Bazarov is a commoner. Essay on the topic: Bazarov. Work: Fathers and Sons. The Bazarovs are capable of changing Russia

The image of Bazarov in the novel "Fathers and Sons" is unique for Russian literature. He draws the type of a Russian educated commoner, and this explains the phenomenal popularity of the work among young people at the end of the 19th century. Ivan Sergeevich Turgenev continued Pushkin's literary tradition of depicting "a hero of our time."

Modern aspect

The classic was perspicacious, creating an image that is relevant in our time. Russian society changed rapidly after the abolition of serfdom.
On the arena of public life, there were fundamentally different educated people, different from the nobility - commoners. There was a democratization of the state, distorted by the impermissibly prolonged legalized slavery. Is it surprising that the new people of the 19th century - commoners, being in the midst of a snobbish, sanctimonious environment, often chose the radical path of denying the hateful morality of nobles and aristocrats? How similar it is to modern informal guys!

Is Bazarov a man of the future?

Turgenev is undoubtedly an innovator, having introduced the image of Bazarov in the novel "Fathers and Sons". For a more complete, deep perception of this character, we will offer a literary analogy. For example, the novel by the Strugatsky brothers "Burdened by Evil". In it, the gods - the creators of the world - are convinced of their powerlessness: any deed started with a good purpose brings evil. Therefore, they transform the teacher Nosov Georgy Anatolyevich into a new Christ. How is he similar to Bazarov? The fact that both of them are carriers and guides of the future, sent to the present, misunderstood, untimely perished. However, figuratively speaking, their footprints in the sand are not lost, they remain, they are visible to others.

Character characteristics

How did the image of Bazarov appear in the novel "Fathers and Sons"? Its prototypes were already in classical Russian literature. For example, Dobrolyubov, a tragic critic in his personal life, expressed "the conscience of the people." However, the real prototype of Evgeny Bazarov, unfortunately, remained unknown. According to the recollections of Turgenev himself, he was a zemstvo doctor - a fellow traveler on a train trip, the conversation with whom literally shocked the writer.

Origin

The novel "Fathers and Sons" reveals the image of Bazarov in sufficient detail. This is a doctor in the second generation, his father is a regimental doctor Vasily Bazarov, his mother, Arina Vlasyevna, came from impoverished nobles, in whose possession about twenty souls remained (in fact, a farm). Having chosen his father's path in life, Eugene receives a university education. During his studies, this charismatic leader, fascinated by the theory of nihilism, made friends with his peer, the nobleman Arkady Nikolaevich Kirsanov. In the 19th century, friendly relations were expressed in mutual visits. The principle "my home is my fortress" in Russia then was not in honor, hospitality prevailed. Therefore, it was a natural step for the friendship of young people to invite Arkady to stay at his father's estate. Thus, the plot of the plot of the novel "Fathers and Sons" takes place.

The image of Bazarov is revealed during the hero's stay at the Kirsanovs' estate. Evgeny has an ideological conflict with a retired officer, a rather proud aristocrat Pavel Petrovich Kirsanov.

The student is morally superior to the aristocrat

The selfish and quick-tempered brother of the owner of the Maryino estate hates the young doctor, and when a formal reason arises (Bazarov innocently kisses Fenechka, Nikolai Petrovich's common-law wife), he challenges the young man to a duel. Moreover, he quite sincerely wants to kill him. Unlike his opponent, Eugene is generous. He, obviously, shooting accurately, with the precision of a physician, puts a bullet in the thigh of Pavel Petrovich, who missed. The aim of this shot is not to cause harm, but to leave a "mark in memory".

Turgenev, revealing the image of Bazarov, brings the reader to a paradoxical situation. The commoner-nihilist turns out to be higher and more spiritual than the nobleman who is fond of the arts. At the same time, it was during his stay in the Kirsanovs' estate that the tragedy of Bazarov's image manifests itself.

Bazarov and a hostile society

Turgenev exposes the contradiction of Russian reality: the majority of the economically active population of the country are peasants, and the socially active population is noblemen.
The young nihilist, to a greater extent than the aristocrats, understands the peasants and sympathizes with them. After all, he is genetically related to people who cultivate the land.

People like Bazarov seem to aristocrats to be troublemakers, because they carry a powerful charge of the need to serve the whole society. The nobles, on the other hand, prefer a one-way process: that the rabble (most people) serve them. This is an ideological conflict, and Bazarov, who is in it, cannot feel comfortable.

The tragedy of the image of Bazarov is also revealed in the story of the hero's love for the widow of Odintsova Anna Sergeevna. An educated local noblewoman lives on her estate Nikolskoye, where doctors Arkady Kirsanov and Yevgeny Bazarov come. Her beauty and mind shocked the nihilist, he begins to understand that love is higher than any denial of reality.

Anna Odintsova

Anna Bazarov was interested as a man, but the woman fears for her further spiritual comfort. The reader sees how in Anna's eyes the ugly, colorless at first glance appearance of Eugene with irregular features was transformed and filled with inner strength, conviction, self-confidence. The image of Yevgeny Bazarov is an example of a new generation who wants to change Russia. According to the classic, only love really serves both life and development.

Anna Odintsova, frankly, is afraid of the obsessive focus on the "service to society" of the young man. She is a woman of the noble mentality, unable to become a companion wife. Namely in such a companion (like Olga Ilyinskaya from the novel "Oblomov") the protagonist of the work needs.

At the same time, Arkady in Nikolskoye meets his future wife, Anna's sister, Katya. It's easier for them to get along, they are people of the same circle.

The Bazarovs are capable of changing Russia!

The image of Yevgeny Bazarov differs from all previous "heroes of the time" in Russian literature. The nihilist is competent in agriculture and home gardening, he knows how to make life more beautiful. Barely arriving in Maryino, the Kirsanovs' estate, Bazarov competently tells what and where to plant, how best to organize life. Moreover, yesterday's student is not just an advisor. He himself has golden hands - Bazarov is a master.

Eugene, without flirting with the courtyards, communicates with them in a rude folk manner. He speaks little, but to the point. For this, he gains the authority of a knowledgeable and efficient person among the servants. This is not a gentle Nikolai Petrovich, whom they love, but at whom they secretly laugh. This is not Pavel Petrovich, who is feared and not accepted (it is no coincidence that he leaves Russia after the duel). It is given to him to cope with people.

Turgenev leads to the idea that the bazarovs are capable of changing Russia! Although, according to everyday logic, Evgeny's real place is at the operating table.

Russia freed from serfdom

The fact that Russia in the 19th century was moving into the future along parallel lines with Europe is indicated by the following comparison. At the end of the 19th century, a huge country, potentially possessing enormous creative powers, rushed in pursuit of the progressive society of Western countries. The shackles of slavery no longer held her back.

The time has come for people - the conductors of progress. At the same time, it is characteristic that the image of Bazarov in the novel "Fathers and Sons" has something in common with the characters of classical European literature.

Evgeny Bazarov and Jen Eyre

The famous novel by Charlotte Brontë was published 14 years before Turgenev's. The general direction of the works is noteworthy, especially if we abstract from the gender differences of the main characters. Both authors present to the public not only the bearers of new social relations and new morality, but also people who are spiritualized, educated, and active. A powerful life-affirming aura is felt around them, which attracts the healthy forces of society.

The image of Bazarov in Turgenev's novel "Fathers and Sons" is similar to the image of Jen Eyre. Bazarov dies, having become infected during practical medical activities. Jen Eyre becomes the only consolation for an impoverished, blind, crippled nobleman, Mr. Rochester. However, despite the tragedy, the reader's conclusion is that these educated rebels, with their intellect, will eventually eradicate those generic privileges of feudal lords that discriminate against other people.

The novel "Fathers and Sons", according to the definition of the Nobel laureate Vladimir Nabokov, is "not only the best novel by Turgenev, but also one of the most brilliant works of the 19th century." The central place here is occupied by the long disputes between the young raznochin nihilist Yevgeny Bazarov and the aging aristocrat Pavel Petrovich Kirsanov. These heroes differ from each other in everything: age, social status, beliefs, appearance.
Let's start with the exterior. Here is a portrait of Bazarov: “tall in a long robe with tassels”; the face “is long and thin, with a wide forehead, a flat upward, pointed nose, large greenish eyes and hanging sandy sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence”; “Dark blond hair, long and thick, did not hide the large bulges of the spacious skull”; “Naked red” hand. This is a portrait of a man of undoubtedly intelligent, but plebeian origin and emphasizing his disregard for social norms.
And here is a portrait of Bazarov's main opponent: “a man of average height, dressed in a dark English suite, a fashionable low tie and patent leather ankle boots”; “He looked about forty-five years old; his cropped gray hair gleamed with a dark sheen like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light incisor, showed traces of remarkable beauty; especially good were the light, black, oblong eyes. The whole appearance ... graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties ”; Turgenev also notes "a beautiful hand with long pink nails, a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal." We see a portrait of an extraordinary person, but in relation to his own appearance - the complete opposite of Bazarov.
Senior Kirsanov is a person who is extremely concerned about his appearance, and who wants to look as young as possible. So befits a secular lion, an old heartthrob. Bazarov, on the other hand, does not care in the least about appearance. In the portrait of Pavel Petrovich, the writer emphasizes the correct features and strict order, the sophistication of the costume and the aspiration for ideal, unearthly materials. This hero will defend order against Bazarov's transformative pathos in the dispute. And everything in his appearance testifies to adherence to the norm. Even Pavel Petrovich's height is average, so to speak, normal, while Bazarov's tall height symbolizes his superiority over others. And Evgeny's facial features are markedly irregular, his hair is unkempt, instead of an expensive English suit he has some kind of strange hoodie, his hand is red, rough, while Kirsanov's is beautiful, “with long pink nails”. But Bazarov's wide forehead and bulging skull speak of intelligence and self-confidence. And Pavel Petrovich's face is bilious, while the increased attention to the toilet betrays a carefully hidden lack of confidence in his own abilities. We can say that this is Pushkin's Onegin, who has aged twenty years, living in a different era, in which this type of people will soon have no place.
The difference in appearance is a difference in the worldview, which manifests itself in the constant, for many reasons, arguments of the heroes. So, Bazarov asserts that "nature is not a temple, but a workshop, and a person is a worker in it." Evgeny is deeply convinced that the achievements of modern natural science in the future will allow solving all the problems of social life. Beauty - art, poetry - he denies as unnecessary, in love he sees only the physiological principle. Bazarov "treats everything from a critical point of view", "does not accept a single principle on faith, no matter how respect this principle may be surrounded." Pavel Petrovich proclaims that “aristocracy is a principle, and only immoral or empty people can live without principles in our time” (even the word “principle” is pronounced by the hero “in the French manner”). However, the impression of this inspired ode to principles is noticeably weakened by the fact that Bazarov's opponent puts in the first place the “principle” of aristocracy that is closest to himself. Pavel Petrovich, brought up in an atmosphere of a comfortable estate existence and accustomed to the Petersburg secular society, does not accidentally put poetry, music, love in the first place. He never in his life was engaged in any practical activity, except for a short and easy service in the Guards regiment, he was never interested in the natural sciences and did not know much about them. Bazarov, the son of a poor military doctor, from childhood accustomed to work and not to idleness, graduated from the university, fond of natural sciences, very little in his short life dealt with poetry or music, maybe he didn’t really read Pushkin. Hence the harsh and unfair judgment of Evgeny Vasilyevich about the great Russian poet: “... he must have served in military service ... he has it on every page: for battle, for battle! for the honor of Russia! "
Bazarov also does not have such experience in love as Pavel Petrovich, therefore he is inclined to treat this feeling too simplistically. The elder Kirsanov already had a chance to experience love suffering, it was the unsuccessful romance with Princess R. that prompted him to settle in the village with his brother for many years, and the death of his beloved further aggravated his state of mind. Bazarov has love agony - an equally unsuccessful romance with Anna Sergeevna Odintsova - is still ahead. That is why at the beginning of the novel he so confidently reduces love to certain physiological relationships, and calls the spiritual in love romantic nonsense. Bazarov is a down-to-earth realist, and Pavel Petrovich is a romantic, focused on the cultural values ​​of romanticism of the first third of the 19th century, on the cult of beauty. And he, of course, is jarred by Bazarov's statements about the fact that "a decent chemist is twenty times more useful than any poet" or that "Raphael is not worth a dime." Here Turgenev certainly disagrees with Bazarov's point of view. However, he does not give Pavel Petrovich victory on this point of the dispute either. The trouble is that the refined aristocrat-Anglomaniac does not have not only the abilities of Raphael, but generally no creative abilities. His discourses on art and poetry, as well as on society, are empty and trivial, often comical. Pavel Petrovich cannot be a worthy opponent to Bazarov. And when they part, Turgenev sums up: Kirsanov "was a dead man." Obviously, arguments with a nihilist somehow justified the meaning of his existence, whether the thoughts wake up. Now Pavel Petrovich is doomed to a stagnant existence. This is how we see him abroad in the novel's finale.
The victory of the commoner Bazarov over the aristocrat Kirsanov fully corresponded to Turgenev's plan. In 1862, in one of his letters about Fathers and Children, the writer emphasized that “my whole story is directed against the nobility as an advanced class ... cream is bad, what is milk? .. if the reader does not love Bazarov with all his rudeness, heartlessness, pitiless dryness and harshness - if he does not love, I repeat, - I am guilty and did not achieve my goal. But, in his words, I didn’t want to get “fluffed up,” although through this I would probably immediately have young people on my side. I didn't want to buy off the popularity of this kind of concessions. Better to lose the battle ... than win it with a ruse. I dreamed of a gloomy, wild, big figure, half grown out of the soil, strong, vicious, honest - and yet doomed to perish - because she still stands on the threshold of the future ... ”Turgenev himself was a representative of the same generations as Pavel Petrovich, but of the heroes of his novel he felt the greatest sympathy for the young nihilist Bazarov, seeing it as life-giving forces capable of changing Russia. And in the dispute with Kirsanov, Bazarov, according to the conviction of the writer, and indeed any thoughtful reader, is right in his main positions: the need to question the established dogmas, work tirelessly for the good of society, and be critical of the surrounding reality.

ANSWER PLAN

1. The socio-political situation of the creation of the novel "Fathers and Sons".

2. I. S. Turgenev about his hero.

3. Bazarov - "new man": democracy; harsh life school; “I want to work”: passion for natural sciences; the humanism of the hero; self-esteem.

4. Nihilism of Bazarov.

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

7. The death and worldview of Bazarov is the main meaning of the ending.

1. The novel "Fathers and Sons" was written by IS Turgenev during the revolutionary situation in Russia (1859-1862) and the abolition of serfdom. The writer revealed in the novel a turning point in the public consciousness of Russia, when noble liberalism was supplanted by revolutionary democratic thought. This demarcation of society was reflected in the novel in the person of Bazarov, a common democrat ("children") and the Kirsanov brothers, the best of the liberal nobles ("fathers").

2. Turgenev himself perceived the image he created dually. He wrote to A. A. Fet: “Did I want to curse Bazarov or extol him? I don't know this myself, because I don't know if I love him or hate him! " And in a note on Fathers and Children, Turgenev writes: "Bazarov is my favorite child ... This is the cutest of all my figures."

3. The personality of Bazarov, the spokesman for the ideas of revolutionary democracy, interests Turgenev, because he is a hero of the time, who has absorbed the distinctive features of the era of social change. Turgenev emphasizes democracy in Bazarov, manifested in the noble habit of work, which is developed from childhood. On the one hand, there is an example of parents, on the other, a harsh school of life, studying at the university for a pittance. This feature favorably distinguishes him from the Kirsanovs and for Bazarov is the main criterion for assessing a person. The Kirsanovs are the best of the nobility, but they do nothing, they do not know how to get down to business. Nikolai Petrovich plays the cello, reads Pushkin. Pavel Petrovich carefully monitors his appearance, changes clothes for breakfast, lunch, dinner. Arriving at his father, Bazarov says: "I want to work." And Turgenev is constantly. emphasizes that "work fever" is characteristic of the active nature of the hero. A trait of the generation of Democrats in the 1960s is their fascination with the natural sciences. After graduating from the Faculty of Medicine, Bazarov, instead of rest, "cuts frogs", preparing himself for scientific activity. Bazarov does not confine himself only to those sciences that are directly related to medicine, but reveals extensive knowledge in botany, agricultural technology, and geology. Realizing the limitations of his capabilities due to the deplorable state of medicine in Russia, Bazarov nevertheless never refuses to help those in need, regardless of his busyness: he treats both Fenichka's son and the peasants of the surrounding villages, helps his father. And even his death was due to infection during autopsy. Bazarov's humanism is manifested in his desire to benefit the people, Russia.

Bazarov is a man with a great sense of his own dignity, in no way inferior to the aristocrats in this respect, and in some ways even surpasses them. In the story of the duel, Bazarov showed not only common sense and intelligence, but nobility and fearlessness, even the ability to ironic over himself at the moment of mortal danger. His nobility was even appreciated by Pavel Petrovich: "You acted nobly ..." But there are things that Turgenev denies in his hero - this is Bazarov's nihilism in relation to nature, music, literature, painting, love - everything that makes up the poetry of life that elevates a person. Everything that is devoid of a materialistic explanation, Bazarov denies.

He considers the entire political system of Russia to be rotten, therefore he denies "everything": autocracy, serfdom, religion - and what is generated by the "ugly state of society": popular poverty, lawlessness, darkness, ignorance, patriarchal antiquity, family. However, Bazarov does not put forward a positive program. When P. P. Kirsanov says to him: "... You are destroying everything ... But you have to build, too," Bazarov replies: "This is no longer our business ... First you need to clear the place."

4. When Bazarov condemns exaggerated, abstract "principles" with mockery, he wins. And the author shares his position. But when Bazarov enters the sphere of refined experiences that he never accepted, not a trace of his confidence remains. The harder it is for Bazarov, the more palpable the author's empathy for him.

5. The love for Madame Odintsova expressed Bazarov's ability to have a strong feeling and respect for a woman, her mind and character - after all, he shared his most cherished thoughts with Madame Odintsova, filling his feeling with reasonable content.

Turgenev reflects the hero's deep psychological experiences, their passionate intensity, integrity and strength. In a love conflict, Bazarov looks like a big person. Rejected, he wins a moral victory over the selfish woman, but his feelings for her and the breakup are tragic for Bazarov. Love for Odintsova helped Bazarov to reconsider his views, to rethink his beliefs. He has a new psychological attitude: isolation, self-absorption, gravitation towards problems that were previously alien to him. With pain Bazarov speaks about the brevity of human existence: "The narrow place that I occupy is so tiny in comparison with the main space ... and the part of the time that I manage to live is so insignificant before eternity ..." A complex revaluation of values ​​sets in. For the first time, Bazarov loses faith in his future, but does not give up his aspirations and opposes reassurance. Endless Russia with its dark, dirty villages becomes the subject of his close attention. But he never acquires the ability to "talk about the affairs and needs" of the peasants and only helps the village population in his father's medicinal practice. V The greatness of Bazarov Turgenev showed during his illness, in the face of death. In the speech of a dying person, there is pain from the consciousness of a near inevitable end. Each remark addressed to Madame Madame Odintsova is a clot of spiritual suffering: “Look, what an ugly sight: a half-crushed worm,” and still bristles. And after all, I also thought: I will break off my grandfather a lot, I will not die, where! there is a task, because I am a giant! .. Russia needs me ... No, apparently, it is not needed. And who is needed? " Knowing that he is going to die, he consoles his parents, shows sensitivity to his mother, hiding the danger threatening him from her, turns to Madame Madame Odintsova to take care of the elderly: “After all, people like them cannot be found in your big light in the daytime with fire. .. "The courage and steadfastness of his materialistic and atheistic views were manifested in the refusal of confession, when, yielding to the prayers of his parents, he agreed to take the sacrament, but only in an unconscious state, when a person is not responsible for his actions. Pisarev noted that in the face of death "Bazarov becomes better, more humane, which is proof of the integrity, completeness and natural wealth of nature." Not having had time to realize himself in life, Bazarov only in the face of death gets rid of his intolerance and for the first time truly feels that real life is much broader and more diverse than his ideas about it. This is the main meaning of the ending. Turgenev himself wrote about this:

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - still doomed to perish - because she still stands on the threshold of the future.”

ADDITIONAL QUESTIONS

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

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

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

ANSWER PLAN

1. The socio-political situation in Russia in the 60s.

2. Conflict of irreconcilable worldviews:

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

b) Evgeny Bazarov is a commoner-democrat.

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

4. Spiritual loneliness of Bazarov.

5. Reimagining life by Bazarov.

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

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

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

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

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

b) Pavel Petrovich is opposed to the main character of the novel - a commoner-democrat Yevgeny Bazarov. If Pavel Petrovich says about himself: “We are people of the old age ... we cannot take a step without principles, we cannot die,” then Bazarov will say about himself: “We act by virtue of what we recognize as useful ... , - we deny. " According to Bazarov's convictions, he is a nihilist, that is, "a person who does not bow before any authorities, who does not accept a single principle on faith," - this is how Arkady speaks of nihilism under the influence of Bazarov. Bazarov's political views boil down to a sharp criticism of the current situation in the country. He soberly judges people as creatures combining mental and physical needs, and explains moral differences by the "ugly state of society": "Fix society, and there will be no diseases." In his judgments, one can feel a bold thought, harmonious logic.

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

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

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

The old men Bazarovs also do not understand their son. Life is rapidly moving forward, and between them and their son an abyss inevitably arises. Vasily Ivanovich, Bazarov's father, realizes this and bows his head before the youth: “Of course, you, gentlemen, know better; where can we keep up with you? You have come to replace us ”.

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

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

ADDITIONAL QUESTIONS

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

2. In what way was the clash of temporal and eternal ideals manifested in the novel?

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

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

ANSWER PLAN

1. A word about the poet.

2. The theme of poet and poetry.

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

4. Landscape lyrics.

5. Love lyrics.

6. Conclusion.

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

Poet and poetry theme

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

Blasphemy persecutes him:

He catches the sounds of approval

Not in the sweet murmur of praise,

And in the wild screams of anger.

…………………………………..

They curse him from all sides,

And, just seeing his corpse,

How much he did, they will understand

And how he loved - hating!

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

The son cannot look calmly

On the mother's grief, dear.

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

It's time to get up! You know yourself

What time has come;

In whom the sense of duty has not cooled down,

Who is incorruptibly straight with his heart,

In whom is the gift, strength,

accuracy,

Tom should not sleep now ...

………………………………………..

Wake up: smash the vices boldly ...

………………………………………..

It's not time to play chess

It's not time to sing a song!

………………………………………..

Be a citizen! Serve art

Live for the good of your neighbor

Submitting your genius to feeling

All-embracing love ...

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

You may not be a poet

But you must be a citizen.

And what is a citizen?

A worthy son of the Fatherland.

………………………………………..

He wears on his body like his own

All the ulcers of their homeland.

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

Yesterday, at six o'clock,

I went to Haymarket;

There they beat a woman with a whip,

Young peasant woman

Not a sound from her chest

Only the whistle whistled, playing ...

And I said to Muse: “Look!

Your dear sister! "

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

Through the abyss of dark Violence and Evil,

Labor and Hunger, she led me -

She taught me how to feel my suffering

And she blessed the light to announce them ...

At the end of his life, the poet, addressing his Muse, says:

O Muse! our song is sung.

Come close your poet's eyes

To the eternal sleep of nothingness,

Sister of the people - and mine!

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

Nature hears me

But the one about whom I sing in the evening silence,

To whom are the poet's dreams dedicated -

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

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

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

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

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