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Fathers and children of bazaars before death. Evgeny Bazarov in the face of death - analysis of the work and characterization. The novel "Fathers and Sons" in Russian criticism

Bazarov's death


The protagonist of I. S. Turgenev's novel "Fathers and Sons" - Yevgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing his father's work. Eugene's life position is that he denies everything: views on life, a feeling of love, painting, literature and other forms of art. Bazarov is a nihilist.

At the beginning of the novel, there is a conflict between Bazarov and the Kirsanov brothers, between a nihilist and aristocrats. Bazarov's views differ sharply from the beliefs of the Kirsanov brothers. In disputes with Pavel Petrovich Kirsanov, Bazarov wins. Therefore, there is a gap for ideological reasons.

Eugene meets Anna Sergeevna Odintsova, a smart, beautiful, calm, but unhappy woman. Bazarov falls in love, and, having fallen in love, he understands that love appears to him no longer as “physiology”, but as a real, sincere feeling. The hero sees that Odintsova highly appreciates her own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark on Bazarov's soul. Unrequited love.

The "imaginary" followers of Bazarov include Sitnikov and Kukshina. Unlike them, for whom denial is just a mask that allows them to hide their inner vulgarity and inconsistency, Bazarov, with confidence in his abilities, defends the views close to him. Vulgarity and insignificance.

Bazarov, having arrived at his parents, notices that he is getting bored with them: neither with his father nor with his mother Bazarov can talk like he talks with Arkady, even argue like he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father treat sick peasants. People of different generations, different development.

Bazarov likes to work, for him work is satisfaction and self-respect, so he is close to the people. Bazarov is loved by children, servants and peasants, because they see him as a simple and intelligent person. The people are his understanding.

Turgenev considers his hero doomed. Bazarov has two reasons: loneliness in society and internal conflict. The author shows how Bazarov remains lonely.

Bazarov's death was the result of a small cut that he received while opening the body of a peasant who died of typhus. Eugene is waiting for a meeting with his beloved woman in order to once again confess his love to her, he also becomes softer with his parents, deep down, probably still realizing that they have always occupied a significant place in his life and deserve a much more attentive and sincere attitude. Before death, he is strong, calm and imperturbable. The death of the hero gave him time to evaluate what he had done and realize his life. His nihilism turned out to be incomprehensible - after all, both life and death now deny him. We do not feel pity for Bazarov, but respect, and at the same time we remember that before us is an ordinary person with his own fears and weaknesses.

Bazarov is a romantic at heart, but he believes that romanticism has no place in his life now. But nevertheless, fate made a revolution in the life of Eugene, and Bazarov begins to understand what he once rejected. Turgenev sees him as an unrealized poet, capable of the strongest feelings, possessing fortitude.

DI. Pisarev claims that “It’s still bad for the Bazarovs to live in the world, even though they hum and whistle. There is no activity, there is no love - therefore, there is no pleasure either. The critic also claims that one must live, “as long as one lives, eat dry bread when there is no roast beef, be with women when one cannot love a woman, and generally not dream of orange trees and palm trees, when there are snowdrifts and cold tundras underfoot.”

The death of Bazarov is symbolic: for life, medicine and the natural sciences, on which Bazarov relied so much, turned out to be insufficient. But from the author's point of view, death is natural. Turgenev defines the figure of Bazarov as tragic and "doomed to perish." The author loved Bazarov and repeatedly said that he was “clever” and “hero”. Turgenev wanted the reader to fall in love with Bazarov with his rudeness, heartlessness, ruthless dryness.

He regrets his unspent power, his unfulfilled task. Bazarov devoted his whole life to the desire to benefit the country, science. We imagine him as a smart, reasonable, but deep down, sensitive, attentive and kind person.

According to his moral convictions, Pavel Petrovich challenges Bazarov to a duel. Feeling embarrassed and realizing that he is sacrificing his principles, Bazarov agrees to shoot with Kirsanov Sr. Bazarov slightly wounds the enemy and gives him first aid himself. Pavel Petrovich keeps well, even makes fun of himself, but at the same time both he and Bazarov are embarrassed / Nikolai Petrovich, from whom the true reason for the duel was hidden, also behaves in the most noble way, finding an excuse for the actions of both opponents.

"Nihilism", according to Turgenev, challenges the enduring values ​​of the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the cause of his inevitable death.

Evgeny Bazarov can by no means be called an "extra person". Unlike Onegin and Pechorin, he does not get bored, but works hard. Before us is a very active person, he has "immense strength in his soul." One job is not enough for him. In order to really live, and not drag out a miserable existence, like Onegin and Pechorin, such a person needs a philosophy of life, its goal. And he has it.

The worldviews of the two political directions of the liberal nobles and the revolutionary democrats. The plot of the novel is built on the opposition of the most active representatives of these trends, the commoner Bazarov and the nobleman Pavel Petrovich Kirsanov. According to Bazarov, aristocrats are not capable of action, they are of no use. Bazarov rejects liberalism, denies the ability of the nobility to lead Russia to the future.

The reader understands that Bazarov has no one to convey to anyone what little, but the most precious thing he has - his convictions. He does not have a close and dear person, and therefore, there is no future. He does not think of himself as a district doctor, but he cannot be reborn, become like Arkady either. He has no place in Russia, and perhaps abroad, too. Bazarov dies, and with him his genius dies, his wonderful, strong character, his ideas and convictions. But true life is endless, the flowers on the grave of Eugene confirm this. Life is endless, but only true...

Turgenev could have shown how Bazarov would gradually abandon his views, he did not do this, but simply “killed” his main character. Bazarov dies from blood poisoning and before his death recognizes himself as an unnecessary person for Russia. Bazarov is still alone, therefore doomed, but his fortitude, courage, stamina, perseverance in achieving the goal make him a hero.

Bazarov does not need anyone, he is alone in this world, but he does not feel his loneliness at all. Pisarev wrote about this: “Bazarov alone, by himself, stands at the cold height of a sober thought, and it’s not hard for him from this loneliness, he is completely absorbed in himself and work”

In the face of death, even the strongest people begin to deceive themselves, to entertain unrealistic hopes. But Bazarov boldly looks into the eyes of inevitability and is not afraid of it. He only regrets that his life was useless, because he did not bring any benefit to the Motherland. And this thought gives him a lot of suffering before his death: “Russia needs me ... No, apparently, it is not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher is needed ... "

Let us recall the words of Bazarov: "When I meet a person who would not give in to me, then I will change my mind about myself." There is a cult of power. “Hairy,” Pavel Petrovich said about Arkady's friend. He is clearly jarred by the appearance of a nihilist: long hair, a hoodie with tassels, red, unkempt hands. Of course, Bazarov is a working man who does not have time to take care of his appearance. It seems to be so. Well, what if it's a "deliberate shocking of good taste"? And if this is a challenge: as I want, I dress and comb my hair. Then it's stupid, immodest. The disease of swagger, irony over the interlocutor, disrespect ...

Speaking purely humanly, Bazarov is wrong. In the house of a friend he was greeted cordially, however, Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony, he immediately enters into a heated argument. His judgments are uncompromising. "Why should I recognize authorities?"; "A decent chemist is twenty times more useful than a poet"; he reduces high art to "the art of making money." Later, Pushkin, and Schubert, and Raphael will get it. Even Arkady remarked to a friend about his uncle: "You insulted him." But the nihilist did not understand, did not apologize, did not doubt that he had behaved too boldly, but condemned: "Imagine himself a sensible person!" What is the relationship between a man and a woman...

In the X chapter of the novel, during a dialogue with Pavel Petrovich Bazarov, he managed to speak out on all the fundamental issues of life. This dialogue deserves special attention. Here Bazarov claims that the social system is terrible, and one cannot but agree with this. Further: there is no God as the highest criterion of truth, which means, do what you want, everything is permitted! But not everyone will agree with this.

There is a feeling that Turgenev himself was at a loss, exploring the nature of the nihilist. Under the pressure of Bazarov's strength and firmness, the writer was somewhat embarrassed and began to think: "Maybe it's necessary? Or maybe I'm an old man who has ceased to understand the laws of progress?" Turgenev clearly sympathizes with his hero, and treats the nobles condescendingly, and sometimes even satirically.

But one thing is a subjective view of the characters, another thing is the objective thought of the whole work. What is it about? About tragedy. The tragedies of Bazarov, who, in his thirst for "long work", in his enthusiasm for his god-science, trampled on universal values. And these values ​​are love for another person, the commandment "Thou shalt not kill" (shot in a duel), love for parents, indulgence in friendship. He is cynical about a woman, mocks Sitnikov and Kukshina, narrow-minded people, greedy for fashion, miserable, but still people. Eugene excluded from his life lofty thoughts and feelings about the "roots" that feed us, about God. He says: "I look at the sky when I want to sneeze!"

Roman I.S. Turgenev's "Fathers and Sons" ends with the death of the protagonist. Why? Turgenev felt something new, saw new people, but could not imagine how they would act. Bazarov dies very young, without having time to start any activity. With his death, he seems to redeem the one-sidedness of his views, which the author does not accept. Dying, the protagonist did not change either his sarcasm or his directness, but became softer, kinder, and speaks differently, even romantically, which is completely contrary to his nihilist beliefs. In Bazarov, Turgenev dreamed of a gloomy figure.

The author's sympathy for the hero manifested itself even in the death scene. It was with her that Turgenev wanted to show the essence of Bazarov, his real character. The manifestation of a feeling of love for Odintsova does not deprive the young man of the main thing in his character: his dedication, courage, he is not a coward, thinking about his imminent death. Bazarov dies without worrying about death as such. Not worrying about the people who will live, not worrying about the benefits of their deeds for them. What is the role of the death episode? His role is to show the non-standard personality of Bazarov and the failure of his nihilism in the face of the eternal movement of life and the majestic calmness of death.

The main theme of the episode is the frailty of being, the theme of love, the theme of courage in the face of death. The theme of filial love and respect for parents is also present here. The theme is loyalty to oneself, one's principles, the hero is broken, but not defeated.

Before his death, Bazarov reflects on what death is: "The old thing is death, but it's new for everyone." Here the failure of the denial of everything by the main character is manifested: no matter how much you deny death, it still denies you itself. Thinking about love, he understands its unrealizability in the face of death, and romantically says goodbye to Anna Sergeevna.

Of particular importance is his unction after death. Even dead, he remains true to his views on religion, and does not accept it.

The farewell scene with Anna Sergeevna Odintsova was built by the author using the contrast method - a living woman - a dying man, and this is emphasized by the epithets used by Turgenev. Anna Sergeevna is glorious, beautiful, generous, young, fresh, pure. Bazarov - "half-crushed worm."

The passage makes a tragic impression - a young man in love dies in the prime of his life. And this death is inevitable and independent of man. The skill of the author allowed us, the readers, to be present, as it were, in the room where Bazarov said goodbye to life forever. And this is the manifestation of Turgenev's talent and writing skills. It is very sad and unbearably hard to read these lines.

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    • Bazarov E. V. Kirsanov P. P. Appearance A tall young man with long hair. Clothes are poor and unkempt. Pays no attention to his own appearance. Handsome middle aged man. Aristocratic, "thoroughbred" appearance. Carefully looks after himself, dresses fashionably and expensively. Origin The father is a military doctor, a poor simple family. Nobleman, son of a general. In his youth, he led a noisy metropolitan life, built a military career. Education Very educated person. […]
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    • Dear Anna Sergeevna! Let me turn to you personally and express my thoughts on paper, since saying some words aloud is an insurmountable problem for me. It is very difficult to understand me, but I hope that this letter will clarify my attitude towards you a little. Before meeting you, I was an opponent of culture, moral values, human feelings. But numerous life trials made me take a different look at the world around me and reevaluate my life principles. For the first time I […]
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    • Kirsanov N.P. Kirsanov P.P. Appearance A short man in his early forties. After an old fracture of the leg, he limps. Facial features are pleasant, the expression is sad. Handsome well-groomed middle-aged man. He dresses smartly, in the English manner. Ease in movements betrays a sporty person. Marital status Widower for over 10 years, very happily married. There is a young mistress Fenechka. Two sons: Arkady and six-month-old Mitya. Bachelor. Has been popular with women in the past. After […]
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    • The inner world of Bazarov and its external manifestations. Turgenev draws a detailed portrait of the hero at the first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them in two pages. The general outline remains in memory - the author presents the hero's face as repulsively ugly, colorless in colors and defiantly wrong in sculptural modeling. But he immediately separates facial features from their captivating expression (“Livened up with a calm smile and expressed self-confidence and […]
    • The relationship between Evgeny Bazarov and Anna Sergeevna Odintsova, the heroes of the novel by I.S. Turgenev's "Fathers and Sons", did not work out for a variety of reasons. The materialist and nihilist of the bazaars denies not only art, the beauty of nature, but also love as a human feeling. Recognizing the physiological relationship between a man and a woman, he believes that love "is all romanticism, nonsense, rot, art." Therefore, he first evaluates Odintsova only from the point of view of her external data. “Such a rich body! Even now to the anatomical theater, […]
    • The novel "Fathers and Sons" was created in an extremely difficult and conflict period. The sixties of the nineteenth century had several revolutions at once: the spread of materialistic views, the democratization of society. The impossibility of returning to the past and the uncertainty of the future have become the cause of an ideological and value crisis. The positioning of this novel as "acutely social", characteristic of Soviet literary criticism, also affects today's readers. Of course, this aspect is necessary […]

    • The episode of Bazarov's death is one of the most important in the work. Being the denouement of the idea of ​​the work, this episode plays a key role in the novel, being the answer to the question: "Is it possible to live, rejecting all human feelings and recognizing only reason?"

    Bazarov returns home to his parents a person different from what he was before. He begins to avoid the loneliness that used to be an integral part of his life and helped him to work.

    He is always looking for company: he drinks tea in the living room, walks in the forest with his father, because being alone becomes unbearable for him. Alone, his thoughts are taken over by Odintsova, the woman he loves, who destroyed his unshakable faith in the absence of romantic feelings. Because of this, Bazarov becomes less attentive and less focused on work. And, due to this very inattention, he receives a slight cut, which later became fatal for him.

    Bazarov, as an experienced doctor, is well aware that he has little time left to live. Understanding the imminent inevitable death tears off the mask of insensibility from him. He worries about his parents and tries to protect them from worries, hiding the disease from them to the last. When Bazarov’s condition worsens completely, and he stops getting out of bed, it doesn’t even occur to him to complain about the pain. He reflects on life, sometimes inserting his characteristic ironic jokes.

    Realizing that he had very little time left, Bazarov asks to send Odintsova to see her for the last time before his death. She arrives dressed all in black, as if to a funeral. Seeing the dying Bazarov, A.S. finally realizes that he does not love him. Bazarov tells her everything about what is in his soul. He still does not complain, but only talks about life and his role in it. When E. B. asks Odintsova to give him a glass of water, she does not even take off her gloves and timidly breathes in fear of getting infected. This once again proves the lack of romantic feelings in her towards Bazarov. The dying Bazarov still has a small spark of hope for reciprocity of love, and he asks for her kiss. A. S. fulfills his request, but kisses him only on the forehead, that is, in the way that the dead are usually kissed. For her, the death of Bazarov is not an important event, and she has already mentally said goodbye to him.

    Analyzing this episode, we see that the illness and understanding of imminent death finally turns Bazarov from an independent nihilist into an ordinary person with his own weaknesses. In his last days, he no longer harbors any feelings and opens his soul. And he dies a strong man, without complaining or showing pain. Odintsova's behavior shows her lack of love for Bazarov. Her visit to the dying man is only politeness, but not the desire to see the hero for the last time and say goodbye.

    This episode is inextricably linked with others in this work. It is the denouement of the main conflict of the work, logically continuing the whole idea of ​​the novel, and especially chapter 24. In this chapter, a duel takes place between Kirsanov and Bazarov, which is why the latter has to go back home to his parents.

    From all of the above, we can conclude that this episode plays one of the key roles in the work. Being a denouement, it brings to an end the story of a man who rejected all feelings, and shows that it is still impossible to live, denying human joys and being guided only by reason.

    Bazarov in the face of death is one of the most striking images created by Ivan Sergeevich Turgenev in his famous work Fathers and Sons. This work became a landmark for the generation that grew up in the 60s of the XIX century. Many perceived this hero as an ideal, a role model.

    Roman Turgenev

    Bazarov appears in the face of death at the very end of this novel. His actions take place in 1859, on the eve of the peasant reform, which forever abolished serfdom in Russia. The main characters are Evgeny Bazarov and Arkady Kirsanov. These are young people who come to visit the Maryino estate with their father and uncle Arkady. Bazarov develops a difficult and tense relationship with the older Kirsanovs, as a result of which he is forced to move out of them. Arkady, carried away by his comrade, goes after him. In a provincial town they find themselves in the company of progressive youth.

    Later, at a dinner party at the governor's, they meet Odintsova, perhaps the main female character in the novel. Bazarov and Kirsanov go to her estate called Nikolskoe. Both of them are infatuated with this woman. Bazarov even confesses his love to her, but this only frightens Odintsova. Eugene is again forced to leave. This time again, together with Arkady, he goes to his parents. They love their son too much. Bazarov is soon frankly tired of this, so he returns to Maryino. There he has a new hobby - the girl's name is Fenechka. They kiss, and it turns out that Fenechka is the mother of Arkady's father's illegitimate son. All this leads to a duel between Bazarov and Pavel Petrovich Kirsanov, Arkady's uncle.

    Meanwhile, Arkady himself goes to Nikolskoye alone and stays with Odintsova. True, he is not fond of the mistress of the estate, but of her sister, Katya. Bazarov also comes to Nikolskoye. He explains with Odintsova, apologizes for his feelings.

    The fate of the heroes

    The novel ends with Bazarov, having said goodbye to his friend, leaving for his parents. He helps his father in a difficult task - the treatment of patients with typhus. During the operation, he accidentally cut himself during the autopsy of another deceased and contracted a fatal infection.

    Before his death, he asks Odintsova to see him for the last time. The fate of the rest of the characters is as follows: the progressive Pavel Petrovich goes abroad, Nikolai Petrovich marries Fenechka, and Arkady Kirsanov marries her sister, Katya Odintsova.

    Problems of the novel

    In Turgenev's novel "Fathers and Sons", as a result of Bazarov, it turns out to be in the face of love and death. The author's decision to complete his work with the death of the protagonist says a lot about the intention that the creator had. Turgenev's Bazarov dies in the finale. Therefore, it is so important to understand why the author treated him this way, why the description of this death is so important for understanding the meaning of the whole work. A detailed study of the episode dedicated to the death of the central character helps to answer these questions. How does Bazarov find himself in the face of death? You can find a summary of the denouement of the novel in this article.

    The image of Evgeny Bazarov

    Describing the main character of his work, the author notes that Bazarov was the son of a doctor. When he grew up, he decided to continue the work of his father. The author himself characterizes him as an intelligent and cynical person. At the same time, somewhere inside, in the depths of his soul, he remains attentive, sensitive and kind.

    Bazarov has a specific life position, which in subsequent years received a large number of adherents and supporters. Eugene denies any moral values ​​of contemporary society, as well as morality and any ideals. Moreover, he does not recognize any art, he does not perceive love, which is sung by many poets, since he considers it to be pure physiology. At the same time, he does not recognize any authorities in life, believing that each person should focus only on himself, not following anyone.

    Nihilism

    Bazarov is a supporter of nihilism, but at the same time he differs from other young people who adhere to a similar philosophy, for example, from Kukshin or Sitnikov. For them, the denial of everything around is nothing more than a mask that helps to hide their own failure and callous deep vulgarity.

    Bazarov is not at all like them. He does not prevaricate at all, defending his views with his characteristic ardor. He believes that the main thing for which a person should live is work that benefits the whole society. At the same time, Eugene condescendingly treats most of those around him, even despises many of them, puts him below himself.

    Meeting with Odintsova

    This life philosophy of Bazarov, in the inviolability of which he was sure, changed radically after meeting with Odintsova. Bazarov truly falls in love for the first time, and after that he realizes how much his beliefs diverge from the truths of life.

    The collapse of ideals

    The main character of Turgenev's novel feels that love is not only physiology, but also a real, strong feeling. An epiphany sets in, which changes a lot in the hero's worldview. All his beliefs are crumbling, and after them his whole life loses its meaning. Turgenev could write about how this person eventually abandons his ideals, turning into an average person. Instead, he puts Bazarov in the face of death.

    It is worth recognizing that the death of the hero happens stupidly and largely by accident. It becomes the result of a small cut that was obtained during the autopsy of the body of a person who died of typhus. However, death was not at all sudden. Knowing that he was ill, Bazarov was able to evaluate what had been done and realize the extent of what he would never accomplish. It is noteworthy how Bazarov behaves in the face of death. He doesn't look scared or confused. Instead, Eugene is strong, surprisingly calm and steadfast, almost unflappable. The reader begins at these moments to feel for him not pity, but sincere respect.

    Bazarov's death

    At the same time, the author does not let us forget that Bazarov is still an ordinary person who has various weaknesses. No one perceives his death indifferently, and therefore Eugene frankly worries. He constantly thinks about what he could still do, about the power that is in him, but has remained unspent.

    At the same time, Bazarov remains ironic and cynical to the last in the face of death. Quote "Yes, go ahead, try to deny death. She denies you, and that's it!" it only confirms. Here, behind the irony of the hero, we can consider bitter regret about the passing minutes. In the last moments of his life, he longs for a meeting with his beloved woman, with whom he could not be together. Bazarov, in the face of death, asks Odintsova to come to him. She fulfills this wish.

    On his deathbed, the protagonist softens to his parents, realizing that in reality they have always occupied an important place in his life, shaped his essence and worldview. Everyone would probably like to look like Bazarov in the face of death. He calmly analyzes everything done during his short but fruitful life, which he devoted to science, wanting to benefit his country. Death for the protagonist is not only the cessation of physical existence, but also a sign that Russia does not really need him. All his dreams to change something end in virtually nothing. The physical death of the protagonist is preceded by the death of his views. Together with Bazarov, his genius also dies, as well as his powerful character and sincere convictions.

    The illness and death of Bazarov seemed to be caused by an absurd accident - a deadly infection that accidentally entered the bloodstream. But in the works of Turgenev, this cannot be accidental.

    The wound itself is an accident, but there is also a share of regularity in it, since during this period Bazarov lost his vital balance and became less attentive, more distracted in his work.

    The pattern is also in the author's position, since Bazarov, who always challenged nature in general and human nature (love) in particular, had, according to Turgenev, to be avenged by nature. The law is cruel here. So he dies, infected with bacteria - natural organisms. Simply put, it dies by nature.

    In addition, unlike Arkady, Bazarov was not suitable for "making a nest for himself." He is alone in his beliefs and lacks family potential. And this is a dead end for Turgenev.

    And one more circumstance. Turgenev could feel the prematureness, the uselessness of the Bazarovs for contemporary Russia. If Bazarov looked unhappy on the last pages of the novel, then the reader would certainly feel sorry for him, and he deserves not pity, but respect. And it was in his death that he showed his best human traits, with the last phrase about the “dying lampada” finally coloring his image not only with courage, but also with bright romance, which, as it turned out, lived in the soul of a seemingly cynical nihilist. This, in the end, was the whole point of the novel.

    By the way, if the hero dies, it is not at all necessary that the author denies him something, punishes him or takes revenge for something. Turgenev's best heroes always die, and from this his works are colored with a bright, optimistic tragedy.

    Epilogue of the novel.

    An epilogue can be called the last chapter of the novel, which briefly tells about the fate of the heroes after the death of Bazarov.

    The future of the Kirsanovs turned out to be quite expected. The author writes especially sympathetically about the loneliness of Pavel Petrovich, as if the loss of Bazarov, a rival, completely deprived him of the meaning of life, the opportunity to at least apply his vitality to something.

    The lines about Odintsova are significant. Turgenev with one phrase: "I married not for love, but for conviction" - completely debunks the heroine. And the last author's description already looks simply sarcastically destructive: "... they will live, perhaps, to happiness ... perhaps to love." It is enough to understand at least a little Turgenev in order to guess that love and happiness are not “lived out”.

    The most Turgenevian is the last paragraph of the novel - a description of the cemetery where Bazarov is buried. The reader has no doubt that he is the best in the novel. To prove this, the author merged the departed hero with nature into a single harmonious whole, reconciled him with life, with his parents, with death, and still managed to say about “the great calmness of indifferent nature ...”.

    The novel "Fathers and Sons" in Russian criticism.

    In accordance with the vectors of the struggle of social movements and literary views in the 60s, points of view on Turgenev's novel were also lined up.

    The most positive assessments of the novel and the main character were given by D.I. Pisarev, who had already left Sovremennik at that time. But from the bowels of Sovremennik itself, negative criticism sounded. An article by M. Antonovich “Asmodeus of our time” was published here, in which the social significance and artistic value of the novel was denied, and Bazarov, called a talker, a cynic and a glutton, was interpreted as a pitiful slander on the younger generation of democrats. N.A. Dobrolyubov had already died by this time, and N.G. Chernyshevsky was arrested, and Antonovich, who rather primitively accepted the principles of “real criticism”, took the original author’s intention for the final artistic result.

    Oddly enough, the liberal and conservative part of society perceived the novel more deeply and fairly. Even here, however, there are extreme judgments.

    M. Katkov wrote in Russkiy Vestnik that Fathers and Sons is an anti-nihilistic novel, that the occupation of “new people” by the natural sciences is a frivolous and idle matter, that nihilism is a social disease that needs to be treated by strengthening protective conservative principles.

    The most artistically adequate and profound interpretation of the novel belongs to F. M. Dostoevsky and N. Strakhov - the magazine "Vremya". Dostoevsky interpreted Bazarov as a “theorist” who was at odds with life, as a victim of his own dry and abstract theory, which crashed into life and brought suffering and torment (almost like Raskolnikov from his novel “Crime and Punishment”).

    N. Strakhov noted that I.S. Turgenev "wrote a novel that was neither progressive nor retrograde, but, so to speak, everlasting." The critic saw that the author "stands for the eternal principles of human life," and Bazarov, who is "alienated from life," meanwhile, "lives deeply and strongly."

    The point of view of Dostoevsky and Strakhov is quite consistent with the judgments of Turgenev himself in his article “On the“ Fathers and Sons ”, where Bazarov is called a tragic person.