Which is not typical for a bazaar. Characteristics of Bazarov in the novel "Fathers and Sons" by Turgenev in quotes: a description of the personality and character of Evgeny Bazarov. Attitude towards other people

Nesterova I.A. Bazarov's character // Encyclopedia of the Nesterovs

Artistic characteristics of Bazarov and the incompatibility of the elements of his image.

In 1862, Turgenev's novel "Fathers and Sons" was published. The central place in the composition of the work is occupied by the image of Bazarov.

The general assessment of the image of Bazarov is a doctor by education, a nihilist by way of thinking. He is not attracted to poetry and painting. Bazarov believes that

a decent chemist is twenty times more useful than any poet

I cannot agree with this and believe that Bazarov himself thought so because he was young. In fact, he is a romantic at heart. Turgenev emphasized this in the death scene of the protagonist.

The appearance of the hero is quite unusual.

Bazarov is tall, dressed in a long robe with tassels, his face is long and thin with a broad forehead, flat top, pointed nose, large green eyes and drooping sandy whiskers, it was enlivened by a calm smile and expressed self-confidence and intelligence.

Evgeny Bazarov is very smart. Evidence of this is the passion for science. The protagonist knows how to analyze the problems of modern society.

Bazarov is a man of labor. This can be seen from his "red bare hand". During his stay in Maryino, Bazarov did not forget things: every morning he woke up before everyone else and got to work.

Evgeny Vasilyevich Bazarov is proud. He is in no hurry to bow before the aristocrats.

Nikolai Petrovich quickly turned around and, going up to a man in a long robe, who had just climbed out of the carriage, tightly squeezed his bare red hand, which he did not immediately give him.

The character of Bazarov perfectly combines intelligence, diligence, pride, resourcefulness, wit. He doesn't mince words. For any remark during a dispute with Pavel Petrovich, Bazarov has a witty retort. Bazarov is sure of the correctness of his thought.

Bazarov despises the conventions and rules of etiquette established by aristocratic society. However, he does not treat ordinary people with any arrogance. When Nikolai Petrovich became worried that Bazarov would scorn his love for Fenechka, Arkady said:

As for Bazarov, please don't worry. He is above all this.

Village peasants treat Bazarov well, as they consider him a simple and intelligent person, but they perceive him as a pea jester. He is a stranger to them, because he is not familiar with their way of life.

Bazarov was a great hunter of women and female beauty.

But the soul of Bazarov is looking for a real high feeling. Cynicism and belief in materialism prevent him from understanding people correctly. When he fell in love with Odintsova, it seemed that this love would be happy. But here Turgenev emphasized the incompatibility between romanticism and nihilism. During his declaration of love to Odintsova, it seemed that his romanticism broke out, but no, this did not happen. Bazarov turned and left with the firm intention of conquering his feelings. Later he tells Arkady:

I already noticed in the clinic who is angry at his pain - he will certainly overcome it.

Turgenev endowed his hero with nobility. Not everyone would help a person who hates him. During the duel, Bazarov wounded Pavel Petrovich, but immediately cast aside his hostility and gave him first aid.

The main tragedy of Bazarov is that he cannot find permanent like-minded people, but only temporary fellow travelers. It is as alien to the nobility as it is to the peasantry.

The fact that Bazarov is alien to the aristocracy, Turgenev says through Katya:

Well, then I'll tell you that he ... not that I don't like it, but I feel that he is a stranger to me, and I am a stranger to him, and you are a stranger to him.

After analyzing the personality traits of Bazarov, I came to the conclusion that the author created a true hero of his time. In Bazarov's soul there was a struggle between romanticism and materialism. He tried to solve the most difficult problems of life and consciousness. No matter how much Bazarov valued the past, all his thoughts and efforts were directed to the present. Bazarov was alone. I completely agree with Pisarev's words:

Bazarov's personality closes in on itself, because outside of it, around it, there are almost no elements related to it at all.

Turgenev allowed his hero to die, as he believed that Bazarov's ideas would not lead to anything good. Before his death, Bazarov says the key phrase:

Russia needs me... No, apparently not needed.

Reading Turgenev's novel Fathers and Sons, we constantly meet the author's characteristics and descriptions of the characters, the author's remarks and various comments. Following the fate of the characters, we feel the presence of the author himself. The author deeply experiences everything he writes about. However, his attitude to what is happening in the novel is ambiguous and not as simple as it might seem at first glance. The author's position in the novel is manifested in descriptions, direct author's characteristics, comments on the characters' speech, in the construction of dialogues and remarks.

For example, when the author describes Bazarov's mother, he often uses words with diminutive suffixes and epithets that tell us about the character of the heroine: ... prop your round face with your fist, to which puffy, cherry-colored lips and moles on the cheeks and above the eyebrows gave expression very good-natured, she did not take her eyes off her son ... Thanks to special epithets and suffixes, we understand that the author treats Bazarov's mother with sympathy, pities her. Sometimes Turgenev gives a direct description of his characters. For example, about Pavel Petrovich, he says: Yes, he was a dead man. These words characterize Pavel Petrovich as a person no longer capable of real feelings; he can no longer develop spiritually, continuing to cognize this world, and therefore, he cannot truly live. In many of the author's remarks, Turgenev's attitude towards his heroes is also felt.

For example, commenting on Sitnikov's speech, the author writes that Sitnikov laughed shrillly. Here one can feel the author's obvious irony, as in other comments on the speech of two pseudo-nihilists Sitnikov and Kukshina. However, if we talk about the climaxes of the novel, about its main character Bazarov, then here the author's attitude cannot be unambiguously determined. On the one hand, the author does not share the principles of his hero, on the other hand, he respects his strength and intelligence. For example, in the description of Bazarov’s death, one feels the author’s respect for this hero, because Bazarov is not cowardly in the face of death, he says: I still don’t coward ... In the dispute between Bazarov and Pavel Petrovich (and this dispute is important for understanding the idea of ​​\u200b\u200bthe work ) the author does not openly support any of the characters.

The author seems to be on the sidelines. On the one hand, Bazarov’s reproaches of Pavel Petrovich’s unfoundedness are quite fair: ... you respect yourself and sit back ... on the other hand, Pavel Petrovich is right when speaking about the importance of a sense of self-respect. As Turgenev himself wrote, ... real clashes are those in which both sides are right to a certain extent, and this is probably why Turgenev does not take the side of any of the characters, although he respects Bazarov's mind and Kirsanov's sense of self-respect. The epilogue of the work is of great importance for understanding the idea of ​​the novel.

The author describes Bazarov’s grave in the epilogue and says that the flowers on the grave speak of eternal reconciliation and endless life .... I think this means that the disputes between nihilists and aristocrats, fathers and children are eternal. It is from these disputes, clashes, speaking about the development of mankind and philosophical thought, that the life of people consists.

I must say that Turgenev does not give us explicit answers, he asks his reader questions, inviting him to think for himself. This seeming uncertainty, behind which the author's philosophical attitude to the characters and destinies described, is hidden, is not only in the epilogue. For example, when Turgenev talks about the life of Bazarov's mother, he writes: Such women are now being translated. God knows if we should rejoice in this!

As you can see, the author avoids harsh tones in his judgments about the characters. It leaves the reader free to draw (or not draw) their own conclusions. So, the author of the novel Fathers and Sons Turgenev does not impose his point of view on what is happening in the work, he invites readers to take this philosophically. The whole novel is perceived not as an ideological guide or praise to one of the characters, but as material for reflection. The main problem posed by the writer in the novel is already in its title: Fathers and Sons. This name has a double meaning. On the one hand, this is the problem of generations, the eternal problem of classical literature, on the other hand, the conflict of two socio-political forces that operated in Russia in the 60s: liberals and democrats.

The protagonists of the novel are grouped depending on which of the socio-political camps we can attribute them to. But the fact is that the main character Yevgeny Bazarov turns out to be the only representative of the camp of children, the camp of democrats-raznochintsev. All other heroes are in a hostile camp. The central place in the novel is occupied by the figure of the new man Yevgeny Bazarov.

He is presented as one of those young people who want to fight. Other people of the older generation who do not share Bazarov's revolutionary democratic convictions. They are depicted as small, weak-willed people with narrow, limited interests.

The novel presents the nobles and commoners of two generations of fathers and children. Turgenev shows how a raznochinets democrat operates in an environment alien to him. Bazarov is a guest in Maryina, who differs from the landlords in his democratic appearance.

And he disagrees with Arkady in the main idea of ​​\u200b\u200blife, although at first they are considered friends. But their relationship still cannot be called friendship, because friendship is impossible without mutual understanding, friendship cannot be based on the subordination of one to the other. Throughout the novel, there is a subordination of a weak nature to a stronger one: Arkady Bazarov.

But still, Arkady gradually acquired his own opinion and already ceased to blindly repeat after Bazarov the judgments and opinions of the nihilist. In disputes, he does not stand up and expresses his thoughts. One day, their argument came close to a fight. The difference between the heroes is visible in their behavior in Kirsanov's empire. Bazarov is engaged in work, studying nature, and Arkady is sybaritic, doing nothing.

The fact that Bazarov is a man of action is immediately evident from his red bare hand. Yes, indeed, in any situation, in any home, he tries to do business. His main business is the natural sciences, the study of nature and the verification of theoretical discoveries in practice.

Passion for science is a typical feature of the cultural life of Russia in the 60s, which means that Bazarov keeps up with the times. Arkady is the complete opposite. He does nothing, none of the serious cases really captivates him. For him, the main thing is comfort and peace, but for Bazarov not to sit back, work, move. They have completely different opinions about art. Bazarov denies Pushkin, and unreasonably.

Arkady tries to prove to him the greatness of the poet. Arkady is always neat, tidy, well dressed, he has aristocratic manners. Bazarov, on the other hand, does not consider it necessary to observe the rules of good manners, which are so important in the life of the nobility. This is reflected in all his actions, habits, manners, speeches, appearance. A major disagreement arose between friends in a conversation about the role of nature in human life. Here Arkady's resistance to the views of Bazarov is already visible, the student is gradually getting out of the power of the teacher.

Bazarov hates many, but Arkady has no enemies. You, gentle soul, are a weakling, says Bazarov, realizing that Arkady can no longer be his associate. The disciple cannot live without principles. In this he is very close to his liberal father and Pavel Petrovich. But Bazarov appears before us as a person of a new generation, who replaced the fathers, who were unable to solve the main problems of the era.

Arkady is a man belonging to the old generation, the generation of fathers. Pisarev very accurately assesses the reasons for the disagreements between the student and the teacher, between Arkady and Bazarov: Bazarov's attitude towards his comrade casts a bright streak of light on his character; Bazarov has no friend, because he has not yet met a person who would not give in to him. Bazarov's personality closes in on itself, because outside of it and around it there are almost no elements related to it at all. Arkady wants to be the son of his age and puts on Bazarov's ideas, which definitely cannot grow together with him. He belongs to the category of people who are always guarded and never notice guardianship.

Bazarov treats him patronizingly and almost always mockingly, he understands that their paths will diverge.

Character traits of Evgeny Bazarov.
Composition based on the novel by I.S. Turgenev "Fathers and Sons".

Roman I.S. Turgenev "Fathers and Sons" is on a par with the best Russian and world works of literature.
The protagonist of the work, Evgeny Bazarov, is an outstanding and, at the same time, tragic personality.
It can be ranked among the "superfluous" people who failed to realize their potential and their rich potential.
Evgeny Bazarov is a representative of a new, young generation in the novel.
He is the personification of the changes that took place in society in the 60s of the 19th century.
Bazarov is a commoner. With such a “ignoble” origin of his hero, the writer shows that raznochintsy and other people of a non-noble family are put forward in the first place in society.
Aristocrats fade into the background in all respects: social, philosophical, cultural, domestic.
Bazarov is not rich, he earns for his education himself. The hero is studying natural sciences and will soon become a talented doctor. We see that this profession captivates Bazarov. He is ready to work to achieve results, that is, to help people, improve their lives.
Already the very appearance of Bazarov, his demeanor speaks of the great mind of the hero, his self-confidence: "it was enlivened by a calm smile and expressed self-confidence and intelligence."
Once in the "noble family" of the Kirsanovs, Evgeny Bazarov shocks the "fathers" with his views. It turns out that their friend Arkashi is a nihilist. What does this mean? "A nihilist is a person who does not bow to any authority, who does not accept a single principle on faith, no matter how respected this principle may be."
Indeed, Bazarov denies everything that was accumulated before him by previous generations. Especially his heart "rebels" against everything intangible: art, love, friendship, soul, finally. Bazarov considers all this to be inventions of aristocrats unfit for business, fantasies of weak people. The hero says this to Pavel Petrovich: "A decent chemist is twenty times more useful than any poet."
Evgeny Bazarov sees only one destruction as the goal of his life. He believes that the goal of his generation is to clear the place. The hero seeks to free life from everything accumulated by the aristocracy. Yevgeny Bazarov thinks that all this is completely unnecessary for the main participant in history - the people. For the sake of him, the hero does all his deeds.
Bazarov is sure that his generation should destroy. Other generations of children and grandchildren will build something new.
This hero looks at everything from a rational and material point of view. In his life there is no place for the slightest feeling. Even Bazarov considers love to be only simple physiology, the attraction of bodies and nothing more. From the views of this hero it breathes cold and death.
Turgenev by no means agreed with the philosophy of his hero. To debunk Bazarov's worldview, the author takes him through trials. Gradually it becomes clear that their hero can not stand it.
Thus, the views of Bazarov, his foundation, the core of life, are collapsing. At the end of the novel, the hero dies, proving once again the incorrectness of his theory.
The biggest and most important test in Bazarov's life was love.
He, who denied this feeling and despised the people who experienced it, fell in love himself. He fell in love strongly, passionately, with all the power that his nature was capable of. Love for Odintsova made Evgeny Vasilyevich reconsider his views, first of all, on himself. Does that mean love exists? Moreover, all people are subject to it, and even such prominent ones as Bazarov?
The hero ranked himself among the capable and strong people, in some ways even extraordinary. He thought that he would be able to control the situation and subordinate everything to the arguments of reason. But it was not there. The meeting with Anna Sergeevna Odintsova turned everything upside down in an instant.
The hero has mixed feelings for her. On the one hand, this is strong love, and on the other, anger and even hatred: “Bazarov rested his forehead against the glass of the window. He was suffocating; his whole body apparently trembled. it was a passion that throbbed in him, strong and heavy - a passion similar to malice and, perhaps, akin to it ... "
From that moment on, nihilistic theories in the life of the hero faded into the background.
He became involved in medicine and natural experiments. Soon, having injured his finger, Bazarov becomes infected with typhus and dies. The last person he wanted to see was Odintsova. Only to her Yevgeny Bazarov opens up completely and only asks her: "Blow on the dying lamp, and let it go out ..."
The hero dies.
In this way, Turgenev debunks his nihilistic theory, proves to himself and to readers that with such views on life as Bazarov’s, it is not only impossible to bring benefit to others, but it is also impossible to be happy yourself.
The "rebellious heart" of the hero was directed in the wrong direction, so his mighty potential disappeared without leaving a trace.
Bazarov could not live by changing his views.
His whole existence was based on nihilism.
Realizing that he is not capable of being a nihilist, the hero dies first spiritually, and then physically.
His "rebellious heart" simply stops beating.

The attitude of the author towards Bazarov is very ambiguous. Throughout the novel, we observed criticism, reproaches, admiration, and empathy towards the main character. The author endows Evgeny Vasilyevich with an unusual, ardent character. He is characterized by stamina, courage, courage, self-control, perseverance, cynicism, which together form a combustible mixture. Our hero is not like everyone else, so he is often lonely. His position in life is incomprehensible to many. And nihilistic views that do not recognize any compromises cause indignation. Even his student and friend Arkady does not fully understand the full depth of the new social movement.

And the main one is love. Before this bright feeling, even the categorical nihilist Bazarov could not resist. This becomes a great shock for him and makes him think about things that he did not recognize before.

The presence of the hero Bazarov filled the novel with constant anxiety. That quarrel with Pavel Petrovich, which later came to a duel. Love for Odintsova, a kiss with Fenechka, which also almost led to a conflict. But after his death, as if everything calmed down, fell into place. The wedding of Nikolai Petrovich and Fenechka, Arkady and Katya, as well as Odintsova, although not out of love, but still, why not a happy ending? But the dead are always sorry, and even more sorry for Bazarov's parents. After all, for them he was the only joy and consolation. They were infinitely proud of him. But unfortunately they still failed to bridge the gap between each other.

It was difficult to imagine such an outcome of events in the last chapters of the novel. We all love fairy tales with a happy ending, but these pages contain a reality that brings the reader back to earth and makes you think. Why did Turgenev decide the fate of the protagonist in this way? After all, Bazarov was a young, ambitious man. How much could he have done for science and society. He was head and shoulders above everyone else. Maybe this was the reason for the sad end. He never found his place in the world. His views were criticized, ridiculed, but still they were not empty, because there were those who shared his opinion. Bazarov is a man of new, extraordinary views, so he needed a different society.

Updated: 2014-04-06

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Yevgeny Bazarov is the protagonist of I. S. Turgenev's novel "Fathers and Sons", the "Russian Hamlet", the spokesman for the new and very strong convictions of the intelligentsia of Russia in the middle of the 19th century - a nihilist. He denies a high spiritual principle, and with it poetry, music, love, but preaches knowledge and, on its basis, the reorganization of the world. Bazarov is a raznochinets, a medical student, although he is already about 30 years old. He is the so-called. "an eternal student" who studies for years, all preparing for real activity, but does not start it in any way.

Eugene came on vacation with his friend Arkady Kirsanov to his estate. The first meeting with Eugene takes place at the station, where Arkady's father meets the young men. The portrait of Bazarov at this moment is eloquent and immediately gives the attentive reader some idea of ​​\u200b\u200bthe hero: red hands - he conducts a lot of biological experiments, is intensively engaged in practice; a hoodie with tassels - everyday freedom and neglect of the outside, besides poverty, alas. Bazarov speaks a little arrogantly ("lazy"), on his face is an ironic smile of superiority and indulgence towards everyone.

The first impression does not deceive: Bazarov really considers everyone he meets with us on the pages of the novel below himself. They are sentimental - he is a practical and rationalist, they love beautiful words and grandiloquent statements, they give loftiness to everything - he speaks the truth and everywhere he sees the true reason, often low and "physiological".

All this is especially evident in disputes with Pavel Petrovich Kirsanov, the "Russian Englishman", Arkady's uncle. Pavel Petrovich speaks of the high spirit of the Russian people, Evgeny retorts with a reminder of daughter-in-law, drunkenness, laziness. For Kirsanov, art is divine, but for Bazarov, “Rafael is not worth a penny,” because it is useless in a world where some have hunger and infection, while others have snow-white cuffs and morning coffee. His summary of art: "A decent chemist is twenty times more useful than any poet."

But the hero's convictions are literally ruined by life itself. At the provincial ball, Bazarov meets Anna Odintsova, a rich and beautiful widow, whom he first characterizes in his own manner: “She doesn’t look like other women.” It seems to him (Eugene wants it to be so) that he has an exclusively carnal attraction to Odintsova, "the call of nature." But it turns out that a smart and beautiful woman has become a necessity for Bazarov: she wants not only to kiss, but to talk to her, look at her ...

Bazarov turns out to be "infected" with romanticism - something that he vehemently denied. Alas, for Odintsova, Evgeny became something like those frogs, which he himself cut for experiments.

Running away from feelings, from himself, Bazarov leaves for his parents in a village where he treats peasants. Opening a typhoid corpse, he injures himself with a scalpel, but does not cauterize the cut and becomes infected. Soon Bazarov dies.

Characteristics of the hero

The death of a hero is the death of his ideas, beliefs, the death of everything that gave him superiority over others, in which he so believed. Life gave Yevgeny, as if in a fairy tale, three trials to increase the complexity - a duel, love, death ... He - more precisely, his convictions (and this is he, because he "made himself") - do not withstand a single one.

What is a duel if not a product of romanticism, and certainly not a healthy life? And yet Bazarov agrees to it - why? After all, this is sheer stupidity. But something prevents Evgeny from refusing to call Pavel Petrovich. Probably an honor that he mocks as much as he does art.

("Bazarov and Odintsova", artist Ratnikov)

The second defeat is love. She dominates Bazarov, and the chemist, biologist and nihilist cannot do anything with her: “His blood caught fire as soon as he remembered her ... something else moved into him, which he did not allow ... "

The third defeat is death. After all, she did not come by the will of old age, chance, but almost intentionally: Bazarov knew perfectly well what a cut in a typhoid corpse threatened. But - did not cauterize the wound. Why? Because he was controlled at that moment by the lowest of the "romantic" desires - to end everything at once, to surrender, to admit defeat. Eugene suffered so much from mental anguish that reason and critical calculation were powerless.

Bazarov's victory is that he has the intelligence and strength to admit the collapse of his convictions. This is the greatness of the hero, the tragedy of the image.

The image of the hero in the work

At the end of the novel, we see all the characters somehow arranged: Odintsova married by calculation, Arkady is happy in a petty-bourgeois way, Pavel Petrovich leaves for Dresden. And only Bazarov's "passionate, sinful, rebellious heart" hid under the cold earth, in a rural cemetery overgrown with grass ...

But he was the most honest of them, the most sincere and strong. Its “scale” is many times larger, its possibilities are greater, its forces are immeasurable. But such people do not live long. Or a lot, if they shrink to the size of Arcadia.

(V. Perov illustration for Turgenev's novel "Fathers and Sons")

Bazarov's death is also a consequence of his false beliefs: he was simply not ready for a “hit” with love and romance. He did not have the strength to resist what he considered fiction.

Turgenev creates a portrait of another "hero of time", over whose death many readers cry. But the "heroes of the time" - Onegin, Pechorin, others - are always superfluous and heroes only because they express the imperfection of this time. Bazarov, according to Turgenev, "stands on the eve of the future", his time has not come. But it seems that it has not come for such people even now and it is not known whether it will be ...