Composition “Bazarov and his imaginary like-minded people (Based on the novel by I. Turgenev “Fathers and Sons”). Turgenev and. Bazarov and his imaginary like-minded people in the work of I. S. Turgenev "Fathers and Sons"

The 50-60s of the 19th century became an era of humiliating defeats for Russia and at the same time were marked by the flourishing of liberal-democratic and revolutionary movements and parties, an era of grandiose changes. At the end of the 1950s, the great empire was preparing to enter a new era of capitalist relations, preparing for promising changes. It is not surprising that this era gave rise to new people: strong, personalities, ambiguous heroes - who were predestined to fight for the future of Russia, for its well-being. They fought for the future that they considered the best, they fought for their sometimes controversial ideas, but they fought selflessly, to the point of exhaustion, sparing neither themselves nor others.

Turgenev's literary talent could not fail to note the appearance of such personalities, making Bazarov one of their representatives.

The man standing at the origins of the great, the one who is destined to be the first to realize and feel the main content of his era, being in the midst of mediocre inhabitants, is doomed to misunderstanding, doomed to loneliness. Turgenev's hero was no exception. Strong in spirit, well educated, striving for active work, philosopher and revolutionary, Bazarov is nevertheless lonely.

Yes, he has followers who revel in the game of "nihilistic views", but only a game that they, due to their development, are not able to fill with meaning. Can Kukshina's "emancipe" be understood by Bazarov, reputed to be a fully educated lady, with uncut magazines scattered all over the tables?

Sitnikov is also satirical, a stupid, empty person who directs all his few mental abilities to arouse interest in himself, to draw attention to himself, no matter how, - the main thing is that he will be noticed.

Is a person like Bazarov worthy of these pseudo-followers, these Kukshins and Sitnikovs, no, but the appearance of such “personalities” is inevitable ... Yes, and Arkady, carried away by the denial of everyone and everything, does not understand Bazarov. From his phrases "breathes with romanticism"; in the depths of his soul, Arkady Kirsanov is a phrase-monger, a true barchuk nobleman, a real “father” liberal, to whom nihilistic “dust” will undoubtedly gouge out his eyes, who is pleased at least with what he denies and criticizes, but does not fight. In the novel, there are no like-minded people around Bazarov, no people who understand him, share his views; there are no personalities of his level, his strength, his mind. But Bazarov is not understood not only by the so-called “followers”, but also by his parents, who would seem to be the people closest to the hero.

The old Bazarovs dissolve in love for their child, they cannot imagine life without him. What do they care about nihilism and revolutionaries, what do they care about all these theories and beliefs - they love their Enyusha, they firmly, as far as their strength allows, hold on to the thin thread of parental love that connects them with their son. Of course, Bazarov will never alienate two old people who have put their whole lives on his upbringing and education, but, lagging behind him in their development, they finally lost the opportunity to get closer.

In love, Turgenev's hero is also alone. Having met for the first time a woman who understands him the way he does, who occupies him not only with her “first-class” beauty, but also with her mind, “brain”, who, finally, is interested in Bazarov himself, having met such a woman, he falls in love “stupidly, madly”, falls in love once and for all, loves and craves reciprocity. But his passion, "gloomy and wild", turned out to be powerless before the measured calm of silks and silver trays.

Bazarov is left alone, and this loneliness, full of tragedy, is all-consuming and destructive, it can only be sustained by an incredibly strong person, which was Bazarov. But the “test of love” not only ruled out the last opportunity for the hero to find a person who is able to fully understand and share his views, but also made the nihilist raznochintsy begin to doubt the correctness of his beliefs.

No, in the truest sense of the word, Bazarov has no doubts: it is still unshakably true for him that art, nature,

love, romanticism - all this is "nonsense" and rotten; but the passion he feels for Odintsova makes the hero act contrary to everything previously said. His feeling, no matter how hard Bazarov tries, does not resemble the cynical passion for a district coquette; he did not receive reciprocity from Odintsova, but his love did not disappear from this and the vaunted principle did not work.

Bazarov is looking for consolation in nature, which so recently was only a “workshop” for a person - a “worker”; it is no coincidence that when describing the feelings of his hero, Turgenev introduces a romantic landscape, so unusual for Bazarov the nihilist.

Bazarov runs away from his love, a romantic feeling, but does not find salvation; he is angry, furious, but he is powerless. The love affair becomes a kind of turning point in the novel, after which the hero's skepticism and cynicism lose their maximalism; his actions no longer fully correspond to his ideas; Bazarov is no longer so alien and ridiculous the knightly fuse of Pavel Petrovich, and the duel with him takes on a certain, albeit lengthy, meaning. After Bazarov's explanation with Odintsova, his whole life was marked by a tragic discrepancy between actions and sensations and ideological views and thoughts.

But Turgenev debunked only the maximalist assertions of nihilism, which are not characteristic of true democratic revolutionaries, those views that, perhaps, determined the ambiguity of the hero that caused so much controversy and discussion - Bazarov remains true to the nihilistic theory to the end even in the face of death.

Bazarov is clearly aware of the inevitability and proximity of death, the tragic outcome that became the result of his internal conflict, which once again emphasized the impossibility of an unequivocal choice in favor of nihilism for such a strong personality, emphasized its controversial and versatility. But even dying, Bazarov does not deviate from his theory. Turgenev puts the words into his mouth: “Russia needs me... No, apparently, it is not needed.” In the tragic awareness of his uselessness and lack of demand, in the feeling of incredible strength and yet the inexorability of death, Turgenev's hero remains firm in spirit. Indeed, the main meaning of the novel, according to Pisarev, is the death of Bazarov. If he were afraid or repented of his convictions, then the reader would have an image of a false phrase-monger, unworthy of respect, but he remained firm.

Bazarov dies, but still the ending of the novel is not so tragic: the last landscape in the work, dedicated to the description of the hero’s grave, is truly romantic and bright; despite the death of Bazarov, life goes on and all problems and ideas are nothing before the eternity of beauty and harmony.

Having shown in his novel "Fathers and Sons" the type of a new hero - a commoner, democrat, materialist and nihilist Bazarov, I.S. Turgenev had to reflect in the work how this phenomenon in life is single, accidental or natural. To do this, it was necessary to show whether Bazarov had like-minded people. One of them, his friend Arkady Kirsanov, fully shares the hero's convictions, but, as it turns out, not for long. Noble origin and upbringing, the inability to give up family feelings, and then the influence of Katya force

The hero to return to the traditional values ​​of his circle. Are Sitnikov and Kukshin followers of Bazarov - people who consider themselves "progressives"? Sitnikov is the son of a wine farmer, a man who got rich on the maintenance of taverns. This is not respected in society, and Sitnikov is ashamed of his father. In his portrait, the author emphasizes the unnatural behavior of the hero: an anxious and restless expression on his face, “and he laughed uneasily: with some kind of short, wooden laugh.” He considers himself a “disciple” of Bazarov and says that he owes his “rebirth” to him, not noticing either the pomposity of his words or logical contradictions: after all, having heard from Bazarov that he “should not recognize authorities,” he felt “delight” in relation to Bazarov himself: “Finally I found a man!” Progressive views for Sitnikov are the way to self-affirmation at the expense of others, as well as for Mrs. Evdoxia Kukshina. She did not have a personal life, she parted with her husband, she is not outwardly beautiful, she has no children. In her behavior, too, everything was, as the author says, "not simple, not natural." In order to attract attention, she joined the progressive movement, but for her this is just an excuse to show herself, to demonstrate to others the breadth of her interests. She calls the world-famous writer George Sand a “backward woman” for her alleged ignorance of embryology, but Eliseevich, unknown to anyone, is a “brilliant” gentleman who wrote some article. Kukshina is interested in everything at once: chemistry, women's issues, schools - but most of all she is not worried about the problems themselves, but about the desire to demonstrate their knowledge to her interlocutors. She "drops" her questions one by one, without waiting for answers, and they have no place in Kukshina's self-satisfied monologue. She criticizes all women for being "badly brought up", and Odintsova for having "no freedom of opinion", but, most likely, she simply envy her beauty, independence and wealth. This is especially noticeable at the ball, where Kukshina appeared “in dirty gloves, but with a bird of paradise in her hair”: she was “deeply wounded” that they did not pay attention to her. Of course, Bazarov does not take conversations over a bottle of another champagne seriously, and he treats such people purely consumeristically: “We need the Sitnikovs ... I need such boobies. It’s not for the gods to really burn the pots. ” Feeling neglected, Sitnikov discusses Bazarov and Kirsanov with Kukshina, considering them "Opposite proud and ignorant." However, after the death of Bazarov, Sitnikov in St. Petersburg continues, according to his assurances, Bazarov's "case". The author describes with irony how, together with the "great" Eliseevich, Sitnikov is also preparing to "be great." He was beaten, but "he did not remain in debt: in one dark article, embossed in one dark magazine, he hinted that the one who beat him was a coward." With the same irony, Turgenev says that Kukshina, who finally got to Heidelberg, is now studying architecture, "in which, according to her, she discovered new laws." Bazarov is dead, and militant, self-satisfied ignorance flourishes, vulgarizing progressive ideas for which genuine fighters were ready to give their lives.

And if he is called a nihilist, then it should be read: revolutionary.
I.S. Turgenev.

Ivan Sergeevich's novel "Fathers and Sons" was published in 1862. He entered the treasury of Russian literature. In the novel there is no denouement, no plot, no strictly considered plan; there are only types and characters, scenes and pictures, and through the whole novel
through the personal attitude of the author to the phenomena of life. These phenomena are close to us, in them we seem to see ourselves as actors.
Turgenev managed to capture in Fathers and Sons the acuteness of the ideological struggle between the main social forces in Russia in the late fifties of the nineteenth century. On the one hand, the liberal nobles (Pavel Petrovich, Nikolai Petrovich and Arkady Kirsanovs), on the other hand, the democrat Evgeny Bazarov, the representative of that new emerging force, which was soon destined to play a huge political role in the social development of Russia.
Turgenev endowed his hero with a materialistic outlook, great willpower, love for the exact sciences, respect for work, showed his hatred for fasting and routine. The writer took all these positive features of Bazarov from real life.
Eugene in the novel expresses thoughts about the structure of society, criticizes superstitions and prejudices, the slavish obedience of the people. All this gives reason to talk about Bazarov's true democracy.
However, Turgenev's hero does not remain so throughout the novel. The writer in the second half of "Fathers and Sons" changes the appearance of Bazarov, deprives him of faith in the people, in the future of Russia, that is, makes him unlike true revolutionary democrats.
Turgenev was a moderate liberal, he could not pin his hopes on the revolutionary democrats. He perceived them as a great force and believed that they would very soon leave the historical arena and give way to new social forces. Therefore, the revolutionary democrats seemed to the writer tragic loners. He made Bazarov a tragic hero and forced him to die from an accidental cut on his finger.
Turgenev is attracted by his hero with a passionate desire to fight against ignorance and superstition, for a true science built on experiment.
Therefore, creating the image of a democrat-raznochinets, he drew attention to such real and characteristic features of him as a passion for the natural sciences.
Bazarov stands up for applied science, for specific crafts that could be mastered by the people, he loves his profession, knows no other life than the homeless, laboring, sometimes wildly riotous life of a poor student.
Bazarov's haters are people who pay attention to Yevgeny's baggy, harshness, and these traits are reproached for the general type. Such people can be reminded of the words from the poem by A.S. Pushkin: “You can be a practical person and think about the beauty of your nails.” These words indicate that you can be an extreme materialist and at the same time take care of your toilet, be a kind conversationalist.
In the novel, Turgenev attaches great importance to love intrigue. He tests his hero in love, in relation to a woman.
The beginning of the relationship between Bazarov and Odintsova is preceded by scenes that are very important for clarifying the character of the hero: the hero's clash with his main antagonist Pavel Petrovich, with Kukshina and Sitnikov. Bazarov is a man of a sharp and strong mind, an outstanding, strong, strong-willed, honest nature. His hatred and love are sincere and deep. When a heavy and strong passion came to him, he managed to defeat her, and turned out to be higher and more humane than that woman for whom “calmness” is more precious.
From such people as Bazarov, under certain circumstances, great historical figures are developed, such people remain strong and fit for any work for a long time, they are always ready to exchange one sphere of activity for another, more entertaining and broader. Their life is connected with the life of the surrounding world. They engage in useful science in order to give work to their brains or in order to drink from it a direct benefit for themselves and others. Bazarov is a man of business, life, he has great strength, independence. Energy. He dies... But his death is an accident. And even in the moments of death, Yevgeny Bazarov remains true to his convictions, his ideals. He wants to live, it is a pity to say goodbye to self-consciousness, to his personality, but this pain of parting with a young life is expressed not in mild sadness, but in a contemptuous attitude towards himself, as towards a powerless creature, and towards this rude, absurd accident that crushed and crushed his. Love for a woman, sons love for a father and
mother merges with love in the mind of a dying person for the Motherland, for mysterious Russia, which has remained an unsolved mystery for Bazarov.
Pisarev said about Bazarov: "To die the way Bazarov died is the same as accomplishing a great feat."
Yevgeny Bazarov denied music and poetry, but modern readers are attracted to him by the fact that he was faithful to the people, principled, loved to work, mastered the exact sciences, was faithful to his ideals, beliefs, was courageous before death.

The novel by I. S. Turgenev “Fathers and Sons” reflects the socio-political struggle between the nobles and the raznochintsy. The author sets himself the task of revealing the image of the "new man" - the nihilist Evgeny Vasilyevich Bazarov. The system of images is subordinated to this goal. The ideological opponent of the protagonist Pavel Petrovich Kirsanov, debunking the inconsistency of the views of the “nasty proud man”, declares: “Yes, remember, finally, gentlemen, that there are only four of you and a half ...” But the future doctor calmly and imperturbably objects: “We are not so few, as you think."

Who are they, these so-called followers of Bazarov, his ideological brothers? Except for the young Arkady Kirsanov, who first idolizes his “teacher”, and then changes his views under the influence of Katya Odintsova’s younger sister, then Viktor Sitnikov and Avdotya Nikitichna Kukshina are represented as “comrades-in-arms” of the main characters. Can they be considered true followers of Bazarov? Let's see how the author presents these characters in the novel.

After a heated ideological duel between the aristocrat Pavel Petrovich and the "plebeian" Bazarov, the situation in the Kirsanovs' house escalated. To defuse the atmosphere, the regimental doctor's son invites his friend to accept the offer of his "noble relative" Matvey Ilyich Kolyazin and "ride to the city." Returning from the governor, friends meet Sitnikov, who introduces himself as a "student" of Bazarov. In the portrait of “herr” Sitnikov, his unnaturalness is emphasized: “anxious and stupid expression ... of a sleek face”, “like sunken eyes”, “short wooden laughter”. The epithet "restless" is repeated twice: "the eyes looked intently and restlessly. What worries the “student” Bazarov so much, why does he behave so unnaturally?

Sitnikov is embarrassed by his father, whom the self-confident nihilist reminds him of with caustic, caustic irony, and then after his "leading" friend, Arkady. Sitnikov's father is a farmer, that is, he bought from the government the right to collect income from the sale of alcoholic beverages for his own benefit. It is no coincidence that the author does not indicate the patronymic of this "follower" of Bazarov. He mentally renounces his father, ashamed of his origins and his father's occupations. The writer gives this minor character a speaking name. Victor - "winner". If the fate of Bazarov is tragic - he dies from an accidental cut, then Sitnikov "is blissful in the world." From the epilogue, we learn that Sitnikov is "crowding around in St. Petersburg", assuring everyone that he continues Bazarov's "case". This hero, personifying triumphant vulgarity, is unfamiliar with world sorrow. The author reports that someone "beat" Sitnikov, but in retaliation he "embossed" "in one dark magazine" "that the coward who beat him."

A lot about the hero can tell and his name. "Sitnik" is a colloquial word for sieve bread made from flour sifted through a sieve. There is a jokingly familiar appeal “my friend of the seat”, which is the best way to convey mockingly - ironic, unceremonious and even contemptuous attitude of Bazarov towards his “student”.

There are two very important details with which the author conveys the concept of "imaginary" Sitnikov's nihilism. He wears a Slavophil Hungarian woman, but in a conversation with Kukshina he renounces his Slavophilism. The business card that this "advanced" person leaves in the room of Bazarov and Arkady is filled on one side with an entry in French, and on the other side with Slavophil script. Like a weather vane, he can turn into a Westerner, a Slavophile, or a nihilist, depending on which way the political wind blows.

Thus, "Herr" Sitnikov has no firm convictions. He only claims the role of an advanced person in society, strives to become significant, to become famous. But our "nihilist" is petty and insignificant. Adhering to some business or idea, he immediately vulgarizes and caricatures both the “case” and the idea.

The same can be said about the "progressive" and "emancipated" woman Avdotya Nikitichna Kukshina, about whom his narrow-minded and stupid Sitnikov speaks with such enthusiasm. And she, like Sitnikov, "always scratched her soul." Ashamed of his origin, the imaginary follower of Bazarov seeks to compensate for the feeling of his inferiority, inferiority with the role of an advanced person. Kukshina, under the guise of "emancipe", seeks to hide her female disorder: she has parted ways with her husband, she has no children. Interestingly, this heroine's patronymic also translates as "winner." In the epilogue, we learn that the “advanced” woman also went abroad and is no longer studying the natural sciences, but architecture, in essence, she, like Sitnikov, is “prosperous”.

In the "speaking" surname of the heroine, three meanings shine through. First, the word "fig" suggests itself. This word emphasizes the emptiness, insignificance of Avdotya Nikitichna, as well as her parodic belonging to nihilism. The word "nihil" means "nothing", as does the colloquial word "fig". Secondly, "kuksha" can be reinterpreted as a noun of the general gender from the verb "kuksya", which means "to be in a bad mood." The author notes that the expression on Kukshina's face "had an unpleasant effect on the viewer." “Involuntarily I wanted to ask her: “What are you, hungry? Or are you shy? What are you up to?" In the "emasipated woman", as in a crooked mirror, many of Bazarov's qualities are parodied. For example, slovenliness in clothes, interior, swagger in communication. We see her "somewhat disheveled, in a silk, but not quite neat dress." In her room there are "dusty tables", "everywhere ... scattered cigarette butts." “Thick numbers in Russian magazines, mostly uncut” indicate that the hostess claims to be educated, but does not read anything. In Kukshina's manners, her unnaturalness is emphasized: "she spoke and moved very cheekily and at the same time awkwardly." Avdotya Nikitichna, not without pride and complacency, declares herself: “I’m also practical” - and says that she “invented one mastic”, “make dolls, a head so that they don’t break.” The manner of communication of the “advanced and developed woman” testifies both to her insincerity and to her narrow-mindedness. “Mrs. Kukshina dropped her questions one after another with pampered carelessness, without waiting for answers; spoiled kids talk like that to their nannies.”

And how does the "teacher" relate to his "students"? It would seem that he should be interested in having followers. He goes to Kukshina only because Sitnikov promised champagne. Having reached "to the last drop" of champagne, he leaves the "highly moral phenomenon", without saying goodbye to this "remarkable personality." At the provincial ball, neither Bazarov nor Arkady paid any attention to Kukshina, deeply hurting her pride. Bazarov does not treat Sitnikov better either. The self-confident nihilist explains the “usefulness” of the Sitnikovs to his friend in this way: “... We need the Sitnikovs ... I need such boobies. It’s not for the gods, in fact, to burn the pots! At that moment, Arkady discovered for himself "the whole bottomless abyss of Bazar's pride."

Bazarov and his imaginary like-minded people in the work of I. S. Turgenev "Fathers and Sons"

The novel "Fathers and Sons" is the pinnacle of Turgenev's artistic creativity. He was one of the first Russian writers who realized "the need for consciously heroic natures in order for things to move forward" and artistically recreated these natures in the image of a raznochintsy - a democrat Yevgeny Bazarov. This man, strong in mind and character, is the center of the whole novel. Turgenev endowed Bazarov with outwardly not very attractive features: “a long and thin face with a wide forehead, his dark blond hair, long and thick, did not hide the large bulges of a spacious skull,” the author wrote with admiration that “his whole appearance shone with intelligence, spiritual by force."
Bazarov was distinguished by a remarkable mind, he had a strong analytical and critical mind, somewhat dry and cold, not alien to irony and skepticism. If not in all areas, then at least in the area of ​​ideas, ideals, social aspirations, such a mind will always protect a person from narrowness, one-sidedness, fanaticism, will not allow him to become a slave to an idea, a monomaniac.
In Bazarov's relationship to the common people, one must first notice the absence of any pretentiousness and any sweetness. The people like it, and that's why the servants love Bazarov, they love the kids, despite the fact that he doesn't gossip with them and doesn't coax them with money or gingerbread. The peasants have a heart for Bazarov, because they see in him a simple and intelligent person, but at the same time this person is a stranger to them, because he does not know their way of life, their needs, their hopes and fears, their concepts, beliefs and prejudice.
Bazarov is an internally free person, and it is precisely this internal freedom that he so jealously guards, and for her sake he so rebels against feelings for Odintsova. But, however, Bazarov - as we see him throughout the novel - these are actions, all his words, serious or playful, are equally a true expression of his personality.
Bazarov is a nihilist, a denier, a destroyer. In his denial, he stops at nothing. But what has been verified by experience, the practice of life, Bazarov does not deny. So, he is firmly convinced that work is the basis of life and the vocation of man, that chemistry is a useful science, that the main thing in a person’s worldview is a natural-scientific approach to everything. Bazarov does not at all intend to limit his life to pure empiricism, not inspired by any goal. He says that he is preparing himself to do "a lot of things," but what these things are and what exactly Bazarov is striving for remains unclear. He himself does not think about it, the time has not come. “At the present time, it is most useful to deny - we deny,” says Bazarov.
The protagonist alone expresses new social forces, the rest of the characters are either his enemies or unworthy imitators. The "imaginary" followers of Bazarov include Sitnikov and Kukshina. These individuals represent a superbly executed caricature of "a brainless progressive and Russian-style emancipated woman." To call Sitnikov and Kukshina a product of the times would be highly absurd. Both of them borrowed from their era only the upper drapery, and this drapery is still better than all the rest of their mental heritage. Sitnikov and Kukshina will always remain funny personalities. Bazarov treats Sitnikov with disdainful irony; his merchant's rollickingness is just as disgusting to him as the slovenliness of "emancipe" Kukshina.
Bazarov, at the invitation of Sitnikov, visits Kukshina in order to see people, has breakfast, drinks champagne, pays no attention to Sitnikov's efforts to show off his boldness of thought and Kukshina's efforts to call him to a smart conversation, and finally leaves without even saying goodbye to the hostess.
“Sitnikov jumped up after them.
- Well, well, what? he asked, obsequiously running now to the right, then to the left. “After all, I told you: a wonderful person. Here are some more women for us! She is a highly moral phenomenon in her own way!
— — Is this institution of your father also a moral phenomenon? said Bazarov, pointing his finger at the tavern, past which at that moment they were passing.
- Sitnikov again laughed with a squeal. He was very ashamed of his origin and did not know whether to feel flattered or offended by Bazarov's unexpected ticking!
There are countless people like Sitnikov who can easily and profitably pick up other people's phrases, distort someone else's thought and dress up as a progressive. There are few true progressives, that is, people who are really smart, educated and conscientious, there are even fewer decent and developed women, but there are many sycophants who climb into progressive people, amuse themselves with progressions of phrases, like a fashionable little thing, or drape in them to cover their dirty tricks.
Against the background of Sitnikov and Kukshina, certain traits of Bazarov's personality are more sharply and brightly pushed aside, his superiority, intelligence, and spiritual strength are emphasized, which testify to his loneliness among the county aristocrats. He differs from them in his heroism, self-confidence, in his correctness of "nihilism", the power of analysis and public temperament, and the indomitability of protest. The end of Bazarov is tragic, he dies alone, leaving no followers.