Evgeny Vasilievich Bazarov is the main character of Turgenev's novel "Fathers and Sons". Undoubtedly, it was his image that played a huge role in the formation of all Russian literature. Bazarov is a character who turned the worldview of many who lived at that time. His nihilism, opposition to common norms and values, promotion of his own way of life prompted the younger generation to strive to break the chains of the "old" burden in the form of obsolete values and rules.
No matter how much I want to be like Bazarov, nevertheless, unfortunately, or perhaps fortunately, we have few similarities. Evgeny is simultaneously, I think, a "warehouse" of both positive and negative qualities. He, in fact, is an example for many - intelligence, the ability to express one's own opinion, quick wits, versatility, moral and physical strength, self-confidence and self-confidence.
It would seem, where does such a person have negative qualities? Alas, they have a place to be - this is his pride against the background of his worldview, some selfishness, but most of all I am surprised that for him there are no concepts of "pity", "kindness", "love".
No less upset was Bazarov's attitude towards women. There was no relationship, really. Eugene does not know how to communicate with the opposite sex, he is not able to sacrifice something for the sake of another person, he denies certain duties in relations between a man and a woman.
It is also frustrating that the Bazarov family never appeared in the novel as characters. I, reading the story of Eugene, until the very end hoped for the appearance of a family in order to understand whether the hero was raised by his parents as a nihilist or he himself formed such a way of life.
Despite the foregoing, Bazarov is still a unique person who is distinguished by his originality, Eugene was not created according to someone else's template. There is not a single hero in all of Russian literature who even half resembled this character.
It seems to me that Bazarov simply has not fully formed as a person. There is some hesitation in his words. An example of this is how he spoke about love - supposedly it is just a "chemical process", but having fallen in love with Odintsova, the hero immediately renounces his words and admits that love is something immeasurable that lives inside each person with its own life.
If we talk about my attitude towards Bazarov, to be honest, I myself do not know how I feel about him. If you think logically, Eugene is smart, honest, strong, versatile, in a word - attractive as a person, but on the other hand, his excessive self-confidence and selfishness are repulsive. If I am asked to make the final choice, I will still answer that I mostly have positive emotions for this hero, because he is the image of the "new" going against the "old", ready to remove him from his throne at any moment.
Reflecting on the question of whether Bazarov is needed at the present time and whether he could live in this era, I will undoubtedly answer - it is needed. The hero himself asked this question and said: "Russia needs me ... No, apparently not needed." Perhaps Russia did not need him at that time, because the forces were very unequal and his attempts to transform the country were not supported by the majority. But if we talk about today's Russia, then, undoubtedly, the "Bazarovs" are needed, because the expression of one's own point of view, and not blind submission, is a very important ability in the age of TV, the media, and the Internet. Bazarov promoted evolution, progress, he is an example for a new generation, capable of destroying the "old" and building the "new" with its quantity.
Much attracted Turgenev in his hero: inner independence, consistency, steadfastness in upholding his convictions, a critical attitude to reality. But many things nevertheless repulsed the writer directly, or inspired very serious fears. This manifested not so much Turgenev's liberal limitations as his perspicacity as a realist writer. It is no coincidence that both in the text of the work, and in the statements, articles, letters of the writer, there is always some kind of duality, uncertainty in the attitude of the author to the hero. Turgenev wrote to A. A. Fet:
* “Did I want to scold Bazarov or exalt him? I do not know this myself, for I do not know whether I love him or hate him. In another letter, Turgenev spoke more definitely: “I was rushing about with a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to death - because it still stands on the eve of the future, - I was rushing about some strange drug with Pugachev ... ".
The strange correspondence with Pugachev is in itself extremely revealing and important in clarifying the author's attitude towards such a hero. The idea that Bazarov is a tragic person is found more than once in Turgenev's letters. But, as you know, the greatness of the tragic hero does not exclude the presence of tragic guilt in him ... The tragedy of Bazarov is in the futility of his desire to suppress human aspirations in himself, in the doom of his attempts to oppose his mind to the spontaneous and powerful laws of life, the unstoppable force of feelings and passions. In this regard, the chapters that tell about Bazarov’s stay at Odintsova are very important, when, according to the fair observation of Yu. V. Lebedev,
* “the conflict of the novel from the outside (Bazarov and the aristocracy) is gradually translated into the inner plane, into the soul of the hero ...”, and the further, the more strongly Bazarov’s spiritual loneliness manifests itself - even in communication with Arkady, even in the parental home. His death was, according to the author's intention, "to put the last line on the tragic figure."
Turgenev endowed Bazarov with intolerance to the whole past, not because he distorted reality. In reality, there were such "nihilists" in Russian life, and the writer, with all the strength of his soul, with all his talent, strove to warn his readers about the dramatic consequences of a neglectful attitude towards those spiritual values that had been developed in the past. After all, nature is not only a workshop, as Bazarov claims, but also a temple. In general, we are talking about the fullness of human existence, human relationships, about love, which Bazarov tried to reduce to physiology, but it was precisely here that he suffered the most crushing defeat, because few of Turgenev's heroes could adequately pass the test of love. Bazarov was no exception here, although his defeat, of course, depended on completely different reasons than, for example, the defeat of Rudin. That is why in recent years, Soviet literary scholars have brought to the fore in Turgenev's novel the very important idea of the organic continuity of cultural values in the course of the succession of one generation by another.
The social and historical-literary significance of the novel. "Fathers and Sons" is one of the pinnacles of the writer's artistic skill. The intensity of the debate about the novel itself testified that it did not leave anyone indifferent, and this is a sure sign of the effectiveness of the work.
As in other Turgenev novels, the content of "Fathers and Sons" unfolds in a limited space and only for a few weeks. But this did not prevent the writer from giving a whole picture of Russian life - wider and more voluminous than in his previous works. An important place in the novel is occupied by ideological disputes, which become an important structural element of it.
The hero, representing the Russian democratic youth with all the advantages and disadvantages, strength and weakness, marked the beginning of a new stage in the history of Russian literature. In many works of the following decades, the artistic development of problems, images, and motives first raised by Turgenev will continue. In literature, the novel was imitated, sharply argued with (as, for example, Chernyshevsky in “What to Divide?” But in any case, it was no longer possible to ignore the Artistic discoveries that Turgenev made. Another great Russian writer, Dostoevsky in 1863, with sympathy mentioned "the restless and yearning Bazarov (a sign of a great heart), despite his selfishness."
The composition "The strength and impotence of Bazarov" Who can help write ?? I thank you and got the best answer
Answer from Elena Ivleva[expert]
What is his strength? In that he is a representative of the new time. Aristocrats, like Pavel Petrovich, have outlived their own. They lived well at someone else's expense, but with their help the country lagged behind Europe. We need new people and new ideas. Evgeny Bazarov throughout the novel shows us this new idea. If you look closely, you can also catch the similarity between the time that Turgenev describes and ours. Today, too, the old ideas, and with them the leaders of the Communist Party, are gone. We need to carry out reforms, pull the country out of the swamp. How to do this, and there are endless disputes.
What is Bazarov's weakness? In my opinion, his main weakness is that he only denies, he does not carry anything positive. And how can people live with one denial? Today there are also many people who perfectly criticize the old, perfectly prove that a lot needs to be changed, but they cannot offer anything worthwhile, much less do anything. They, as in Nekrasov's poems, get: "if it touches the point, then trouble, the world is to blame for the failures then." And Yevgeny Bazarov appropriated to himself the "title" of a nihilist and denies everything: religion, science, family, morality, etc. It becomes especially creepy when you think about it, that he denies such things as art, love. Of course, life is richer than his ideas, and the "theorist" himself falls in love "stupidly, madly." While Yevgeny Bazarov is talking about this in the Kirsanovs' dining room or in Odintsova's living room, this is his business, his whim. But sat down he comes to power? Namely, such people are torn to her ...
I recall a famous passage in the dispute between Kirsanov and Bazarov. Nikolai Petrovich asks why Bazarov and his like-minded people deny everything, but in fact, destroy, but do not build anything? Is it necessary to build? Bazarov proudly answers:
"It's none of our business... First we need to clear the place." And I involuntarily want to enter into an argument. Ask about how you can destroy something without getting the approval of the one who lives in this building? How can you break without having a clear plan of what and how to build? Isn’t it so that after 1917 they broke intensified in order to “clear the place”, exclaiming: “We are ours, we will build a new world!”, and then it turned out; that "architects" are illiterate and criminals besides?
Maybe someone likes such characters. But for me, the gardener cultivating his small garden, the illiterate old woman looking after the kids, are much more "heroes" than Bazarov. After all, they create to the best of their ability, and he destroys.
How can you break it without even knowing why? Pavel Petrovich rightly cannot understand this. And the "young student" of Bazarov Arkady answers him: "We break, because we are strength." And strength, in his opinion, does not give an account. I would very much not like the old rulers to be replaced by new ones who consider their main duty only to "clear the place" and not to build a new one. After all, this is where we live...
And I have nothing to add to Pavel Petrovich's thought that the last musician, who is given five kopecks for the evening, is more useful than people like Bazarov, because he is a representative of civilization, and not of brute Mongolian strength.
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Of course, Bazarov cannot be wrong in everything. He quite rightly condemns the idleness of Pavel Petrovich, and with him the idealists of his era, who only talk about business and the common good.
But in this case, the question is natural: what does Bazarov himself do? He denies, and nothing more. He does not accept this world, does not agree with it, but does not strive for any improvement. He believes that the task of him and his associates is to "clear a place" for future generations. He is not going to build himself, that is, he actually lives according to the principle - "after us - even a flood."
Turgenev defines the main feature of his creative method as follows: “Our time requires us to capture modernity in its transient images.” It causes the emergence in the writer's work of a special type of realistic novel, called cultural-historical. Such a novel is characterized by the presentation of topical problems, new ideas and heroes of the time, characterized through a special type of culture, which can rightfully be attributed to the novel "Fathers and Sons". Another quality of a cultural-historical novel is inherent in this work: it becomes a kind of self-report of Russian society for a specific time period (the novel Fathers and Sons, completed in 1861, tells about the events of 1859).
Another distinctive quality of the novel is its saturation with ideological polemics, which is reflected in the entire system of artistic means used. The main one is the dialogue, which develops in the form of an ideological dispute. In the dialogue, the characters are revealed, the characters are revealed. Bazarov's dialogues with Pavel Petrovich, with Arkady, with Sitnikov and Kukshina, with Odintsova characterize the hero more fully and comprehensively than his actions, which sometimes seem very contradictory. Unlike his opponents, Bazarov is brief in the dispute, does not seek to speak beautifully, but at the same time he is very convincing (for example, the dispute between Bazarov and Pavel Petrovich in Chapter X). In almost all disputes, he emerges victorious.
The most important means of characterizing the characters is their language. Various intonation shades recreate the most complex range of experiences of the characters, and the choice of vocabulary characterizes their social position, circle of occupations and even the era to which they belong. For example, Pavel Petrovich uses in his speech “efto” instead of “this” and “the remainder of the legends of Alexander’s time was reflected in this whim.” Or another example: the word "principle" Pavel Petrovich "pronounced softly, in the French manner", as "principe", and "Arkady, on the contrary, pronounced" principle ", leaning on the first syllable", from which it becomes clear that the heroes, belonging different generations perceive this word differently.
The opposition is also characteristic of other artistic means, since the antithesis is the ideological and structural basis of the entire work. This applies to used parts. So, Bazarov and Pavel Petrovich, opposed in origin and social status (aristocrat-democrat), are characterized by different details of behavior (the inactive life in the village, which Pavel Kirsanov leads, is a constant work that Bazarov is busy with, even being away from his friend Arkady), speech (florid turns of speech, Kirsanov's mannerisms - simplicity, minutiae of the phrase, Bazarov's aphorism), portrait details. So, the complete antithesis to the portrait of Bazarov, drawn in the 1st chapter, is the portrait of Pavel Petrovich: Yevgeny has a “long” face, a “wide” forehead, hair is “long and thick”, Pavel Petrovich’s features seem to be drawn “thin and a light incisor", hair "short cut"; Bazarov's hand is "red", while Pavel Petrovich's is "beautiful ... with long pink nails"; Bazarov is dressed in a "long robe with tassels", and Pavel Petrovich in "a dark English suite, a fashionable low tie and patent leather ankle boots."
Thanks to all these means of characterization, Turgenev appears in the novel as an objective narrator, expressing his position through the development of the plot, juxtaposition of the characters, and the results of their actions. Turgenev's psychologism is also special: in the words of the writer himself, he is a "secret psychologist." This means that Turgenev hints at the hidden reasons for the state or behavior of the characters, not directly analyzing them, but involving the reader in the analytical process. Without directly depicting the feelings and thoughts of his characters, the writer allows the reader to guess them by their external manifestations. For example, by the way Odintsova “with forced laughter” tells Bazarov about the proposal made by Arkady to Katya, and then in the course of the conversation “laughs again and quickly turns away”, her feelings become clear: confusion and annoyance, which she I tried to hide behind laughter. material from the site
But the objectivity of the narrative does not interfere with the expression of the author's lyricism, which manifests itself in descriptions of the beauty of art, nature, sharply opposed to Bazarov's emphasized anti-aestheticism ("Nature is not a temple, but a workshop"; "Raphael is not worth a penny"). Thus, disagreement with Bazarov’s views is expressed in the description of Nikolai Petrovich’s playing on the cello: “Someone played with feeling, albeit with an inexperienced hand, Schubert’s “Waiting”, and a sweet melody poured through the air like honey.”
"Fathers and Sons" is rightfully recognized as Turgenev's most perfect novel. The ratio of plot dynamics, psychologism, the lyrical beginning in the narrative, philosophically significant dialogues, everyday descriptions, social characteristics - all elements of the ideological and artistic structure here reaches an ideal balance.
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