Bazarov's prototypes are their scientific and social activities. Character history

23.06.2020

I.S. Turgenev created his novel after the abolition of serfdom in 1861, during a time of chaos and confusion. In his works he reflected reality and reflected it authentically. All of Turgenev's works are a chronicle of Russian life, which conveyed the social reality of that time. He wrote his novel from August 6, 1860 to July 30, 1861; the main problem of the novel lies in the socio-political situation in Russia, or more precisely in the split between liberals and democratic revolutionaries. At this time, a fashionable nihilistic movement appears in Russia, of which the main character Bazarov is an adherent. Although the author himself was a liberal and had a well-known noble origin. The image of Bazarov is a collective one, his main prototype is a provincial zemstvo doctor who treated peasants for free and enjoyed their respect, Viktor Yakushkin. He was Turgenev's neighbor, he was considered an atheist and a troublemaker, but the writer saw in him the image of a new man. In 1872, Yakushkin died of tuberculosis, leaving his mark on history.

As I already said, the novel contains a confrontation between generations and opinions; the main antagonists are Pavel Petrovich Kirsanov and Evgeny Vasilyevich Bazarov. Their confrontation lies in everything, including in the description of their appearance.

The description of Bazarov is given to us dryly, perhaps in order to show his indifference to what is happening, the author does not use any lyrical epithets, Turgenev himself said: “I wanted to make a tragic face out of him, there was no time for tenderness.” We also see in the description of his appearance: “A tall man in a long robe with tassels, his naked red hand, which he did not immediately offer, a lazy but courageous voice. A long and thin face, with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and drooping sand-colored sideburns, it was enlivened by a calm smile and expressed self-confidence and intelligence. Thin lips, dark blond hair, long and thick, did not hide the large bulges of a spacious skull.”

From the description of his clothes, it immediately becomes clear that before us is a man indifferent to his appearance; he is much more concerned about the state of his soul and mind, and not about excessive panache. This description of Bazarov’s appearance is given to us at the very beginning, in the second chapter, and we, without knowing this hero, can form a first impression of him from his portrait. He is calm, smart, self-confident, he does not care about the opinions of other people. If I had lived at the time of writing this novel, I would have easily recognized him as a representative of the fashionable, nihilistic movement at that time. And although many believe that Bazarov does not care about his appearance, one can argue with this. He said that nihilists deny everything, but there is a stereotype of what a nihilist himself should look like, and Bazarov’s appearance confirms this stereotype! His spacious skull indicates the presence of high intelligence, and indeed he is studying at the Faculty of Medicine, is engaged in natural sciences and is going to become a doctor, in addition to this, he is also a comprehensively developed person. I would like to pay special attention to the description of his hand, naked and red, it speaks of the great love for work that was characteristic of Bazarov, the description of hands plays a significant role in this novel and we will meet more than once. The portrait of Bazarov is a portrait of a typical nihilist of that time, but at the same time we immediately notice a spiritual spark in him, which is revealed to us only as his death approaches. Now let's talk about his antagonist, Pavel Petrovich. The complete opposite of Bazarov, in everything: “A man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if carved with a thin and light chisel, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties. Pavel Petrovich took his beautiful hand with long pink nails from the pocket of his trousers, a hand that seemed even more beautiful from the snowy whiteness of the sleeve fastened with a single large opal, and handed it to his nephew. Having previously made a European handshake, he kissed him three times in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.” “He had beautiful white teeth, a flexible figure.” In my opinion, it’s quite strange to take such care of yourself while living in the village with your brother, but we learn that most of his life was spent in the city, Bazarov spoke about this: “ What panache in the village, just think! Nails, nails, at least send them to the exhibition!” Unlike Bazarov, Pavel Petrovich puts appearance in first place and considers it the main criterion of a person’s wealth. The author gives us a detailed description of his clothes, but does not mention his inner world, the state of his soul. This immediately suggests that he is an ostentatious person who is not spiritually developed, and puts external qualities above internal ones. When he first saw Bazarov, he did not shake his hand upon meeting him, probably deciding that Bazarov’s appearance was too meager for such honor. He was very fond of fashionable England and dressed like the British, and in the novel he supported the liberal-minded English and often entered into disputes with Bazarov. His hand with long nails suggests that, unlike Bazarov, he did not like work, but he took care of himself and looked after himself. Our next hero is Arkady, Bazarov’s friend, the son of Nikolai Petrovich and the nephew of Pavel Petrovich. It is interesting that, unlike the other heroes, an exact description of his appearance is not found in the novel, although a lot is mentioned about his character. Perhaps the author wanted to show that Arkady’s appearance does not make much sense, and no matter how he looks, he will remain his father’s son, who came to his native estate and partly repeated the fate of Nikolai Petrovich. Now let’s remember Nikolai Petrovich Kirsanov. Not much is said about his appearance either, it is only said, “We see him in May 1859, already completely gray-haired, plump and slightly hunched over. But this is a typical portrait of a man at his age. I believe that in this case the author did not give any specifics for two reasons: 1) Nikolai Petrovich was an honest and open person who did not hide anything and did everything according to his conscience; 2) his fate is really typical, he has two children, a wife, married his eldest son and looks after the household. He was a kind, romantic, sincere person. A parody of Bazarov is Sitnikov, but we will also consider him as the hero of this work in order to better understand Bazarov’s character: “A short man, in a Slavophile Hungarian dress. An anxious and dull expression was evident in the small, however pleasant, features of his sleek face; his small, as if gouged out eyes looked intently and restlessly, and he laughed restlessly: with some kind of short wooden laugh.” His stupidity in the portrait is evident in his eyes. The author describes Sitnikov with irony, with laughter; he is a man of small intelligence who was a student of Bazarov. Kukshin is also a parody of nihilists. “Young, blond, disheveled, in a silk dress that was not entirely neat, the expression on her face had an unpleasant effect on the viewer.” The most suitable term to describe her is disheveled, even clumsy. Her dirty dress shows that she doesn't take care of herself, which is unacceptable for a young girl. Sitnikov and Kukshina are precisely parodies of nihilists, because they will never reach the level of Bazarov and they will never be able to renounce authority; they even tried to imitate Bazarov and praise him, what an authority! The next image is Anna Odintsova: “Duchess, sovereign individual. A tall woman in a black dress, she struck him with the dignity of her posture. Her bare arms lay beautifully along her slender figure; light fuchsia branches fell beautifully from shiny hair onto sloping shoulders; calmly and intelligently, precisely calmly, and not thoughtfully, the bright eyes looked from under the overhanging white forehead, and the lips smiled with a barely noticeable smile. Some kind of gentle and soft power wafted from her face!” Undoubtedly, this is a very beautiful girl, proud and free, this is reflected in her posture, which she always holds straight. Having managed to see a lot in life, Odintsova wanted to find protection and tranquility in her chosen one, which Bazarov did not correspond to, so they were not together. Bazarov said: “Look, how she froze herself!” She is in this state throughout the entire novel, even when describing her beauty, the author did not decorate this passage with beautiful epithets, he left it cold, like her. Now let’s remember about Fenechka. “The hand is white as milk. She was sitting on a bench, throwing a white scarf over her head, and next to her lay a bunch of red and white roses, still wet with dew. A young woman of about twenty-three, all white and soft, with dark hair and eyes, with red, childish, plump hands. She was wearing a neat chintz dress.” The portrait of Fenichka is natural; while describing her, the author simultaneously described the nature around her, without conflicting with the portrait, because of her naturalness and ingenuousness. Her hands look like a child’s, this speaks of the purity of her thoughts, of unspoiledness. She always dressed neatly, this speaks of her thriftiness and ambition. The author is very sympathetic to Fenechka, a simple Russian girl! And now we need to remember Katya, Odintsova’s sister: “She looked somehow funny and stern, from bottom to top. Everything about her was still young and green: her voice, the fluff all over her face, and her pink hands with whitish circles on her palms.” The author treats Katya well, she loves nature and helps people, and this is a very valuable quality. When he describes her, he tries to add something about nature, animals, often talks about the dog Fifi, in order to show how close it all is to her! The novel devotes space to the story of two servants: Peter and Prokofich, they are parodies on their masters: Pavel Petrovich and Nikolai Petrovich. Peter: “a servant in whom everything, the turquoise earring in his ear, the pomaded multi-colored hair, and the polite movements, everything exposed a modern man.” This is a parody of Pavel Petrovich; his description also highlights his appearance, but nothing is said about his character. Prokofich: “a man of about sixty, white-haired, thin and dark, in a brown tailcoat. He grinned when he saw Arkady, but immediately frowned his thick eyebrows.” This is a parody of Nikolai Petrovich, this is also a gray-haired man of age who also loves Arkady and also missed him. Conclusions: with the help of a portrait we can find out in advance the main features of the heroes, we can find out how the author treats them, who he is above laughs, and whom he respects. We can find out more characteristics of the main character, we can understand the characters’ relationships to each other and form our own attitude towards them! Therefore, the texts should contain portraits of heroes, as in the great novel of the great writer - “Fathers and Sons”.

"Fathers and Sons" (1862). Evgeny Bazarov is in many ways a programmatic image of Turgenev. This is a representative of the new, mixed-democratic intelligentsia. Bazarov calls himself a nihilist: he denies the foundations of his contemporary social order, opposes admiration for any authorities, rejects principles taken for granted, does not understand admiration for art and the beauty of nature, and explains the feeling of love from the point of view of physiology. Bazarov's complex of beliefs is not an artistic exaggeration; the characteristic features of representatives of the democratic youth of the 60s are reflected in the image of the hero. In this context, the question of the prototype of Turgenev’s hero is important. Turgenev himself, in the article “About “Fathers and Sons”” (1869), calls the prototype of Bazarov a certain Doctor D., a young provincial doctor who represented a new type of Russian person for the writer. Modern researcher N. Chernov refutes the traditional hypothesis that Doctor D. is the district doctor Dmitriev, a casual acquaintance of Turgenev. According to Chernov, the prototype of Bazarov was Turgenev’s neighbor on the estate V.I. Yakushkin, doctor and researcher, democrat, associated with revolutionary organizations of the time. But the image of Bazarov is a collective one, so its probable prototypes include those public figures whom Turgenev considered “true deniers”: Bakunin, Herzen, Dobrolyubov, Speshnev and Belinsky. The novel “Fathers and Sons” is dedicated to the memory of the latter. The complexity and inconsistency of Bazarov’s views does not allow us to recognize any specific person as the source of the image: only Belinsky or only Dobrolyubov.
The author's attitude towards Bazarov is ambiguous. Turgenev's position manifests itself gradually, as the image itself is revealed, in the hero's monologues, his disputes with other characters: with his friend Arkady Kirsanov, with his father and uncle Pavel Petrovich. At first, Bazarov is confident in his abilities, in the work he is doing; he is a proud, purposeful person, a bold experimenter and a denier. Under the influence of various reasons, his views undergo significant changes; Turgenev confronts his hero with serious life trials, as a result of which Bazarov has to give up a number of beliefs. It displays traits of skepticism and pessimism. One of these tests is the hero’s love for Anna Sergeevna Odintsova. The commoner Bazarov feels awkward in front of the aristocrat Odintsova; he gradually discovers within himself a feeling whose existence he previously denied.
Turgenev's hero suffers defeat in love. Ultimately, he is left alone, his spirit is almost broken, but even then Bazarov does not want to open himself to simple, natural feelings. He is cruel and demanding of his parents, as well as of everyone around him. Only in the face of death does Bazarov begin to vaguely understand the value of such manifestations of life as poetry, love, beauty.
An important means of creating the image of Bazarov is speech characterization. Bazarov speaks clearly and logically, his speech is characterized by aphorism. His expressions became his catchphrases: “A decent chemist is twenty times more useful than any poet”; “You study the anatomy of the eye: where does this mysterious look come from?”; “Nature is not a temple, but a workshop, and man is a worker in it”; “People are like trees in a forest, not a single botanist will study each individual birch tree.”
The complex and contradictory image of Bazarov caused controversy in criticism that continues to this day. After the release of the novel, even in democratic magazines, disagreements arose regarding the interpretation of the image of Bazarov. M.A. spoke on behalf of Sovremennik. Antonovich. In his articles “Asmodeus of Our Time”, “Mistakes”, “Modern Novels”, he interpreted the image of the hero as a caricature of modern youth in the guise of a glutton, talker and cynic. The exact opposite assessment was given in his works by D.I. Pisarev. In the article “Bazarov” the critic reveals the historical significance of this type. Pisarev believed that Russia at this stage needs precisely people like Bazarov: they are critical of everything that has not been verified by their personal experience, are accustomed to relying only on themselves, and have both knowledge and will. A similar controversy unfolded in the 50s and 60s. of our century. Antonovich’s point of view was supported by researcher V.A. Arkhipov (“On the creative history of I.S. Turgenev’s novel “Fathers and Sons””). The image of Bazarov was repeatedly embodied on stage and on screen. However, dramatizations and film adaptations, performed too academically, remained within the textbook reading of this image.

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Composition

Every writer strives to reflect in his works the “spirit and pressure of the time”, to create a bright and memorable type of hero of his era. Therefore, the images of Chatsky, Onegin, Pechorin became the artistic embodiment of the most characteristic features and ideas of people of the first half of the 19th century. I. S. Turgenev persistently searched for his hero, in whom the century would be “reflected,” always reacting very sensitively to the slightest changes in public life. And the reality of the early 60s gave the writer abundant material to create the image of a “new man,” a commoner, a democrat, a nihilist. Turgenev collaborated with people of this type in the editorial office of the Sovremennik magazine. He knew atheists and materialists who were distinguished by their directness and harshness of judgment, were fond of the natural sciences, and denied the cultural heritage of the past. In terms of the novel "Fathers and Sons" Turgenev even names three prototypes of his future hero Dobrolyubov, Pavlov and Preobrazhensky, representatives of the new raznochinsky intelligentsia.

The nobleman-aristocrat Turgenev did not share their views, but tried to understand them. The writer embodied his idea of revolutionary democrats in the image of the main character Yevgeny Bazarov. The author's attitude towards the hero was complex. He certainly appreciated many of his qualities: independent mind, honesty, hard work, democracy, willpower. No wonder he wrote about his hero that he “suppresses the other characters in the novel.” Indeed, when you read Turgenev’s novel, you perceive Bazarov as a conqueror who triumphs over his “fathers.” But having carefully read Bazarov’s disputes with Pavel Petrovich Kirsanov, you find in his statements many contradictions, commonplaces and frankly ridiculous statements like “Raphael is not worth a penny.” As Pisarev puts it, “Bazarov is lying,” that is, he denies things that he does not know or does not understand, poetry, music, art, love. Having endowed his hero with a sharp critical mind, Turgenev deprives him of his breadth of horizons. Its development is one-sided. Bazarov recognizes only natural sciences, which, in his opinion, quite clearly and clearly explain all life phenomena. For example, the hero reduces love to a natural physiological need. Art is denied because it is useless. Thus, Bazarov narrows to the limit all the diversity, beauty and charm of life, in which there is no place for emotions, enjoyment of the beauty of nature, poetry, music. That is, he impoverishes life with his practical rationalism. This is where the author disagrees with his hero. He considers unacceptable such aspects of Bazarov’s worldview as rationality, lack of understanding of the huge role of feelings in human life, and a negative attitude towards art.

The question of how Turgenev relates to his heroes and their ideas was very interesting for Pisarev in his article “Bazarov”. In my opinion, he very accurately noted that the author is not satisfied with either fathers or children. Although Turgenev does not like merciless denial, the personality of the denier himself became the strongest and brightest in the novel, inspiring the reader with involuntary respect. Indeed, none of the heroes “can compare with Bazarov either in strength of mind or strength of character.” However, wanting to show the inconsistency of the hero’s views, Turgenev transfers him to new conditions, forcing him to endure the test of love. A situation arises in which Bazarov is forced to act in complete contradiction to his views. An arrogant nihilist who denies love is obsessed with a passion for a beautiful, intelligent, cold woman who is completely alien to him both in social status and worldview. The first meeting with Anna Sergeevna Odintsova makes a strong impression on Evgeny, which he tries to destroy with cynical remarks about her. But love turns out to be stronger than his rationalism and nihilism. She remains with Bazarov until his death. The image of his beloved woman turns out to be the last one he sees in earthly life. This means that the hero is wrong in his denial. Life is much more complex and multifaceted than he imagined. She remains a mystery to him, a mystery just like his own soul.

In the episode of Bazarov's death, Turgenev shows his hero as a persistent, strong man, capable of feeling love, beauty, and pity. He courageously resists the disease to the last, trying to spare the grief-stricken old people. Bazarov here seems to be cleansing himself of everything superfluous, getting rid of his self-confidence, swagger, callousness, and nihilism. He appears at the end of the novel as a titanic personality who was unable to realize his enormous powers. Here Turgenev pays fair respect to his hero.

Why does the author “kill” his hero by making him die from an accidental cut on his finger? Probably because he has no one to love, no one to be friends with, because everything around him is petty and vulgar. That is why his remarkable strength is wasted on a verbal spat with Pavel Petrovich and on experiments with frogs. One gets the impression that Turgenev’s hero is infinitely lonely, reminiscent of Gulliver in the land of Lilliputians. Pisarev was right when he said that he “has nowhere to turn, nothing to breathe, nowhere to put his gigantic strength.” Therefore, death becomes a test in which Bazarov’s best qualities must be revealed. And the hero endures it with dignity, inspiring deep respect and admiration. But at the same time, you also feel a feeling of regret because the life of this strong, bright and gifted personality passed so fruitlessly due to the narrowness and one-sidedness of nihilistic theories.

The image of Bazarov is still perceived as a warning to those who understand the new as a complete negation and destruction of the old, unable to carefully treat the spiritual heritage of the past, violating the natural continuity of generations. After all, a plant without roots is not viable.

The beginning of the sixties of the 19th century. A difficult, transitional era for Russia. This was a turning point period, marked by the emergence of a new type of people - commoners. They had no means of subsistence and were forced to get an education and then earn a living with their knowledge. The commoners, as a rule, went into the natural sciences and were carried away by materialism, and in its lowest, vulgar manifestation. Bazarov in “Fathers and Sons” is one of the representatives of the nihilists of the sixties. I. S. Turgenev does not accept his views, he proves

The falsity of his theory.
Bazarov is a convinced nihilist. And, as it turns out, this is not a tribute to a new fashion trend. The hero fully believes in his theory. Having carefully thought through and felt his ideas, he brings them to life. So who is a nihilist? The best definition is given by Arkady, a student of Eugene: “A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith.” But the formation of a new ideology could not do without extremes. Bazarov believes that only natural sciences can lead to progress. That's why he studies mainly chemistry, physics, and biology. Conducts experiments with frogs, observes amoebas, collects samples of flora and fauna. But that's where his interests end. The hero thinks that art and other manifestations of spirituality in people's lives slow down progress. This, in fact, distinguishes him from true materialists, who affirm the primacy of matter and the secondary nature of consciousness. Consider, for example, Bazarov’s reasoning that “Raphael is not worth a penny,” and “a decent chemist is twenty times more useful than any poet.” The hero's ignorance does not stop there. Bazarov cannot understand the great Russian poet A.S. Pushkin. He even goes so far as to insult him and laugh at his poetry. The nihilist makes fun of Nikolai Petrovich Kirsanov’s passions for playing the violin and reading poetry in every possible way. The life of such people, in Bazarov’s understanding, is useless to society. He also denies love and romanticism. During a conversation with Arkady, the “materialist scientist” mocks his friend’s speeches about “mysterious glances” and advises him to better study the anatomy of the eye.
In past decades, the younger generation recognized their character traits in the Onegins, Pechorins, Rudins and Chatskys. The Pechorins had will without knowledge, the Rudins had knowledge without will. “The bazaars have both knowledge and will, thought and deed merge into one solid whole.” Indeed, Bazarov is a man of life, a man of action. He spends his days working and studying. Even his hands are red from work, Turgenev emphasizes. Bazarov cannot live without regularly giving his brain work and benefiting from it. So, when Arkady is a guest, he spends all his time in his laboratory behind a microscope. Of course, such energetic people could make a great contribution to the development of science.
Bazarov is the son of a district doctor who has two dozen souls. Therefore, the hero has little means of subsistence. The grace of life is alien to him. Finding himself in the company of the sophisticated aristocrat Pavel Petrovich Kirsanov, Bazarov never ceases to tease him. The hero never tires of making fun of his collars, perfume, and English clothes. Hatred for the “damned barchuks” is in Evgeniy’s blood. But it is mutual and soon results in a heated argument. Some of Bazarov's wild ideas come to light. Yes, the hero denies everything, refutes everything, strives to destroy everything. But what does he want to build instead? Nothing. As the hero says, his task is only to clear the place. And creating something new is no longer his concern. What a resemblance to barbarians! Destroying Rome was all they could do.
But Bazarov's ideas are not viable. His theory confuses him, he becomes its slave. The hero, who denies all feelings, suddenly falls in love. The passion that gripped him makes a hole in his theory. Love for Odintsova makes Bazarov look at the world differently. And now Evgeniy sees that life does not want to fit into a nihilistic scheme. Therefore, Bazarov, who has suffered through his theory, sees apostasy from it as his weakness, as a collapse in life. All its foundations are crumbling. Gradually he begins to notice that he is committing acts that are unacceptable to himself. This includes participation in a duel, a “knightly match”, which the hero so vehemently denied. This is also a noble act committed during a duel. Yevgeny, succumbing to the feeling, saves the life of his opponent. Bazarov's internal conflict does not find its resolution and ultimately leads the disillusioned hero to a tragic ending.
An inevitable blow of fate overtakes Bazarov - he dies. There is something fatal in the fact that a brave “anatomist” and “physiologist” becomes infected from dissecting a corpse. In the face of death, the supports that once supported Bazarov turn out to be weak. “Yes, go ahead and try to deny death. She denies you, and that’s it!” – admits Evgeniy. But the hero suddenly reveals qualities that were once denied to him. Bazarov's death is surprising. Dying, he thinks not about himself, but about his parents and Madame Odintsova. Having loosened control over himself, Bazarov becomes better and more humane. But this is not a sign of weakness, but a natural manifestation of feeling. And “this serves as energetic proof of the integrity, completeness and natural richness of nature.”
Bazarov is no more. But life goes on. Those heroes who studied nature, understood its beauty, submitted to the mysterious forces operating in it, find happiness in love, in life. And the story continues with them. But Bazarov is not completely defeated. After his death he continues to be remembered and loved. Bazarovs with such knowledge and skills are needed by society. Materialism, in their understanding, is doomed to death.

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The plot of I. S. Turgenev’s novel “Fathers and Sons” is contained in its very title. The involuntary confrontation between the older and younger generations, due to the changing spirit of the times, can be viewed in a tragic way (F....

HOW DOES TURGENEV TREAT BAZAROV? Reading the novel by the outstanding Russian writer I.S. Turgenev’s “Fathers and Sons”, from the very first pages we understand how complex and ambiguous the author’s attitude towards the main character, Evgeny Bazarov, actually is. Before us is not an ideal person and at the same time not a negative hero. Giving in to the writer’s feelings, we also begin to either condemn Eugene or feel sincere sympathy for him. Turgenev himself wrote about the image he created: “Did I want to scold Bazarov or extol him? I don’t know this myself, because I don’t know whether I love him or hate him!” And yet it seems to me that now we can say quite definitely that there is absolutely no hatred in the author’s attitude towards his hero. Condemnation - yes, sometimes - misunderstanding. But not hatred, not anger. And this is confirmed by other words of the writer: “...When writing Bazarov, I not only was not angry with him, but felt “an attraction to him, a kind of illness.” And this is understandable, because as we become more familiar with Turgenev’s novel, we ourselves begin to feel sympathy for the main character.

Compromises are alien to Evgeny Bazarov; he does not experience an egoistic sense of self-preservation. Selflessly speaking out against spiritual stagnation and susceptibility to established principles, Bazarov dreams of a completely new type of culture, new social relations. And isn’t every person captivated and delighted by such a lofty idea - to remake the world, to revive the human soul, to breathe living energy into it. This idea inspires the author himself. Together with his hero, he protests against the ideology of conservatism and liberalism, against lordly despotism, slave psychology, and naive ideals. In this regard, Turgenev admires Bazarov - a man who decided to single-handedly confront his entire environment. Evgeniy poses a unique challenge to society, denying all traditions and foundations. It is no coincidence that he is called a nihilist. “A nihilist is a person who does not bow to any authorities, who does not take a single principle on faith,” says Arkady, reflecting the very essence of Bazarov’s image. Yes, Turgenev’s hero does not recognize authorities. Moreover, he considers life imperfect and strives to destroy outdated ideals, to overthrow the selfishly closed “lordly” culture and outdated moral dogmas. “Correct society, and there will be no diseases,” Bazarov asserts, explaining all the moral differences of mankind by the “ugly state of society.” And the author largely agrees with the hero; Eugene’s views are close to him. Although not all of Bazarov’s beliefs are completely shared by Turgenev.

Let us remember the conversation between Evgeny Bazarov and Odintsova. “You don’t assume artistic sense in me - yes, I really don’t have it, but these views could interest me from a geological point of view,” says Turgenev’s hero, looking at the album of Saxon Switzerland. That is, for him there is no art if it is not of material, scientific interest. And the statement that “Raphael is not worth a penny”, that “Nature is not a temple, but man is a worker in it”! Yes, such thoughts cause not only condemnation, but also indignation! Bazarov openly laughs at his passion for music, he considers reading Pushkin nonsense, even love for him is nothing more than “romanticism, nonsense, rot, art.” Isn’t it monstrous to compare romanticism and art with “rotten”?! Of course, Evgenia Turgenev cannot understand, accept, or justify such beliefs. The author is deeply alien to utilitarian ideas about art. Meanwhile, he consciously endows his hero with similar qualities. The fact is that the writer sought to create a truthful image of a young man of that time, and among some of the commoners (to which Bazarov belongs) there was often a negative attitude not only towards artistic creativity, art, but also towards many romantic feelings natural to humans .

Emphasizing his rejection of this aspect of Bazarov’s image, the author forces the hero himself to come to an understanding of the fallacy of his judgments. It is for this purpose that the novel shows the love story of Evgeny for Odintsova and the tragedy of their breakup. Bazarov, who denied love in general, suddenly finds himself seriously overwhelmed by this feeling. In a passionate outburst, he admits: “So know that I love you stupidly, madly.” All the hero’s experiences are ambiguous. There is still a struggle going on in him between beliefs and new, unknown sensations. And yet, in a love conflict, Bazarov is transformed. The passionate intensity, strength and integrity of his feelings make us, like the author himself, bow to the hero.

Eugene's moral victory over a selfish woman opens up new facets of his soul. We see Bazarov’s ability for deeply critical introspection and rethinking of past beliefs. Now Turgenev again admires the spiritual strength of his hero.

But there is another side to the author’s attitude towards Evgeny Bazarov. The writer speaks with regret about the ingloriousness, uselessness of the hero’s vitality and energy. This idea is most expressed in the last chapters of the novel. “It’s a pity for the lost, wasted strength,” these words of Turgenev, spoken after the death of Dobrolyubov, fully apply to the hero of “Fathers and Sons.” “Look at the roots! Evgeniy has such strength!” - exclaims Vasily Ivanovich Bazarov. But after this follows the story of Eugene’s infection during the autopsy and pictures of the inglorious extinction of this power. The author's empathy for the hero is especially clearly manifested when describing Bazarov's last days. Old parents walk around like crazy; Odintsova’s freshness and beauty stands in sharp contrast next to Evgeniy’s “inflamed and at the same time dead face with dull eyes.” And how much pain and suffering is in the words of the hero himself, aware of the proximity of his own death and the uselessness of his life: “I fell under a wheel. And it turns out that there was nothing to think about the future”; “Russia needs me - No, apparently I don’t. And who is needed?

Yes, the writer’s attitude towards the main character of the novel “Fathers and Sons” is not very simple. The author shares his views where Bazarov stigmatizes abstract, outdated, empty “principles.” And in this case the hero wins. But when it comes to refined experiences and the perception of beauty, which Evgeny does not want to understand, Turgenev condemns him and dooms him to failure. But still, the creator of “Fathers and Sons” gives the hero a chance to realize the error of his views and beliefs, to revive in his soul everything high and bright that it undoubtedly contains. To do this, the author subjects Bazarov to severe trials and even leads to tragic death. For what? Perhaps so that people like Eugene, before it is too late, see their delusions as deeply and sharply as possible and hasten to draw conclusions...