Essay: “Evgeny Bazarov and Pavel Petrovich Kirsanov” based on the novel by I.S. Turgenev “fathers and sons”

Evgeny Bazarov and Pavel Petrovich Kirsanov (based on the novel by I. Turgenev “Fathers and Sons”)

In the novel “Fathers and Sons” I. S. Turgenev depicts the 50s of the nineteenth century, when two camps fiercely opposed each other: nobles and commoners. This confrontation was reflected in the novel in the characters of Pavel Petrovich Kirsanov and Evgeny Bazarov.

Life in the Kirsanov house flowed along its usual course, but the peaceful existence of the noble nest was seriously shaken by the arrival of Bazarov, who was brought there by his friend Arkady Kirsanov. Bazarov is the son of a simple district doctor, he is engaged in natural sciences, and plans to obtain a doctorate. This is a bright, extraordinary personality.

Aristocrats are unpleasant and unusual in Bazarov’s appearance and behavior. Evgeny wears a robe with tassels, he does not wear gloves, and when they meet, he boldly extends his naked red hand.

According to all the rules of etiquette, Arkady's father Nikolai Petrovich warmly welcomes the guest, but he behaves somewhat cheekily and responds to participation with laziness in his habits and conversation. The scraping of the owners evokes irony in Bazarov.

When we meet, his face expresses self-confidence and intelligence. Arkady begs his father to “caress” his friend, but he doesn’t know how to please him anyway.

Evgeny is opposed in everything by Pavel Petrovich - a former officer, lives with his brother in the village and his whole life is spent in thoughts and memories of the past.

In appearance, his appearance is not swagger, like Bazarov’s, but gloss and panache: “a dark English suit, a fashionable low tie and patent leather ankle boots.” The appearance of Pavel Petrovich, as the author emphasizes, is “elegant and thoroughbred.”

The contrast between him and Bazarov immediately catches the eye, but it is even more noticeable when Pavel Petrovich takes his beautiful hand with long pink nails out of his pants pocket.

Important for revealing the images of the characters in the novel is their speech characteristics. Pavel Petrovich constantly uses French expressions in conversation, his speech is strictly refined. Evgeny speaks simply and artlessly, without thinking about giving his speech harmony and grace.

Pavel Petrovich joylessly greets his nephew's friend. “Who is this?” - he asks hostilely and is surprised to hear that Arkady’s friend has come to visit them. “Is this one hairy?” - he asks contemptuously. Evgeniy doesn’t have the best opinion of Pavel Petrovich. He speaks ironically about him when speaking with Arkady.

The next day after his arrival, Bazarov gets down to business: he easily makes acquaintance with the yard boys and begins to cut frogs. He is unusual in the inaction that flourishes in the house of the aristocratic Kirsanovs.

Arkady, meanwhile, explains to his father that Bazarov is a nihilist, that is, a person who does not bow to any authority, does not accept a single principle on faith, and denies everything.

Gradually, Pavel Petrovich begins to feel increasingly irritated towards Bazarov. “His aristocratic nature was outraged by Bazarov’s complete swagger. This doctor’s son was not only not timid, he even answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.”

The conflict between the heroes grows when Bazarov begins to express his nihilistic judgments. “A decent chemist is twenty times more useful than any poet,” he declares to Pavel Petrovich, who knows and loves literature.

In Evgeniy’s conversation, a contemptuous grin is heard every now and then; he does not give in at all to his interlocutor and even attacks him.

It differentiates the characters and their upbringing and attitude towards love. Pavel Petrovich Kirsanov was brought up like all children of aristocratic families. At first he was given the basics of knowledge at home, then he was assigned to the page corps. He always enjoyed success with women and men envied him.

He led an active lifestyle, but everything changed instantly when Princess R. appeared in his life, whom Kirsanov met at a ball and with whom he fell passionately in love. The princess soon lost interest in him, and he almost went crazy and began chasing her all over the world, showing cowardice.

Exhausted by these relationships, Pavel Petrovich grew old, gray and lost interest in life.

Bazarov treats love very coldly. “A man who staked his entire life on a woman’s love, and when this card was killed for him, became limp and sank to the point that he was not capable of anything, such a person is not a man,” he notes, after hearing the life story of Pavel Petrovich . Bazarov does not agree to explain his behavior by his upbringing.

“Every person must educate himself,” he says confidently. “For Pavel Petrovich, a love drama can become a source of self-esteem: memories of it support the consciousness of the originality and significance of the life he lived.

For Bazarov, such a drama means humiliation: it is perceived as a manifestation of shameful weakness, which the hero can excuse himself only on the threshold of death,” says literary critic V. M. Markovich.

Pavel Petrovich and Bazarov have different attitudes towards the people. Kirsanov idealizes the people. “He sacredly honors traditions, he is patriarchal, he cannot live without faith,” he claims. And Bazarov talks about the darkness, the underdevelopment of the people, about their superstition.

Despite despising the people, Evgeniy nevertheless communicates with them freely and with pleasure. As the critic D.I. Pisarev emphasized, “in Bazarov’s relations with the common people, one must notice, first of all, the absence of any pretentiousness and any sweetness. The people like it, and that’s why the servants love Bazarov, the kids love him...”

But Pavel Petrovich, speaking to a man, turns away and sniffs a scented handkerchief.

According to Bazarov, reading Pushkin is nonsense, idolizing nature is stupidity, “Raphael is not worth a penny.” Evgeniy is also cynical about women. Listening to Bazarov's judgments, Pavel Petrovich simply begins to hate him.

He considers him proud, impudent, cynic and plebeian. For Kirsanov, contempt for him from a person like Bazarov is outrageous.

Pavel Petrovich, more and more indignant, goes out to meetings with Evgeny, irritated and determined in advance.

The culminating moment in the development of their relationship is the fight that occurred between the heroes.

The word “aristocrat”, disdainfully thrown by Bazarov to the neighboring landowner, completely infuriates Pavel Petrovich, who was eagerly awaiting the fight with Evgeny.

In the dispute that has begun, Pavel Petrovich tries to completely defeat his opponent, rightly reproaching him for the fact that, while destroying, one must also worry about construction. Bazarov is not worried about this. He only intends to “clear the place.”

“We cannot understand each other; “At least, I don’t have the honor to understand you,” says Pavel Petrovich. A little later, he challenges Eugene to a duel.

In the confrontation between the heroes, their characters are revealed, the most hidden corners of the soul are exposed.

Despite the apparent swagger, which turns out to be just a mask, one can discern in Bazarov an energetic, strong-willed, and courageous character. At the same time, he turns out to be a sincere and kind person.

The Kirsanovs are typical aristocrats; they lead an inactive lifestyle. Evgeniy differs from them in his love of work and perseverance in achieving his intended goal.

The critic Pisarev wrote about Bazarov: “Today’s young people get carried away and go to extremes, but in their very passions fresh strength and an incorruptible mind are reflected; this strength and this mind, without any extraneous aids or influences, will lead young people onto a straight path and support them in life.”

Example: Evgeny Bazarov and Pavel Petrovich Kirsanov (based on the novel by I. S. Turgenev “Fathers and Sons”)

An important place in Turgenev’s novel “Fathers and Sons” is given to ideological disputes, which become its important structural element. The dispute is between two ideologies, two life positions. And it is most clearly expressed in the controversy between Evgeny Bazarov and Pavel Petrovich Kirsanov.

Attention should be paid to the special philosophical and moral nature of this dispute. Both heroes can be accused of an addiction to the use of “opposite commonplaces,” for which Bazarov himself reproached Arkady. Explaining the meaning of this expression, Evgeniy said: “...

to say, for example, that enlightenment is useful is a commonplace; and to say that enlightenment is harmful is the opposite commonplace. It seems more dapper, but in essence it’s the same thing.” So Kirsanov talks about the need to follow authorities and believe in them, but Bazarov, in turn, denies the rationality of both.

Pavel Petrovich claims that it is impossible to live without principles, that those who deny principles are immoral and empty people. Bazarov calls “principle” an empty and useless concept. To the reproach of contempt for the people, Evgeny replies: “...

well, if he deserves contempt!”, and when mentioning great poets, he declares: “A decent chemist is twenty times more useful than any poet!”

While depicting the opposing positions of his characters, the writer at the same time does not give clear preference to one or the other. He agrees with Bazarov that any truths and authorities should be questioned.

However, at the same time, he makes it clear that it is still necessary to respect the culture of the past, to historical values, which his hero completely denies. Turgenev, together with Evgeny, criticizes the conservatism of Pavel Petrovich, lordly effeminacy, denies the aesthetic admiration of the “barchuks” for art, and denounces the idle talk of Russian liberals.

However, by breaking with the “barchuks”, Bazarov challenges the enduring values of culture, which the author cannot share in any way.

Eugene’s denial of “your” art turns into a denial of art in general, the denial of “your” love into the assertion that love is a feigned feeling, the denial of “your” class principles into the destruction of any authority, the denial of sentimental-noble love for the people into disdain for men in general.

The author also finds truth in the words of Pavel Petrovich, in his statement that life with its historically nurtured forms can be smarter than an individual. But the writer emphasizes that this is only true with careful attention to new social phenomena.

Trust in the past, in his opinion, involves checking its viability, its correspondence to an ever-renewing life. In Pavel Kirsanov's reverence for the old authorities, in his obsession with class arrogance, noble egoism is manifested. Very important in understanding the characters and positions of both heroes is also their attitude towards the people.

Thus, Pavel Petrovich, with all his aristocracy and Anglomanism, perceives the people from a Slavophile position: “He sacredly honors traditions, he is patriarchal, he cannot live without faith...”.

For Bazarov, despite his disparaging statements, the people are a concrete concept, possessing certain socio-historical characteristics and requiring appropriate political qualifications. It is not contempt for the people that is actually heard in the speeches of the “nihilist,” but criticism of darkness, downtroddenness and backwardness.

Turgenev shows that in their dispute the opponents come to two extremes: Bazarov - to assert the individual, but at the cost of destroying all authorities; Kirsanov - to the denial of human personality in front of principles taken for granted. This is how intolerance and arrogance appear in one, and selfishness and ossification in the other.

In such a dispute it is impossible to see the truth - Pavel Petrovich lacks fatherly love for this, Eugene lacks filial respect. The participants in the dispute are driven not by the desire for truth, but by mutual social intolerance. Kirsanov’s class arrogance provokes the harshness of the enemy’s judgments and awakens painful pride in the commoner.

Therefore, they are both unfair to each other. The author makes it clear to us that in Bazarov’s soul there is much that he denies: romanticism, folk spirit, the ability to love, and the ability to appreciate beauty and poetry. But Pavel Petrovich is not really the self-confident aristocrat that he pretends to be in front of Bazarov.

But the mutual social hostility that flares up between rivals immeasurably aggravates the destructive aspects of Kirsanov’s conservatism and Bazarov’s nihilism.

Thus, the ideological clash between Evgeny Bazarov and Pavel Petrovich Kirsanov reflected the struggle between materialism and idealism that unfolded in society in the 60s of the 19th century. Kirsanov appears here as a convinced opponent of materialism, which, in his opinion, “has always turned out to be untenable.” Hence his contemptuous attitude towards “chemists” and his passion for natural science. And yet, in these disputes the nihilist wins. The author clearly makes it clear to us that this is not accidental. After all, in essence, Bazarov’s negation has democratic origins, is nourished by the spirit of popular discontent, which, ultimately, determines the advent of a new time, the victory of revolutionary aspirations and views. In the image of Pavel Petrovich, Turgenev, on the contrary, reveals all the limitations of noble-aristocratic liberalism, its hatred of the democratic movement.

Published in 1862, I. S. Turgenev’s novel “Fathers and Sons” immediately attracted the attention of various segments of Russian society due to its description of the life of Russia in the 60s of the 19th century. This was a period of extreme aggravation of the social ideological struggle of revolutionary democrats against liberalism.

Active propaganda of revolutionary ideas began, mainly among young people of all ranks. Strong student unrest broke out.

Turgenev tried to understand the views of the younger generation, representing a new type of progressive figure - a fighter against the obsolete liberal principles, to which he, by his own admission, took off his cap, because he felt in him “the real presence of strength, and talent, and intelligence.”

Therefore, in his work, Ivan Sergeevich highlighted the most typical features of the new generation that appeared during the revolutionary situation. The entire novel is built on the conflict of two generations with opposing points of view on various important issues of public life. The title of the work itself speaks to this.

The representative of the generation of “children” and the main character, sharply contrasted with the other characters who group around him, in the novel is Evgeny Bazarov. In the image of this hero, the author embodied the authentic features of a typical sixties man.

His way of thinking, ideals, aspirations, way of life - everything distinguishes this materialist educator from the “county aristocrats” such as Pavel Petrovich and Nikolai Petrovich Kirsanov. Naturally, differences in views will lead to heated disputes and conflict situations between the young and old generations.

Bazarov and Kirsanov. Composition. Summary of the text

I. S. Turgenev, according to his contemporaries, had a special instinct for guessing the emerging movement in society.

In the novel “Fathers and Sons” Turgenev showed the main social conflict of the 60s of the 19th century - the conflict between liberal nobles and democratic commoners.

The basic principle of constructing a novel is antithesis; and this is already evident from the title of the novel, in which two generations seem to be contrasted: the older and the younger. But in the novel itself, the conflict is not of an age, but of an ideological nature, that is, it is not a conflict of two generations, but a conflict of two worldviews. How antipodes are perceived in the novel by Evgeny Bazarov (exponent of the idea of democrats-raznochintsy) and Pavel Petrovich Kirsanov (the main defender of the worldview and lifestyle of the liberal nobility). The clashes and disputes that form the basis of the novel's plot make it possible to understand the essence of their views.

So, in Turgenev’s novel “Fathers and Sons,” two strong, vibrant characters collided. According to his views and convictions, Pavel Petrovich appeared before us as a representative of the “fast-paced, chilling power of the past,” and Evgeny Bazarov - as part of the “destructive liberating force of the present.”

Pavel Petrovich is about forty-five years old, he is always shaven, wears a strict English suit, the collar of his shirt is always white and starched. Pavel Petrovich's face is correct and clean, but bilious. “Pavel Petrovich’s entire appearance, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.” In appearance and in his convictions, Pavel Petrovich is an “aristocrat to the core.” True, as Pisarev writes, “to tell the truth, he has no convictions, but he does have habits that he values very much” and “out of habit, he proves the necessity of principles in disputes.” What are these “principles”?

First of all, Kirsanov’s “principles” include his view of the state structure. A nobleman and aristocrat himself, he holds the same views as most nobles of that time. Pavel Petrovich stands up for the established order; according to his convictions, he is a monarchist who does not tolerate dissent and fiercely defends doctrines that “his actions constantly contradicted.” He loves to talk about Russian peasants, but when he meets them, he “wrinkles and sniffs cologne.” Kirsanov talks about Russia, about the “Russian idea,” but uses the huge. number of foreign words. He speaks with pathos about the public good, about serving the fatherland, but he himself sits with folded hands, satisfied with a well-fed and calm life.

“Who is Bazarov?” - the Kirsanovs ask and hear Arkady’s answer: “Nihilist.” What is this new generation of nihilists? For the younger generation of “children,” nihilism is a definite political and life position. Some perceive it as a fashionable fad (Sitnikov, Kukshina, Arkady) and deny everything: authorities, science, art, the experience of previous generations - and do not listen to anything. But they will all grow up, start families and remember their beliefs as the mistakes of their youth. And now they are only trivializing the ideas that Bazarov preaches.

In fact, only Bazarov can be called a real nihilist who is aware of his thoughts and his beliefs. He is interested in natural sciences and plans to continue the work of his father, the county doctor. By conviction, he is a nihilist and scoffs at the “principles” of Pavel Petrovich, considering them unnecessary and simply ridiculous. Bazarov accepts only what is useful: “If they tell me something to do, I will agree.” “In these times, the most useful thing is denial—we deny.” Evgeny also denies the state system, which confuses Pavel Petrovich. According to Bazarov, aristocrats are not capable of action, they are of no use, and he rejects liberalism, denying the ability of the nobility to lead Russia to the future. Kirsanov glorifies the peasant community, family, religiosity, and patriarchy of the Russian peasant. Bazarov claims that the people do not understand their own interests, are dark and ignorant, but considers it necessary to distinguish people's interests from popular prejudices. Bazarov hates the blind faith of the people: “The people believe that when thunder roars, it is Elijah the prophet who rides across the sky in a chariot. Well? Should I agree with him? Pavel Petrovich answers this: “They (the people) cannot live without faith.” “The grossest superstition is strangling him,” comments Bazarov. But he sincerely believes that the people are revolutionary in spirit, therefore nihilism is a manifestation of the people’s spirit.

There are differences between Bazarov and Pavel Petrovich in relation to art and nature. From Bazarov’s point of view, “reading Pushkin is a waste of time, playing music is ridiculous, enjoying nature is absurd.” Pavel Petrovich, on the contrary, loves nature and music. Bazarov’s maximalism, which believes that one can and should rely in everything only on one’s own experience and one’s own feelings, leads to the denial of art, since art is precisely a generalization and artistic understanding of someone else’s experience. Art (and literature, and painting, and music) softens the soul and distracts from business. All this is “romanticism”, “nonsense”. Looking at the album of Saxon Switzerland, Bazarov tells Odintsova: “You don’t assume artistic sense in me - yes, I really don’t have any, but these views could interest me from a geological point of view.” Bazarov tries to debunk ineffective “principles”, does not accept illusory daydreaming, rejecting the achievements of culture (“Raphael is not worth a penny”) and perceiving nature in a utilitarian way. For Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty and “the grossest superstitions,” it seemed blasphemous to talk about art, “unconscious creativity,” when it comes to daily bread.

Pavel Petrovich, realizing that he cannot defeat a nihilist in an argument, cannot shake his moral principles, or rather the lack of them, resorts to the last means of resolving conflicts of this kind - a duel. Evgeny accepts the challenge, although he considers it the trick of a crazy “aristocrat”. They shoot, Evgeniy wounds Kirsanov, but this does not solve the problem. With the help of a satirical image, the author emphasized the absurdity of Pavel Petrovich’s behavior, the meaninglessness of his belief that it is possible to force the younger generation to think the same way as the generation of “fathers”. Kirsanov and Bazarov each remain with their own opinion. Bazarov did not manage to live long. He dies with the words: “Russia needs me... No, apparently he doesn’t need me. And who is needed?” This is the tragic outcome of Evgeniy’s life.

The author's attitude towards his characters is not at all simple. Wanting to punish the “children,” Turgenev flogged the “fathers.” But the main thing that he remarkably managed to show is the replacement of obsolete forms of consciousness with new ones, the tragic situation of people who are the first to utter the word: “Forward!” The breath of the era, its typical features are palpable in the central images of the novel and in the historical background against which the action unfolds. The period of preparation for the peasant reform, the deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, constituted its historical background and the essence of the main conflict.

After all, the problems of the novel remained topical for subsequent generations.

‹ Analysis of I. S. Turgenev’s story “Asya” Up Bazarov - winner or loser ›

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I.S. Turgenev... Beautiful works are associated with his name: “On the Eve”, “Rudin”, “Asya”. From early childhood, Ivan Sergeevich was present in our lives. His work “Bezhin Meadow” made me fall in love and helped me better understand the nature of central Russia. About the work of I.S. Turgenev, as well as about the poems of S. Yesenin, one can say: “It’s all about Russia” (A. Blok).

Vast fields, forests, old villages forgotten somewhere in the wilderness, in which people, inextricably linked with nature, personify the truly Russian, bright and pure communication of man with nature... You see all this when you read Turgenev.

I also saw this while reading the novel “Fathers and Sons.” Fathers and sons... These two words: in a dispute - often mutually exclusive, in life - they are inextricably linked. This topic is close to any generation, just as the theme of old and new, obsolete and emerging is close.

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This is why the novel “Fathers and Sons” is so close and understandable to me.

The writer focuses on the conflict between Evgeny Vasilyevich Bazarov and Pavel Petrovich Kirsanov.

Evgeny Bazarov appears before us as a not very polite person, not amenable to all kinds of flattery and praise. He immediately senses the character of his interlocutor. He introduced himself simply: “Evgeny Vasiliev,” and immediately heard in response: “... dear Evgeny Vasilyevich...” From such words, Bazarov’s face shuddered.

Oh, how we love to be hypocrites! Eugene's appearance only emphasizes his character. “A long and thin face with a wide forehead... expressed self-confidence and intelligence.” And then Pavel Petrovich appears before Bazarov: “His face, bilious, but without wrinkles, unusually regular and clean.”

It seems as if all his life he had been doing nothing but caring for his beauty and elegance. About his life in his youth, we only learn that he was a huge success with the ladies, and he had an affair with one of them.

Isn’t it true, how reminiscent of Pechorin it is, because his linen was also diligently washed, and he amazed everyone with his beauty and neatness. But let's return to Turgenev's heroes. Having learned that Bazarov was a nihilist, Pavel Petrovich felt in him a sworn enemy.

Kirsanov tried to prove to Bazarov that he was wrong, that everything cannot be denied, that the future of Russia belongs to the aristocrats. Evgeniy even denies art. And at first glance it seems that he is generally far from what the best representatives of Russian democracy personified, being very educated individuals and loving true art.

But in the next phrase, Bazarov dispelled our doubts: “The art of making money?..” It becomes clear that Bazarov has his own point of view on generally accepted norms, often denying them: “We act by virtue of what we recognize as useful. At the present time, the most useful thing is denial - we deny,” says Evgeniy. I agree with him unreservedly.

In patriarchal Russia, it was necessary to deny everything in order to change life for the better: “... not only art, poetry, but also... it’s scary to say...” It cannot be said that Pavel Petrovich has no principles: “... but I don’t give up on myself, I respect yourself a person.” Bazarov instantly retorts: “...

you respect yourself and sit with your hands folded; What is the use of this?...” Pavel Petrovich cannot understand how it is possible to destroy everything, “after all, it is necessary to build.” “This is no longer our business... First we need to clear the place,” Evgeniy answers. We understand perfectly well that Bazarov wins in these disputes, because the time of the “adult Pechorins,” whose representative is Pavel Petrovich, has passed. “New people” represented by Bazarov are the future masters of the world.

The discussion of the problem of the structure of society continues in Evgeniy’s conversation with Anna Sergeevna Odintsova. These people are close in spirit, they immediately showed interest in each other.

Bazarov was interested only in the natural sciences, and only in this, perhaps, did his limitations manifest themselves. He believed that people are the same, like “trees in a forest.” While talking with Anna Sergeevna, Evgeniy discovered a lot of new things and fell in love with her.

After their meeting, he says: “Perhaps, for sure, every person is a mystery.”

Having won the ideological dispute, at the end of the novel Bazarov dies, he dies heroically, with dignity.

Death... How many people have passed away without achieving the goals they set for themselves in their youth: Griboyedov, Pushkin, Lermontov, Belinsky... What a loss this is for the entire Russian culture! But they left so that Russia would never perish:

Who, serving the great goals of the age,

He gives his life completely

To fight for a human brother,

Only he will survive himself.

After the publication of the novel, Turgenev wrote: “I dreamed of a gloomy, wild, big figure... strong, evil, honest - and yet doomed to death, because she still stands on the threshold of the future.” You can't say it better than Turgenev. I can only add that the author loved his hero very much, but, in my opinion, he did not believe in the future of the nihilists, since they were deeply alien to him.

In my opinion, Turgenev set the goal of showing the inconsistency of existing social relations in Russia and, for greater persuasiveness, contrasted the “fathers” with the nihilists. Well, in my opinion, he succeeded superbly! And I do not at all agree with Herzen’s opinion that Bazarov is an over-negative hero, and Turgenev is a true nihilist who threw the “first stone” at Bazarov.

Where is the most correct definition of this greatest personality? It seems to me that it is in himself. Evgeny Bazarov is not ideal, but the true value of the hero should not be diminished.

Our generation is especially close to his character and his disagreement with everything, which, it would seem, should not cause any objections. I sincerely fell in love with Bazarov, and his death made me rethink the novel once again.

Once again, I became more convinced that Eugene did not live his short life in vain, because ancient wisdom says: “Whoever steadfastly and stubbornly defends his right will eventually receive it.”

Bibliography

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The system of images in Turgenev’s novel “Fathers and Sons”: Evgeny Bazarov and Pavel Kirsanov

I. S. Turgenev’s novel “Fathers and Sons” was written in the late fifties of the 19th century.

At this time, Russia stood on the threshold of great reforms, so there was an increased interest in society in social problems in the life of the country, and the liberal direction of thought in Russia intensified.

The beginning “era of liberation” created new types of people and their relationships, which often diverged from the rules and “principles” of life already rooted in the consciousness of the conservative part of society. It was this problem that became one of the main ones in Turgenev’s novel “Fathers and Sons.”

Representatives of the opposing camps of Russian society in the work are Evgeny Bazarov and Pavel Petrovich Kirsanov.

Bazarov is a nihilist, a commoner, expressing the most modern idea of that time about the utilitarian-materialistic structure of society. "Nihilist. It is from the Latin Nihil, nothing as far as I can tell; therefore, this word means a person who... who does not recognize anything,” this is how Nikolai Petrovich described Evgeniy.

Bazarov’s opponent, Pavel Petrovich, represents “the past century of Nicholas’ rule. Even in the village he wears a fashionable tie and patent leather ankle boots, which would seem impractical in such a place. His whole life is woven from various “principles” that are fundamentally at odds with Bazarov’s worldview views.

Both characters embody two irreconcilable extremes in the social life of the 19th century. That is why Turgenev brings them together in the novel, showing how differences in views on life develop into a dispute, and in a dispute, as we know, the truth is born, the golden mean is revealed, which Turgenev wanted to convey to readers.

The first skirmish occurs on the first day of Bazarov’s stay in Maryino. “Pavel Petrovich’s aristocratic nature was outraged by Bazarov’s complete swagger.

This doctor’s son was not only not timid, he even answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.” Prejudice against Bazarov grew in Pavel Petrovich’s soul. It could not stay in Kirsanov for long and eventually resulted in a dispute with Evgeniy.

Their first encounter was short-lived and superficial: the conversation was about German and Russian sciences, and here Bazarov uttered a phrase that encapsulated his concept of human life (“A decent chemist is twenty times more useful than any poet.”

) However, the dispute was short-lived, and therefore did not resolve the problems of the parties. “We will still have a fight with this doctor,” Pavel Petrovich anticipates.

The eye-to-word battle took place two weeks later over evening tea. This particular scene is one of the main ones in the novel, as it helps to better understand the logic and life principles of the characters. The main topic of the dispute was nihilism and its impact on society.

This is where Bazarov’s merciless radicalism manifests itself in relation to everything that does not fit his life standards. “First we need to clear the place,” says Evgeniy about his appointment. He puts the ideas of materialism and the usefulness of things in first place in his life.

Despite such a rather utopian than a real dream of transforming humanity, Turgenev is distinguished in Bazarov by his practicality, real knowledge of the life of the common people, in contrast to representatives of aristocratic Russia.

Pavel Petrovich, contrary to the opinion of the “doctor’s son,” proves that in life one must always be guided by clear rules and principles, even if they have already become obsolete. Aristocratism, liberalism, progress, principle - all these words are used by Pavel Petrovich in a dispute with Bazarov, but at the same time, according to Evgeniy’s fair remark, he continues to sit with his hands folded.

The fundamental issue in the dispute was the issue of the Russian people. Bazarov despises the peasant because of his ignorance, but in no way wants to admit his departure from the land, from the people; proudly says that his grandfather “ploughed the land.”

the state of Nikolai Petrovich's estate gives reason to believe that Pavel Petrovich, like his brother, was very far from understanding the true needs of the people. Meanwhile, at the end of the novel, Turgenev says that the men considered Bazarov to be a fool, unable to understand their life.

Thus, the writer shows that the opinions of both heroes are far from a true understanding of people's life.

As the dispute develops, we understand the reasons for Eugene’s general denial. There really is some logic to them. Bazarov’s tragedy lies in the fact that he was unable to organically combine “daily bread” and “unconscious art” in his soul.

Turgenev confronts two extremes, the nihilist and the aristocrat, to show the need to recognize the golden mean.

Unfortunately, it is not possible to resolve the contradictions peacefully, and the writer shows an already open struggle, a fight - a duel. Kirsanov feels some truth in his opponent’s statements, but his aristocratic habits prevent him from agreeing with him.

The ending of the novel emphasizes the utopian ideas of both heroes. Bazarov dies, recognizing the inconsistency and lifelessness of his views, and Pavel Petrovich leaves for Dresden, where he continues to lead an aristocratic lifestyle, realizing that a completely different time is coming in Russia.

According to Turgenev, the unions of Arkady and Katenka, Nikolai Petrovich and Fenechka, in which practicality and love of high art, utilitarianism and the desire for nature, poetry, and happiness, organically coexist, are almost ideal.

In the novel “Fathers and Sons,” I. S. Turgenev vividly and ambiguously embodied the social conflicts of the mid-19th century. The writer subtly and expressively showed both the weak and strong sides of this phenomenon.

The ability to sensitively guess the problems and contradictions that have arisen in Russian society is an important distinguishing feature of Turgenev the writer. The novel "Fathers and Sons" recreates the era before the abolition of serfdom - the action begins on May 20, 1859.

In a situation of social crisis, disputes between different generations about the people, about the social system, about ways to reorganize the world, about art, about religion have sharply intensified...

However, the open clash between Bazarov and Pavel Petrovich Kirsanov is predetermined by the fact that the heroes differ not only in age, but also in social status - the aristocrat Kirsanov and the commoner Bazarov.

Pavel Petrovich Kirsanov, the son of a military general who took part in the Patriotic War of 1812, was formed as a person in the era of government reaction. Hence - idealism, the cult of feeling. A meeting at a ball with Princess R. changes Kirsanov’s whole life; the “mysterious look” of the young coquette penetrates into the very heart.

He “met her at a ball, danced a mazurka with her, during which she did not say a single good word, and fell passionately in love with her.” The hero is unable to resist his feeling, and the news of the death of Princess R. forces him to abandon the “worldly vanity”: “having lost his past, he has lost everything.”

The description of Pavel Petrovich’s life is highlighted in a separate chapter precisely because this life is internally exhausted, spiritual development is completed.

The son of a poor district doctor, Evgeny Bazarov, belongs to the generation of “children”. The very appearance of the hero - “naked red arm”, “robe” - contrasts with the aristocratic appearance of Pavel Petrovich - “dark English suite, fashionable low tie and patent leather ankle boots”, “elegant and thoroughbred” appearance.

Bazarov’s life path is typical for a commoner: study at the medical-surgical academy, passion for natural sciences and vulgar materialism and, as he himself puts it, “self-delusion.” All this had a decisive influence on the hero.

Atheism in Bazarov is combined with faith in the possibility of knowing the world through the power of the human mind.

Love plays an important role in Bazarov’s fate, although he considers it “nonsense,” “unforgivable nonsense.” Of course, a young nihilist cannot be called an ascetic. So, Fenechka charms him with her youth, purity, and spontaneity. We are not talking about the hero’s true love for the pretty, but rather empty (from my point of view) Fenechka.

The relationship with Odintsova is a different matter. The duel with Pavel Petrovich, the subject of which seems to be Fenechka, occurs at the moment when Bazarov is thrown out of his emotional balance by his passion for Odintsova. Bazarov’s feeling for her is no longer just physical passion, it is love.

“He could easily cope with his blood, but something else took possession of him, which he did not allow, which he always mocked, which outraged all his pride.” Bazarov's love differs from Pavel Petrovich's love for Princess R. In Anna Sergeevna, the hero is attracted by a deep mind (“a woman with a brain”), independence of judgment, and a certain inner freedom.

Bazarov's struggle with his feelings is initially doomed to failure. The decision to part with Odintsova leaves a heavy mark on the hero’s soul.

With his novel, Turgenev affirms the eternal value for a person of love and beauty. Before great and mysterious love, Pavel Petrovich Kirsanov and Evgeny Bazarov are equal.

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