves to orate, is verbose, sybaritic, which cannot but irritate the great worker Bazarov.
Social views in relation to the people, for the sake of which all attempts at social reorganization were made, are different for both heroes. Bazarov is not delighted with his people: "The Russian man is good because he has a bad opinion of himself." In a dispute with Pavel Petrovich, Bazarov almost despises the people and declares that freedom is unlikely to suit him for the future, because "a Russian peasant is ready to rob himself, just to get dope in a tavern." Nevertheless, Bazarov works for the people and for the sake of the people. Despite the harshness of his judgments, he is democratic, knows how to find a common language with the people and "possesses a special ability to inspire confidence in himself in the lower people." The independence of Bazarov and the ability of 1avl Petrovich to fall under the influence of other people is revealed in their attitude towards a woman. Evgeny behaves proudly and arrogantly with Odintsova, and Pavel Petrovich, having once fallen in love with the princess, can no longer control his feelings. When the princess lost interest in him, he almost "lost his mind." Nothing else, except for his love, did not interest him. nihilist love - the physiological attraction of males to females. Bazarov's remarks about love are cynical and rude. When En first saw Odintsova, he expressed his opinion about her: "She doesn't look like other women." Having witnessed Bazarov's kiss with Fenechka, Pavel Petrovich challenges him to a duel. Throughout the duel, Pavel Petrovich behaves with dignity, except for a slight fainting that happened to him as a result of a wound. But Pavel Petrovich himself is dissatisfied. He "tried not to look at Bazarov; he was ashamed of his arrogance, of his failure, he was ashamed of the whole business he had started." But still, the "old guard" was still able to resist the younger generation. Although Pavel Petrovich despises Bazarov, he feels a strange "attraction, a kind of illness" for him. He repeatedly asks Bazarov for permission to be present at his experiments. But he in no way wanted to be dependent on the "doctor" in any way. Pavel Petrovich tormented himself all night, but never once resorted to the "art of Bazarov."
According to the theory of Lev Gumilyov (although he does not specifically write about Bazarov), in certain historical periods people appear who are able to lead other people. Passionary is the most exhaustive description of Evgeny Bazarov. And the sixties of the nineteenth century were precisely such a historical period when personalities like our hero could appear on the arena of political activity. Pavel Petrovich was an ordinary, normal person, a nobleman. He could afford to get carried away, admire something new, unfamiliar for a while. He could afford to be wrong repeatedly and live a long and generally quiet life.
Eugene's life is bright as a flash of lightning, his death is a feat.
So why does such an outstanding and unusual person as Yevgeny Bazarov fall ill and die? Death, illness, love - these are extreme situations in the life of every person. And with the greatest completeness, the character of Bazarov is revealed during illness. We see what it really is. Bazarov is dying. The prophecies of Arkady about his great and glorious future did not come true. The author does not know what the future of his hero is, the time of the Bazarovs in Russia has not yet come.
In conclusion, it is necessary to note the loneliness of Bazarov. In the novel, he has neither supporters of his idea, nor like-minded people. It would seem that Arkady - his friend and comrade - should have taken this place next to Evgeny, but Arkady is the successor to the traditions of his father, Nikolai Petrovich Kirsanov. Kukshina and Sitnikov are caricature images, this is a parody of democratic revolutionaries. But Bazarov does not need anyone's sympathy. He just says what he thinks without hesitation, and does not pay attention to how others around him react to his words. "Bazarov's personality closes in on itself, because outside of it and around it there are almost no elements related to it at all." Turgenev in his work tried to portray the leading representative of his era, but in which many things did not suit the writer, with whom he largely disagreed. Thus, in "Fathers and Sons" Turgenev portrayed the conflict of the present with the past, characteristic of the sixties of the nineteenth century. The liberal nobles are losing their leading role in society, and a new social force is in the foreground - the diverse intelligentsia.
Bazarov belongs to the generation of "new people". He is a hero of his time. But this hero not only turned out to be misunderstood by society, not accepted by it, he was doomed to disappointment in his principles and, ultimately, to death. Is he to blame for this? Or is it a turning point, unstable, full of contradictions time? It is difficult to give a definite answer. People like him were needed by society. New ideas were also needed. And Eugene became the spokesman for these ideas. The only problem was that these ideas turned out to be wrong, the ideals collapsed. Bazarov is the central image of Turgenev's novel. All other characters are grouped around him, in relationships with him the essence of all the heroes of the work is revealed, only emphasizing his strength, mind, depth of judgment, will, character. "Bazarov still suppresses all the other faces of the novel," wrote the author of Fathers and Sons. Before us, the integrity and honesty of Bazarov, his intransigence towards nobility and slavery, his ability to be a leader and lead, his self-esteem, independence are revealed. But still, the main basis of the plot is the gradual increase in the loneliness of the young nihilist among the county aristocrats. What is the reason for this tragic loneliness? Eugene is a strong person, he is a purposeful, intelligent, strong-willed young man who firmly believes in his ideals. And his ideals are exact sciences and a logical approach to everything that happens on earth. But at the same time, he is very unhappy. Perhaps this is the lot of any outstanding, extraordinary person, an extraordinary personality who has not found a worthy application for his strength and knowledge. Of course, he has adherents and admirers. But their role is reduced mainly to parody and imitation of Bazarov's manners and behavior. And it is precisely these qualities that Eugene himself despises in people. He seeks to find a kindred spirit, a person who would sincerely share his views, believe in his ideals. But there are no such people around him. The hero's tragedy manifests itself not only in relationships with the people around him, not only in ideological disputes with aristocratic estates. The deepest conflict ripens in Bazarov's soul. In the depths of his soul, he is looking for love, but is incapable of a real serious feeling. The love that suddenly flared up in his heart seems to divide his soul into two parts that are in constant struggle. Now two opposite people begin to live in him: one is a convinced opponent of romantic feelings, a denier of the spiritual component of love; the other is a passionate and spiritualized nature, a person who has encountered the mystery of this high feeling: "He would easily cope with his blood, but something else infused into him, which he did not allow, which he always mocked, which outraged all his pride ". He suffers from the lack of ideals, but he cannot consciously approach their search, achieve stability and harmony in his own life. The "natural-science" convictions, dear to his mind, turn into a principle, which he, who denies any principles, now faithfully serves. He gradually begins to understand that life is much more complicated than what "physiologists" know about it. But he was sure that he knew the answers to any questions, that everything in life could be simply subordinated.
Essays on Literature: The Tragic Loneliness of Bazarov
My God! What a luxury "Fathers and Sons"! ..
Bazarov's disease is made so strong
That I got weak and it felt like
It's like I got infected by him.
A. P. Chekhov
In the image of Bazarov, I. S. Turgenev portrayed the type of a new person who was born in conditions of social conflict, the change of one system by another. This hero reflected all the positive and negative features of a representative of progressive youth, in him we see the triumph of the new, just emerging, over the old, leaving. However, in the image we also clearly see the tragedy of a man, Bazarov, who is not yet fully aware of all the mistakes and delusions of the new ideology.
Already from the first acquaintance with the hero, we see that this is a complex, largely contradictory nature. This outwardly self-confident person, in fact, is not so simple and unambiguous. An anxious and vulnerable heart beats in his chest. He is rather harsh in his judgments about poetry, love, philosophy. Bazarov denies all this, but there is some kind of ambivalence in his denial, as if he is not entirely sincere in his assessments. And closer to the end of the novel, we will see that it is so. The hero himself will understand and repent of his delusions, will reveal to himself his true nature.
In the meantime, we have before us a convinced nihilist who denies everything except exact science and verified facts. He does not accept art, considering it a painful perversion, nonsense, romanticism, rottenness. He sees the same romantic nonsense as the spiritual refinement of love feeling: “No, brother, all this is licentiousness and emptiness! he says. “We, physiologists, know what these relationships are…”. One-sided and, undoubtedly, erroneous is his view of nature as a workshop. Thus, this is how the worldview of Turgenev's hero appears: there is no love, but only a physiological attraction, there is no beauty in nature, but there is only an eternal cycle of chemical processes of a single substance. Denying a romantic attitude towards nature as a temple, Bazarov falls into slavery to the lower elemental forces of the natural "workshop". He envies the ant, which has the right "not to recognize the feeling of compassion, not like our brother, self-broken." In a bitter moment of life, he is inclined to regard even the feeling of compassion as a weakness denied by the natural laws of nature.
However, the truth of life is such that, in addition to physiological laws, there is the nature of a human, spiritualized feeling. And if a person wants to be a "worker", he must take into account the fact that nature at the highest levels is still a "temple".
We see how Bazarov's denial gradually comes up against the mighty forces of beauty and harmony, artistic fantasy, love, art. The hero cannot get away from them, he can no longer ignore their existence. His mundane view of love is debunked by the romantic story of Pavel Petrovich's love for Princess R. Neglect of art, dreaminess, and the beauty of nature collides with opposition to Nikolai Petrovich's reflections and dreams. Bazarov laughs at all this. But such is the law of life - "what you laugh at, you will serve." And the hero is destined to drink this cup to the bottom.
Tragic retribution comes to Bazarov through love for Odintsova. This feeling splits his soul into two halves. On the one hand, he remains a staunch opponent of romantic feelings, a denier of the spiritual nature of love. On the other hand, a spiritually loving person wakes up in him, faced with the true mystery of this high feeling: “He could easily cope with his blood, but something else infused into him, which he did not allow, over which he always mocked, which outraged all his pride. He is now beginning to realize that his service to the old principles turns out to be blind; that life is, in fact, much more complex than what physiologists know about it. The lessons of love led to grave consequences in the fate of the hero. His one-sided, vulgar materialistic outlook on life was wrecked. From their position, he could not solve the two main mysteries that arose before him: the riddle of his own soul, which turned out to be deeper and bottomless than he expected, and the riddle of the world around him. He was irresistibly drawn to the highest manifestations of life, to its secrets, to the starry sky above his head.
The tragic situation of Bazarov is further aggravated in the parental home, where his isolation and coldness is opposed by the enormous power of selfless, sincere parental love. And dreaminess, and poetry, and love for philosophy, and class pride - all that Bazarov saw as a manifestation of aristocratic idleness, appear before him in the life of his plebeian-0tZa. This means that both poetry and philosophy turn out to be an eternal property of human nature, an eternal attribute of culture. The hero can no longer run away from the questions surrounding him, not to break the living ties with the life that surrounds and wakes up in him. Hence its tragic end, in which something symbolic is seen: the bold "anatomist" and "physiologist" of Russian life is destroying
Himself at the autopsy of a man's corpse. And only death gives him a way out of tragic loneliness, it seems to redeem the erroneous one-sidedness of his life position.
Thus, Turgenev in his novel makes it clear that the tragedy of Bazarov is in the futility of his desire to suppress human aspirations in himself, in the doom of his attempts to oppose his mind to the spontaneous and powerful laws of life, the unstoppable force of feelings and passions.
Essay text:
In the novel Oҭtsy and children, the image of the new man Yevgeny Vasilyevich Bazarov turned out to be complex, contradictory, and, of course, very interesting. It cannot leave indifferent the reader of both the last century and our contemporary.
From the moment the novel was published, a sea of criticism fell upon the author and its protagonist, a fierce controversy unfolded around the image of Bazarov. Conservative circles of the nobility, horrified by his strength and power, feeling in him a threat to their way of life, hated the main character. But at the same time, Bazarov was not accepted in the revolutionary-democratic camp, to which he himself belonged. His image was considered a caricature of the younger generation.
In many ways, such an assessment of the protagonist is the merit of the author himself. I. S. Turgenev himself did not decide on his attitude towards Bazarov. On the one hand, he justifies and appreciates Bazarov, quite sincerely admiring his intelligence, firmness, ability to defend his ideals and achieve what he wants; endows this image with features that he does not possess. But, on the other hand, the reader feels (there is no direct indication of this in the text, but this slips by itself, against the will of the author) that Bazarov is alien to the author, incomprehensible Turgenev sincerely wants to force himself to love his hero, to catch fire with his idea, but to no avail. The author and his main character remain on different sides.
This is what prompts the thought of the monstrous loneliness of Bazarov. He is chinese, remarkably strong, but at the same time infinitely unhappy and lonely. Probably, this is the lot of any outstanding person. Yes, and Bazarov himself does not strive to please people, rather the opposite. According to his own remark, a real person is one about whom there is nothing to think about, but whom one must obey or hate.
His like-minded people, recognizing Bazarov as a strong personality, are only capable of worship and parody, not claiming more. And this is exactly what Bazarov despises in people. He is constantly looking for a person equal to himself in strength, and does not find him. The only one who dares to resist this stormy onslaught is Pavel Petrovich Kirsanov, but not at all because he is the same chitan, but because his principles, unlike those of Bazarov, which hang in the air and feed exclusively on the energy of their author, grow into century. Pavel Petrovich perceived these spiritual values, historical roots, way of life as a child. In his disputes with Bazarov, P.P. Kirsanov defends his past, his life, which he cannot think of any other, and this gives him strength in the fight with the chitan, who can only oppose himself, his powerful personality, in this fight. But despite the obviousness that Bazarov is wrong, his uncompromising struggle is admirable.
The author, as it were, constantly reminds the reader that Bazarov is not a monster, not an evil genius, but, above all, an unfortunate person, lonely and, despite all the strength of his mind and energy, defenseless against the simplest human feelings. In relations with Odintsova, his vulnerability is manifested. Subconsciously, Bazarov is looking for love, but real, high love is not available to him, because he is soulless and immoral. Odintsova, on the other hand, expects mature feelings from him, she needs serious love, and not fleeting passion. In her life there is no place for upheavals, without which Bazarov cannot imagine himself. He does not understand that stability is an indispensable condition for achieving spiritual and moral ideals. And these ideals are inaccessible to him (although he suffers from their absence, without realizing it), because, being a pragmatist, he must feel everything, touch it.
And ҭuҭ it turns out some vicious circle. Bazarov rushes about in this circle alone, desperate. He is contradictory to the point of absurdity. Bazarov denies romance, but by nature he is a novelist, he renounces his parents, the stupid life of his fathers, but he himself, in a fit of revelation, confesses to Arkady his love for them, he does everything, in his opinion, for the well-being of the motherland, but he himself asks the question: Does Russia need me? No, apparently not needed. It is terrible to feel in such a vicious circle of contradictions, and it is hard even for such a strong and independent personality as Bazarov. How terrible, dying, to realize the futility, meaninglessness, uselessness of the life lived. After all, nothing can be fixed. And Bazarov, in my opinion, is smart enough to realize his mistakes, even on his deathbed. He admits his powerlessness before death, which means that not everything can be overcome with the help of force. Bazarov returns to nature, which during his lifetime he perceived so materialistically (I will die, and burdock will grow out of me, nature is not a temple, but a workshop, and man is a worker in it). In the face of nature, in the face of the universe, even such a chitan as Bazarov seems like a miserable grain of sand. This is his tragic loneliness, he does not feel himself a part of this world, even after death the iron fence surrounding his grave separates him from the world. After death, he is still alone.
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