Love occupies a key position in Turgenev's works. This is actually an irresistible force that completely subjugates a person, without the right to choose. Love is a clap of thunder from a clear sky, it is lightning. Love is overcoming obstacles, a test of strength, because it, like no other, requires self-sacrifice.
In the novel “Fathers and Sons,” the main characters go through all the trials of this very love. One of the fundamental storylines is the love story of Odintsova and Bazarov. Definitely an acquaintance
With Anna Sergeevna he conventionally divides the work into before and after. Before - Bazarov is a man of sober mind, he is confident in himself and his abilities, he is a strong man and a winner. Afterwards, Bazarov appears to us in a completely different image. As the relationship develops, the hero covers up his feelings with careless remarks addressed to Odintsova, then speaks with exaggerated cheekiness.
Anna Sergeevna, by the way, is a strong, independent and deep woman, and she tries to seem narcissistic and cold. In general, they even have something in common with Bazarov. For example, with his arrogant gaze. She alone was able to understand the difficult character of Bazarov, was able to see his merits and realize the fullness of his feelings. When Bazarov decides to confess his love to Odintsova, the reader suddenly realizes that there is no place for agreement in their relationship. Still, he had the determination and courage to talk about his unrequited feelings. This provoked a storm of negative emotions: and it is not clear whether they were directed at themselves, or at the heroine. But Odintsova herself does not have the courage to join her destiny with such a person.
It was the different worldview and lifestyle that became a stumbling block for the heroes. Anna Sergeevna is afraid to be with a person who is politically unreliable; she cannot allow her mental balance to be disturbed because of him. Bazarov understands that his strong beliefs are gradually crumbling. At this stage, the heroes break up, but remain good acquaintances. They were able to remain above all prejudices, they were able to maintain warm relations, but it was apparently not possible to cross this line.
Only at the very end of the novel, during the scene of Bazarov’s death, Odintsova finally realizes that she has lost, perhaps, the most valuable thing in her life. She does not resist her feeling, but this harmony lasts for a very short period of time - a moment.
This love, by the way, left deep marks in Bazarov’s feelings and mind. He pays attention only to himself and the world around him. The questions that the troubled Bazarov asks himself are deep, they are the ones who made his inner world more diverse. However, his weakness was in trying to get rid of these thoughts, regarding them as something unimportant.
Ivan Sergeevich Turgenev created an imperishable work that has remained for centuries an eternal modern question. “Fathers and Sons” is a novel of contemporary faith, today, tomorrow. It touches upon issues of moral education, attitudes towards life and one’s future, issues of position in society and going out into the world. And, of course, an important role in the novel is given to love and feelings, their manifestations and, no matter how rude it may sound, the expression of one’s feelings, changes in a person with the advent of love.
Evgeny Bazarov, the hero of the novel, is described initially as a man who devoted himself to his idea - science, work, rationalism. He is considered a nihilist and an opponent of any human weaknesses, especially some kind of love.
(Evgeny Bazarov)
Everything changes after meeting the genius of pure beauty, Anna Sergeevna Odintsova. This woman puts herself high, is independent, cool-headed, proud, wise. Naturally, the initial qualities strike young Evgeniy Vasilyevich to the depths of his soul. Soon, a successful, purposeful person realizes that he cannot live as before, devoting all his strength and thoughts only to work. Anna won his heart and took his soul - Eugene fell in love.
Anna Sergeevna, a widowed, wealthy young lady, is not old and extremely attractive, even beautiful. Not everyone can love her confidence and Nordic character traits. But the problem is that Anna herself, apparently, has not been touched by high feelings yet (or ever). A woman tries on convenience, comfort, calculates her actions for the future, and considers the beneficial aspects of the union.
Her pleasant disposition and sympathy for the man in love did not go further than interest. Anna sought to be satisfied with comfort, silence and regularity, but Evgeniy’s ardent torment led her away from the idea of starting a family or even a partnership. Enlivened by love and inspired by happiness, she liked Eugene much less than who he was before.
There is no exact answer to the question about the possible future of Anna and Evgeniy, what would happen to the heroes next. If Anna had fallen in love with Evgeny, her behavior and outlook on life, her attitude towards people in general, would have changed. Evgeny became disillusioned with his principles of life, which he had lived by before meeting Anna, but the woman was unable to accept another world and pushed away her tremulous feelings. Bazarov passed away soon, but he left as a man who knew what it was to love and give his warmth, to share his inner joy and try to make the world around him a better place. Is Anna destined to experience such a high feeling that overcomes any difficulties in life and destiny - who knows?
It is impossible to hide from sincere feelings. To this day, man has not learned to deceive himself. And I want to believe that the story of indifference in the soul will sooner or later end for every “A little Anna”, “a little Katya”, “a little Snow Queen”. Living in reciprocity and loving is not as scary as not understanding and not accepting the call of another soul. And it is better to leave having realized happiness than to live until you are 100 years old, deaf - dumb - blind and indifferent to everything.
Bazarov and Odintsova are one of the most mysterious love lines in Ivan Sergeevich Turgenev’s novel “Fathers and Sons.” The relationship between these two strong and independent individuals was doomed to failure from the very beginning.
Acquaintance
For the first time, the heroes of the novel “Fathers and Sons” met at a ball. Then Arkady, Bazarov’s friend, introduced him to Odintsova, as a result of which Evgeny “seemed embarrassed.” The initial behavior already indicated that Bazarov was not indifferent to the heroine. “Here you go! I was scared of the women!” – that’s what Evgeniy himself thought. He was confused by the fact that he could like a woman.
Odintsova invites Arkady Kirsanov and Evgeny Bazarov to visit her, where Bazarov finally falls in love with Anna, but tries to hide it. The relationship between Bazarov and Odintsova becomes more serious, but at the same time more tragic.
Bazarov, while visiting Odintsova, is going to go home to visit his parents, but Anna persuades him to stay. It would be a mistake to say that Odintsova felt nothing for Bazarov and was indifferent to him. At that moment, she felt something that “as if she was stabbed in the heart.”
After a while, Bazarov decides to confess his feelings to the heroine, but he was not understood by her and was rejected. Bazarov's love story ends only with his death, which brings him relief in love affairs.
Bazarov and nihilism
Bazarov's nihilism implied that he did not believe in love with all its manifestations. Therefore, for a long time he tries to hide his feelings for Odintsova. In fact, he is deceiving himself. For a long time, Evgeniy resists what “invaded him, which he never allowed, which he always mocked, which outraged all his pride.”
The author of the novel clearly conveyed the contradictory nature of actions and true desires: “In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before; and left alone, he was indignantly aware of the romanticism in himself.”
Despite the fact that Evgeny Bazarov tried to hide his own feelings from himself, he understood that “to his amazement, he did not have the strength to turn away from her.”
The fact that Bazarov fell in love with Odintsova, thereby recognizing the existence of love, speaks of the inconsistency of the theory of Bazarov the nihilist. The author specifically tests the main character with love in order to show the reader that his theory did not coincide with real life.
Reasons for the breakup
Anna Odintsova is the only woman who was able to understand the essence of the main character, and he really appreciated this. However, Odintsova was not capable of loving, sincerely and truly. Comfort was the main thing in her entire quiet and measured life. She was not used to new emotions and shocks. Therefore, between the hot-tempered and passionate Bazarov and the calm life, Odintsova chooses the latter option. She did not want Evgeniy to evoke in her a storm of new, previously unknown, and therefore interfering with life feelings.
When Bazarov confesses his love to Odintsova, she felt “both scared and sorry for him.” She realized that she had gone too far in this relationship, that she was not ready to connect her life with a person like Bazarov. A fictitious marriage, family ties not out of love seemed to her much more comfortable than marriage to Eugene. After his death, she gets married for convenience.
This article, which will help you write the essay “Bazarov and Odintsova”, will consider the course of events in the love relationships of the heroes of I. S. Turgenev’s novel “Fathers and Sons”, will show how the love line was reflected in Bazarov’s theory and why his love for Odintsova was tragic from the very beginning started.
Work test
Love is a wonderful feeling. When it fills a person, it makes his soul blossom. The theme of love is found in many literary works. What role does she play in the novel by I. S. Turgenev. "Fathers and Sons"? In order to answer this question, let’s turn to the work.
There are four lines of love present and described in the novel: Nikolai Petrovich and Fenechka, Arkady and Katya, Pavel Petrovich and Princess R., Bazarov and Odintsova.
Nikolai Kirsanov and Fenechka are undoubtedly a worthy example of tender and happy love.
Despite their different social status: he is a nobleman, she is the daughter of a housekeeper, they live together and live happily. This does not prevent them from living happily and having a child, and getting married at the end of the work. Thus, the author proves to us that differences in class, and especially in age, cannot be an obstacle to love.
The second line is somewhat similar to the first. It has the same happy ending. Arkady and Katya were glad to be in each other's company. I.S. Using the example of Arkady, Turgenev shows the inconsistency of Bazarov’s theory. Kirsanov succumbs to the feeling of love and ultimately abandons nihilism in favor of a calm and happy family life, repeating the example of his father.
Pavel Petrovich’s love is tragic “... a man who put his whole life on the card of female love and when this card was killed for him, became limp and sank to the point that he was not capable of anything, this kind of person is not a man...”. There is some truth in Bazarov's words. Pyotr Petrovich should not have resigned and “chased” after the princess. Love is a really important feeling, but it should not turn into a person’s end in itself, otherwise it will destroy him. A similar thing happened to Pavel Petrovich. I believe that love should bring joy, not disappointment and suffering.
Obviously, the most important line of love in the novel is Bazarov’s feeling for Odintsova. The main character of the work is a nihilist. He denies everything: nature, art, religion, authorities, beauty, including love. He considers everything from a practical point of view “... Nature is not a temple, but a workshop, and man is a worker in it...”. This happens until he meets Anna Sergeevna. Then the heart takes over his mind. Bazarov's theory begins to collapse. The author subjects him to the test of love in order to show his internal conflict. The heart speaks of love, and the mind speaks of nihilism. In the end, love wins and the hero admits it: “...Well, what can I tell you... I loved you! ... " He also remembers his parents “... After all, people like them cannot be found in your big world during the day...”. Bazarov’s feelings for the second time prove the inconsistency of his theory, in which he himself has lost faith.
Thus, love in the novel “Fathers and Sons” shows the feelings of the heroes, their actions are manifested through it, it helps to understand themselves and choose the right path. All the characters in the novel are tested by love, but not all pass it.
The history of Bazarov’s relationship with Odintsova (based on Turgenev’s novel “Fathers and Sons”)
Bazarov learns about the existence of Anna Odintsova from Kukshina, an acquaintance of his friend Sitnikov. The first time he sees her is at the governor’s ball, where he came with Arkady. “What kind of figure is this? - he said. “She’s not like other women.” There he meets her. She invites her and Arkady to her place. While visiting Odintsova, Bazarov is clearly trying to keep his interlocutor busy. She invites them to her place in Nikolskoye.
“What a rich body! - Bazarov said on the way. “At least now to the anatomical theater.” In Nikolskoye, Bazarov became interested in Anna, spent all his time with her, felt that he loved her. One morning she called him into her room and asked him to tell him what was happening to him - he confessed his love to her. That afternoon, he apologizes to her and says he is leaving. “We’ll see each other again, won’t we?” - she said. “As you order... In that case, we will see each other,” answered Bazarov.
After that, they did not meet for a long time, until Bazarov decided to stop by her on the way to his parents. He apologizes again and hopes that she will not remember him with disgust. Anna Sergeevna says that the reason for their quarrel was that they did not need each other and, most importantly, there was too much... homogeneity in them. She asks him to stay, but he leaves: “Farewell, sir, and be healthy.” After some time, he fell mortally ill, when he felt really bad, he sent a messenger to Odintsova, just before her death she kissed him, and he died.
Love seemed like a test for Bazarov, for Turgenev it is one of the meaning-forming values. Love conquers selfishness, enlightens the world, this feeling turned out to be not physiological, as the hero assumed, this feeling is shocking and traumatic. In words he denied love, but in reality life forced him to admit it. Neither Bazarov nor Pavel Petrovich wins a dispute with life.
What is the complexity of Bazarov’s relationship with Odintsova?
In response to her frankness, Odintsova wants to penetrate Bazarov’s soul. She is interested in the hero's innermost thoughts, his plans for the future. But Evgeny Petrovich is closed. The hero is very lonely, he is not used to sharing his thoughts and experiences. Anna Sergeevna assures that Evgeny can open up to her.
Love in Turgenev's works is a natural force, subjugating a person often against his desire; it is beautiful, formidable and instantaneous, like lightning. The feelings of the heroine in the story “Asya” and the hero in the story “Faust” are compared with a thunderstorm. Love is a wonderful moment that cannot be stopped, just like lightning cannot be stopped. Love is always a test because it requires self-sacrifice. All Turgenev’s heroes experience this “test of love” situation, and the heroes of “Fathers and Sons” are no exception. The story of Pavel Petrovich's fatal love for Princess R. unfolds before us. Arkady falls in love first with Anna Sergeevna Odintsova, and then with her sister Katya. Nikolai Petrovich loves Fenechka.
However, the center of the novel is the love story of Bazarov and Odintsova. It is the meeting with Anna Sergeevna that seems to divide the novel into two parts. If in the first part of the novel we see Bazarov the winner, never meeting worthy resistance, self-confident and strong, then the second part shows us a different Bazarov. He faced a force more serious than Pavel Petrovich. And this power is love. The tragedy of this love is not only that it remained unrequited.
The development of the relationship between Bazarov and Odintsova occupies a central place. Before meeting Anna Sergeevna, love was one of the beautiful “words”; the hero ironically called it “romanticism”, “stupidity”, “art”. Probably, the hero has the right to such an attitude towards love: the story of Pavel Petrovich and Princess R. (let's dwell on this in a little more detail) is significant proof of this. But a “misfortune” happened to Bazarov, and the relationship with Odintsova “didn’t work out” or did it “work out”? And again we turn to professional readers.
V. Troitsky: “Odintsova, who was undoubtedly attracted by Bazarov for his originality, very soon realized that he was not the hero of her novel. She felt in him the absence of that spirituality, without which there could be no love for her.”
G. Byaly: “The “new man,” the nihilist Bazarov, is capable of truly great and selfless love. Odintsova, for all the extraordinary nature of her nature, is afraid of heartfelt anxieties and life complications... Odintsova is one of the unusual and even rare people of her circle, her environment, but Bazarov decisively surpasses her in the depth and warmth of his feelings. This is perhaps his greatest victory, despite the appearance of defeat.”
Further work on the essay can be built around a comparison of these points of view.
In conclusion, we talk about happy love stories. Firstly, Fenichka and Nikolai Petrovich. Along the way, we note that many heroes of the novel are drawn to the simple Fenechka: Bazarov kisses her after a difficult conversation with Odintsova, Pavel Petrovich finds in her a resemblance to the mysterious Princess R. Let's think about it - why?
Let's turn to another heroine - Katya, who will raise a glass “in memory of Bazarov,” Arkady will shake her hand, but will not dare to “loudly propose this toast.” But his father also did not immediately decide to make Fenechka his wife.
It seems that when closely reflecting on these happy stories, more questions arise than answers.
| From Bazarov’s behavior at the beginning of the work, we can conclude that suffering from unrequited love does not threaten him. Bazarov was a great hunter of women and female beauty, but he called love in the ideal sense, or, as he put it, romantic, nonsense, unforgivable foolishness, considered knightly feelings to be something like deformity or illness, and more than once expressed his surprise: why weren’t they put in the yellow house of Toggenburg with all the minnesingers and troubadours? “If you like a woman,” he used to say, “try to get some sense; but you can’t - well, don’t, turn away - the earth is not like a wedge.” He represents that type of person who shares nihilistic views on various areas of life, who does not recognize love, even as a feeling. “We, physiologists, know what kind of relationship this is...” But this does not mean at all that he does not recognize any relationship between a man and a woman at all. Eugene simply cannot stand chivalry. And his comments regarding Pavel Petrovich, who survived unhappy love: “Not a man, not a male,” complete the portrait. Bazarov and love are incompatible things. But suddenly Odintsova appears in his life. After the ball, he realized “that something was wrong here.” And after the first minutes of a closer acquaintance with Odintsova, he was bewitched by her beauty and intelligence. Anna Sergeevna was so smart that Bazarov would be interested in communicating with her, and so beautiful that he would like him. When one person is interested in another, when he likes him, love arises. This is what began to happen to him: he suddenly became verbose, “trying to keep his interlocutor busy.” When the friends returned home after this meeting, Evgeny, still trying to get out of Odintsova’s power, already recognizes her beauty and anticipates Arkady’s desire to go to Nikolskoye. Soon Bazarov realized that he had fallen in love. And he tried with all his might to eradicate in himself this knightly “feeling that tormented and enraged him and which he would have rejected with contemptuous laughter and cynical abuse if anyone had even remotely hinted to him at the possibility of what was happening in him.” Eugene struggled with himself: he “expressed indifference to everything romantic,” but “with indignation he recognized the romanticism in himself.” He scolded “both her and himself” in a low voice for what was happening between them, but the image of Odintsova kept appearing in his head. |
I. S. Turgenev’s novel “Fathers and Sons” is replete with descriptions of nature, a wide variety of characters and social types. It is impossible to imagine any work of art without the atmosphere surrounding its characters, because it is this atmosphere that serves as the main outline, the canvas for all the stitches, all the strokes with the help of which the master then creates his painting. Embroiders. Draws. In other words, it creates. And here any detail, any plot or compositional move in the work is important.
Very interesting in this regard is the love story of Pavel Petrovich Kirsanov for Princess R. At first glance, this is an ordinary life story, placed in a novel to satisfy the curiosity of an inquisitive reader and, in part, to explain the current state of Pavel Petrovich.
But if you look a little closer, it becomes clear how symbolic this episode is, and therefore significant. We suddenly notice how clearly Princess R. appears before us, despite the small amount of text devoted to describing her story. In terms of the vividness of the image, in terms of the author’s attitude, it can only be compared with Anna Sergeevna Odintsova. But, having drawn one parallel, we discover how similar these images are to each other.
They essentially have the same lifestyle - if in the second half of her life the princess “cries and prays,” then Odintsova, also in the village, suddenly turns from a rich, rather unapproachable lady into an ordinary woman, tired of life and very unhappy. Even their marital status is similar - a quiet and calm marriage with an unloved person with the princess and exactly the same quiet life, first with her husband, then as a widow with Odintsova.
But the main thing is the general aura of mystery. Even the definitions for them are chosen with a touch of mystery. (The princess led a “strange life”, she had an extraordinary “mysterious look”, etc. It is said about Anna Sergeevna that she was “a rather strange creature.”) And suddenly we begin to identify the Sphinx-Nellie with a “mysterious creature” - Odintsova, unwittingly spreading to Odintsova what was said about the princess. Thus, Odintsova’s portrait becomes more complete and complemented.
But, comparing Odintsova with Princess R., we cannot help but compare the men who are in love with them - Pavel Petrovich and Bazarov. A certain invisible connection arises between irreconcilable enemies, and differences in beliefs and habits become superficial and frivolous when a person falls into the power of nature. Indeed, Bazarov, having learned the story of Pavel Petrovich, becomes softer towards him, no longer argues with him, even takes pity on him, having fallen in love with Anna Odintsova.
But the most incomprehensible parallel with the story of Princess R. is found in Fenechka. Pavel Petrovich himself compares these two completely different women. True, this comparison is superficial, only external and plays almost no role in the plot. But it proves once again that Pavel Petrovich still loves the princess.
So, we see that the story of Princess R. plays a significant role in the novel, being a kind of connecting moment for a more vivid manifestation of characters, to indicate difficulties, various kinds of kinks in a person’s fate. This inserted episode seems to be intended to emphasize the author’s position - love is not happy if it is real and strong. Such love is almost always destined for a sad end - loss, discord, separation.
The life and death of Bazarov
There are only two novels in Russian literature in which the main characters are named Eugene: “Eugene Onegin” and “Fathers and Sons.” Is this coincidence of names coincidental?
The parallels between the plots of the two novels do not end there: each Eugene has his own younger friend; in both novels, two landowner sisters live next door; the very difficult relationship between Bazarov and Anna Sergeevna seems to correspond to the failed love between Onegin and Tatyana, and Lensky’s romance with Olga would have ended the same way as Arkady’s romance with Katya, if Lensky had survived. By the way, in both novels there is a duel in which the one for whom a duel is an absurd prejudice wounds the one for whom a duel is a matter of honor. In general, both Evgenievs are characterized by a disdainful attitude towards the norms that are considered generally accepted in the environment. Finally, the main action of both novels takes place in the village, where the heroes come from the capital. And one more thing: both Onegin and Bazarov are always alone.
If we assume that Turgenev deliberately made all these coincidences, then it is interesting to see the differences between the heroes of these novels. The contrast is created by the very names of these heroes. The soft, gentle name Evgeniy is consonant with the surname Onegin. The surname Bazarov is rude, perhaps even vulgar. Bazarov’s appearance naturally goes with such a surname: red hands, a “long and thin face, with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and drooping sand-colored sideburns,” and so on.
It is interesting to compare the influence of Onegin and Bazarov on the lives of others. Bored Onegin tries to live on his own, but nevertheless leaves an indelible mark on the lives of those he encounters: Lensky was killed, because of this Olga’s life took a different course, Tatyana’s mental wound remains for the rest of her life. Bazarov, on the contrary, bursts into life with reformist fervor, trying to undermine the traditional foundations of society as much as possible. Like Onegin, Bazarov is lonely, but his loneliness is created by a sharp opposition to everyone and everything. Bazarov often uses the word “we,” but who these “we” are remains unclear: not Sitnikov and Kukshina, whom Bazarov openly despises. It would seem that the appearance of such a person as Bazarov could not help but shake society. But then Bazarov dies, and, reading the epilogue of the novel, we see that the fates of all the heroes (with the exception, of course, of Bazarov’s old parents, who will soon follow him) turned out as if there was no Bazarov at all. Only kind Katya remembers her untimely departed friend at the happy moment of her wedding. Bazarov is a man of science, but in the novel there is not a single hint that he left any trace in science. The outcome of Bazarov’s life involuntarily recalls Lermontov’s lines:
Crowd gloomy and soon forgotten
We will pass over the world without noise or trace.
Without giving up the centuries a single fertile thought,
Not the genius of the work begun.
Deadness was in Bazarov’s very philosophy, in his desire to reduce all living life to the laws of inanimate matter. Death was in him, and it is not for nothing that he dies from cadaveric poison. Perhaps the most absurd thing in Bazarov’s life was the desire to assert his personality, to oppose himself to others by preaching complete impersonality: “People are like trees in the forest; no botanist will study every single birch tree.”
I wonder if Bazarov applied similar “principles” (as Pavel Petrovich would say) to himself? Bazarov evokes sympathy when he rebels against the inertia of Russian life at that time (primarily in disputes with Pavel Petrovich), but he essentially opposes even greater inertia, a general leveling out.
Wasn’t the futility of Bazarov’s life an attempt by Turgenev to suppress his prophetic anxieties for the future of Russia, to convince himself that the Bazarovs come and go, but life goes on? But if this is not so, if Bazarov’s spirit infects entire generations of the Russian intelligentsia - what then? Turgenev did not find an answer to this question. History answered it...
Bazarov's Dream
I really love I. A. Goncharov’s novel “Oblomov,” and one of my favorite chapters is “Oblomov’s Dream.” It seems to me that this is one of the most poetic and tender pictures in the novel. Every description of nature, every word spoken by the residents of Oblomovka exudes some kind of bliss, affection and kindness. True, this dream also explains why the fate of the main character turned out the way it is described in the novel. If this chapter had not been in the novel, I think more than one generation would have been at a loss as to why Ilya Ilyich Oblomov, “a man of thirty-two or three years old,” spent whole days lying on the sofa, “with the absence of any definite idea, any concentration in the facial features.”
I. A. Goncharov called “Oblomov’s Dream” the “overture” of the entire novel. “Oblomov’s Dream” first appeared as “an episode from an unfinished novel.” Goncharov emphasized that in this short work he outlined “the main motive of Oblomovism.”
What and how was this motive expressed? Goncharov saw that “Oblomovism” is inseparable from serfdom. The picture painted by Goncharov can be perceived as a kind of allegory: Oblomovka is a very bright and complete personification of “sleep, stagnation, motionless, dead life.”
How did the “dear Oblomovites” influence the life of a healthy, gifted, lively, observant and impressionable boy? Little Ilyusha Oblomov was a very active and inquisitive child. He was bored repeating prayers after his mother for a long time. His lively nature demanded movement, and his energy demanded outlet.
It is very possible that in favorable conditions Ilyusha would achieve great success in life. But upbringing under serfdom suppressed everything good that was in the boy. They constantly told him that he was a gentleman, that he had “Zakhar and 300 other Zakharovs.” When Zakhar pulls stockings on Ilyusha, the boy “all he knows is that he is laying down first one leg, then the other; and if anything seems wrong to him, he’ll kick Zakharka in the nose.” Such upbringing killed Ilyusha’s initiative and natural liveliness. Any attempt by the boy to do something on his own was immediately stopped: “Father and mother, and three aunts with five voices and shouted: - Why? Where? What about Vaska, and Vanka, and Zakharka? Hey! Vaska! Vanka! Zakharka! What are you looking at, dumbass? Here I am!
The parents did not care that the boy received a correct understanding of the world around him. He formed this idea mainly from his nanny’s stories. Some of these stories (about the dead and about various monsters) terrified Ilyusha and developed in him a fear of life. They influenced the impressionable boy so much that “his imagination and mind, imbued with fiction, remained in his thrall until old age.” Already an adult, Ilya Ilyich understood that in life there are no such miracles as he was told about in childhood, but still “he always has the disposition to lie on the stove, walk around in a ready-made unearned dress, eat at the expense of the good sorceress” and he “ sometimes unconsciously sad, why is a fairy tale not life, and why is life not a fairy tale.”
Gradually, Ilyusha begins to come to the conclusion that he needs to live the way the people around him live. Apathy, laziness, and lack of will began to develop in him. Oblomovka extinguished any desire for knowledge in him.
How do the owners of Oblomovka live and spend their time? “Oblomov himself, an old man, is also not without his activities,” says Goncharov with irony. What kind of activities are these? “He sits all morning and strictly watches everything that happens in the yard.” Meanwhile, the economy is gradually declining. The clerk, taking advantage of the carelessness and mismanagement of Oblomov Sr., appropriates a significant part of the income. The master does not even know how much income his estate brings. However, to check the clerk, you need to work hard, and work in Oblomovka is considered a punishment. And it is not surprising that Ilya Oblomov, who inherited the “talent for managing” from his father, does not know how to count money and, with childish naivety, thinks that the headman of Oblomovka will give as much money as needed.
Ilyusha’s mother is also busy with “business”: she devotes all her free time from sleep to choosing dishes for breakfast, lunch and dinner. This activity was so important that the whole house conferred. And it’s not surprising, because “caring for food was the first and main concern of life in Oblomovka.”
Ilyusha was not burdened with studies. To prevent him from becoming exhausted and losing weight, he was often allowed to skip classes at the boarding school. The reasons were very different. For example, if pancakes were being baked in the house, then there was no need to go to the boarding house. When he did go to class, he taught the assigned lessons no further than “the line under which the teacher, assigning the lesson, drew a line with his fingernail.” Ilyusha’s parents saw education primarily as a benefit. Those who had it received ranks and awards, and made money faster. And since the Oblomovites had enough of what they had, then, in their opinion, there was no need to study.
The impact on Ilyusha of Oblomov’s environment was so strong and deep that it could no longer be eradicated. Ilya was increasingly overcome by laziness and apathy; he did not have enough strength to fight them. When he was studying at the university, the desire to achieve a position in society suddenly flared up in him, and bright hopes appeared. But the period of elation was short-lived.
The first encounters with life, the first difficulties frightened Oblomov. The service required energy and labor. After serving somehow for two years, Ilya Ilyich resigned. Oblomov began to gradually isolate himself from the world. He “said goodbye to a crowd of friends” and left the house less and less. Thus, it becomes obvious: everything that Ilyusha saw in childhood made him the way we meet him in the apartment on Gorokhovaya. I really sympathize with Oblomov, I really like him. I'm sorry that his life turned out this way. When I read the novel, I wanted to return Oblomov to childhood, so that he would again become little Ilyusha, but so that his childhood would be completely different. He could then remain energetic and inquisitive, would receive a good education, and life would be f*cking joy for him. His gaze would not be “darkened by an expression of fatigue or boredom,” he would have interesting activities, he would read a lot and communicate with interesting people. But Oblomovka did its job - it had the most detrimental effect on the entire future life of Ilya Ilyich Oblomov.
Tragedy of Bazarov
etc.............
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