The symbolic meaning of Bazarov's death. Evgeny Bazarov in the face of death - analysis of the work and characteristics Turgenev’s attitude to Bazarov’s death

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

The author's sympathy for the hero was evident even in the death scene. It was with this that Turgenev wanted to show the essence of Bazarov, his real character. Showing feelings of love for Odintsova does not deprive young man the main thing in his character: his dedication, courage, he is not a coward, thinking about his imminent death. Bazarov dies without worrying about death as such. Without worrying about the people who will live, without worrying about the benefits of your affairs for them. What is the role of the death episode? His role is to show the non-standard nature of Bazarov’s personality and the inconsistency of his nihilism in front of the eternal movement of life and the majestic tranquility of death.

The main theme of the episode is the frailty of existence, the theme of love, the theme of courage in the face of death. The theme of filial love and respect for parents is also present here. The theme of being true to yourself, your principles, the hero is broken, but not defeated.

Before his death, Bazarov reflects on what death is: “Death is an old thing, but something new for everyone.” Here the inconsistency of the main character’s denial of everything is revealed: no matter how much you deny death, it still denies you. Thinking about love, he understands its impossibility in the face of death, and romantically says goodbye to Anna Sergeevna.

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

The scene of farewell to Anna Sergeevna Odintsova was constructed by the author using the method of contrast - a living woman - a dying man, and this is emphasized by the epithets used by Turgenev. Anna Sergeevna is nice, beautiful, generous, young, fresh, pure. Bazarov is a “half-crushed worm.”

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

The disputes between Bazarov and Pavel Petrovich represent the social side of the conflict in Turgenev’s novel “Fathers and Sons.” Here, not just different views of representatives of two generations collide, but also two fundamentally different political points of view. Bazarov and Pavel Petrovich find themselves on opposite sides of the barricades in accordance with all parameters. Bazarov is a commoner, coming from a poor family, forced to make his own way in life. Pavel Petrovich is a hereditary nobleman, guardian of family ties and [...]
The image of Bazarov is contradictory and complex, he is torn by doubts, he experiences mental trauma, primarily due to the fact that he rejects the natural beginning. The theory of life of Bazarov, this extremely practical man, physician and nihilist, was very simple. There is no love in life - this is a physiological need, no beauty - this is just a combination of the properties of the body, no poetry - it is not needed. For Bazarov, there were no authorities; he convincingly proved his point of view until life convinced him otherwise. […]
Tolstoy in his novel “War and Peace” presents us with many different heroes. He tells us about their lives, about the relationships between them. Already almost from the first pages of the novel, one can understand that of all the heroes and heroines, Natasha Rostova is the writer’s favorite heroine. Who is Natasha Rostova, when Marya Bolkonskaya asked Pierre Bezukhov to talk about Natasha, he replied: “I don’t know how to answer your question. I absolutely don’t know what kind of girl this is; I can't analyze it at all. She's charming. Why, [...]
The most prominent female figures in Turgenev's novel “Fathers and Sons” are Anna Sergeevna Odintsova, Fenechka and Kukshina. These three images are extremely different from each other, but nevertheless we will try to compare them. Turgenev was very respectful of women, which is perhaps why their images are described in detail and vividly in the novel. These ladies are united by their acquaintance with Bazarov. Each of them contributed to changing his worldview. The most significant role was played by Anna Sergeevna Odintsova. It was she who was destined [...]
Every writer, when creating his work, be it a science fiction short story or a multi-volume novel, is responsible for the fate of the heroes. The author tries not only to talk about a person’s life, depicting its most striking moments, but also to show how the character of his hero was formed, under what conditions it developed, what features of the psychology and worldview of a particular character led to a happy or tragic ending. The ending of any work in which the author draws a peculiar line under a certain [...]
Evgeny Bazarov Anna Odintsova Pavel Kirsanov Nikolay Kirsanov Appearance Long face, wide forehead, huge greenish eyes, nose, flat on top and pointed below. Blonde long hair, sand-colored sideburns, a self-confident smile on thin lips. Naked red arms Noble posture, slender figure, tall stature, beautiful sloping shoulders. Light eyes, shiny hair, a slightly noticeable smile. 28 years old Average height, thoroughbred, about 45. Fashionable, youthfully slender and graceful. […]
Duel test. Bazarov and his friend again drive along the same circle: Maryino - Nikolskoye - parents' house. The situation outwardly almost literally reproduces that on the first visit. Arkady enjoys summer vacation and, barely finding an excuse, returns to Nikolskoye, to Katya. Bazarov continues his natural science experiments. True, this time the author expresses himself differently: “the fever of work came over him.” The new Bazarov abandoned intense ideological disputes with Pavel Petrovich. Only rarely does he throw enough [...]
I. S. Turgenev’s novel “Fathers and Sons” contains a large number of conflicts in general. These include love conflict, clash of worldviews of two generations, social conflict and internal conflict Main character. Bazarov, the main character of the novel “Fathers and Sons,” is a surprisingly bright figure, a character in which the author intended to show the entire young generation of that time. We should not forget that this work is not just a description of the events of that time, but also deeply felt very real […]
Bazarov E.V. Kirsanov P.P. Appearance A tall young man with long hair. The clothes are poor and untidy. Doesn't pay attention to his own appearance. A handsome middle-aged man. Aristocratic, “thoroughbred” appearance. He takes good care of himself, dresses fashionably and expensively. Origin Father – a military doctor, a simple, poor family. Nobleman, son of a general. In his youth, he led a noisy metropolitan life and built a military career. Education A very educated person. […]
Turgenev’s novel “Fathers and Sons” appears in the February book of the Russian Messenger. This novel obviously poses a question... addresses to the younger generation and loudly asks him the question: “What kind of people are you?” This is the real meaning of the novel. D. I. Pisarev, Realists Evgeny Bazarov, according to I. S. Turgenev’s letters to friends, “the most beautiful of my figures,” “this is my favorite brainchild... on which I spent all the paints at my disposal.” “This clever girl, this hero” appears before the reader in kind [...]
The idea for the novel arises from I. S. Turgenev in I860 in the small seaside town of Ventnor, in England. “...It was in the month of August 1860, when the first thought of “Fathers and Sons” came to my mind...” It was a difficult time for the writer. His break with Sovremennik magazine had just occurred. The occasion was an article by N. A. Dobrolyubov about the novel “On the Eve”. I. S. Turgenev did not accept the revolutionary conclusions contained in it. The reason for the gap was deeper: rejection of revolutionary ideas, “peasant democracy […]
Dear Anna Sergeevna! Let me address you personally and express my thoughts on paper, since saying some words out loud is an insurmountable problem for me. It is very difficult to understand me, but I hope that this letter will clarify my attitude towards you a little. Before I met you, I was an opponent of culture, moral values, human feelings. But numerous life trials forced me to look at things differently. the world and reevaluate your life principles. For the first time I […]
Regarding the ideological content of the novel “Fathers and Sons,” Turgenev wrote: “My whole story is directed against the nobility as an advanced class. Look at the faces of Nikolai Petrovich, Pavel Petrovich, Arkady. Sweetness and dullness or limitation. An aesthetic feeling forced me to take the good representatives of the nobility in order to prove my theme all the more accurately: if cream is bad, what about milk?.. They are the best of the nobles - and that is why I chose them to prove their inconsistency.” Pavel Petrovich Kirsanov […]
Duel test. Perhaps there is no more controversial and interesting scene in I. S. Turgenev’s novel “Fathers and Sons” than the duel between the nihilist Bazarov and the Anglomaniac (actually an English dandy) Pavel Kirsanov. The very fact of a duel between these two men is an odious phenomenon that cannot happen, because it can never happen! After all, a duel is a struggle between two people of equal origin. Bazarov and Kirsanov people different classes. They in no way belong to one, common layer. And if Bazarov frankly doesn’t give a damn about all these [...]
Kirsanov N.P. Kirsanov P.P. Appearance A short man in his early forties. After a long-term broken leg, he walks with a limp. The facial features are pleasant, the expression is sad. A handsome, well-groomed middle-aged man. He dresses smartly, in the English manner. Ease of movement reveals an athletic person. Marital status Widower for more than 10 years, was very happily married. There is a young mistress Fenechka. Two sons: Arkady and six-month-old Mitya. Bachelor. In the past he was successful with women. After […]
Two mutually exclusive statements are possible: “Despite Bazarov’s external callousness and even rudeness in dealing with his parents, he loves them dearly” (G. Byaly) and “Isn’t that spiritual callousness that cannot be justified manifested in Bazarov’s attitude towards his parents.” However, in the dialogue between Bazarov and Arkady, the i’s are dotted: “So you see what kind of parents I have. The people are not strict. - Do you love them, Evgeny? - I love you, Arkady!” Here it is worth remembering both the scene of Bazarov’s death and his last conversation With […]
What exactly is the conflict between Bazarov and Pavel Petrovich Kirsanov? An eternal dispute between generations? Confrontation between supporters of different political views? A catastrophic discrepancy between progress and stability bordering on stagnation? Let us classify the disputes that later developed into a duel into one of the categories, and the plot will become flat and lose its edge. At the same time, Turgenev’s work, in which the problem was raised for the first time in history Russian literature, is still relevant. And today they demand change and [...]
Inner world Bazarov and his external manifestations. Turgenev paints a detailed portrait of the hero upon his first appearance. But strange thing! The reader almost immediately forgets individual facial features and is hardly ready to describe them after two pages. The general outline remains in the memory - the author imagines the hero’s face as repulsively ugly, colorless in color and defiantly irregular in sculptural modeling. But he immediately separates the facial features from their captivating expression (“It was animated calm smile and expressed self-confidence and [...]
The relationship between Evgeny Bazarov and Anna Sergeevna Odintsova, heroes of the novel by I.S. Turgenev's "Fathers and Sons" did not work out for many reasons. The materialist and nihilist Bazarov denies not only art, the beauty of nature, but also love as a human feeling. Recognizing the physiological relationship between a man and a woman, he believes that love “is all romanticism, nonsense, rottenness, art.” Therefore, he initially evaluates Odintsova only from the point of view of her external data. “Such a rich body! At least now to the anatomical theater,” […]
The novel “Fathers and Sons” was created in an extremely difficult and conflict-ridden period. The sixties of the nineteenth century saw several revolutions at once: the spread of materialist views, the democratization of society. The inability to return to the past and the uncertainty of the future became the cause of an ideological and value crisis. The positioning of this novel as “highly social,” characteristic of Soviet literary criticism, also influences today’s readers. Of course, this aspect must […]

The ideas of nihilism have no future;

It may be late, but the hero’s insight, awakening: human nature prevails over an erroneous idea;

Bazarov strives not to show his suffering, to console his parents, to prevent them from seeking solace in religion.

The mention of Sitnikov and Kukshina is a confirmation of the absurdity of the ideas of nihilism and its doom;

The life of Nikolai Petrovich and Arkady is an idyll of family happiness, far from public disputes (a variant of the noble path in future Russia);

The fate of Pavel Petrovich – the result of a life ruined by empty love affairs (without family, without love, far from the Motherland);

Odintsova’s fate is a version of an accomplished life: the heroine marries a man who is one of the future public figures of Russia;

Description of Bazarov's grave - a declaration of the eternity of nature and the life of the temporality of the empty social theories that claim eternity, the futility of human desire to know and change the world, the greatness of nature compared to vanity human life.

Evgeny Vasilievich Bazarov- the main character of the novel. Initially, the reader only knows about him that he is a medical student who came to the village on vacation. First, Bazarov visits the family of his friend Arkady Kirsanov, then goes with him to the provincial town, where he meets Anna Sergeevna Odintsova, lives for some time in her estate, but after an unsuccessful declaration of love, he is forced to leave and finally ends up in his parents’ house, where I was headed from the very beginning. He doesn’t live long at his parents’ estate; longing drives him away and forces him to repeat the same route again. In the end it turns out that there is no place for him anywhere. Bazarov returns home again and soon dies.

The basis of the hero’s actions and behavior is his commitment to ideas nihilism. Bazarov calls himself a “nihilist” (from the Latin nihil, nothing), i.e. a person who “recognizes nothing, respects nothing, treats everything from a critical point of view, does not bow to any authorities, does not accept a single principle on faith, no matter how respected this principle may be.” He categorically denies the values of the old world: its aesthetics, social structure, the laws of life of the aristocracy; love, poetry, music, the beauty of nature, family ties, such moral categories as duty, right, obligation. Bazarov acts as a merciless opponent of traditional humanism: in the eyes of the “nihilist,” humanistic culture turns out to be a refuge for the weak and timid, creating beautiful illusions that can serve as their justification. The “nihilist” contrasts the humanistic ideals with the truths of natural science, which affirm the cruel logic of life-struggle.

Bazarov is shown outside the circle of like-minded people, outside the sphere of practical affairs. Turgenev speaks of Bazarov’s readiness to act in the spirit of his democratic convictions - that is, to destroy in order to clear a place for those who will build. But the author does not give him the opportunity to act, because, from his point of view, Russia does not yet need such actions.

Bazarov fights against old religious, aesthetic and patriarchal ideas, mercilessly ridicules the romantic deification of nature, art and love. He affirms positive values only in relation to the natural sciences, based on the conviction that man is a “worker” in the workshop of nature. A person appears to Bazarov as a kind of bodily organism and nothing more. According to Bazarov, society is to blame for the moral shortcomings of individual people. With the correct structure of society, all moral diseases will disappear. Art for a hero is a perversion, nonsense.

Bazarov's test of love for Odintsova. Bazarov also considers the spiritual sophistication of love to be “romantic nonsense.” The story about Pavel Petrovich's love for Princess R. is not introduced into the novel as an inserted episode. He is a warning to the arrogant Bazarov

In a love conflict, Bazarov’s beliefs are tested for strength, and it turns out that they are imperfect and cannot be accepted as absolute. Now Bazarov’s soul is split into two halves - on the one hand, we see the denial of the spiritual foundations of love, on the other hand, the ability to love passionately and spiritually. Cynicism is being replaced by a deeper understanding of human relationships. A rationalist who denies the power of true love, Bazarov is overwhelmed by passion for a woman who is alien to him both in social status and in character, so overwhelmed that failure plunges him into a state of depression and melancholy. Rejected, he won a moral victory over a selfish woman from the noble circle. When he sees the complete hopelessness of his love, nothing causes him to make love complaints and requests. He painfully feels the loss, goes to his parents in the hope of being healed of love, but before his death he says goodbye to Odintsova as to the beauty of life itself, calling love the “form” of human existence.

The nihilist Bazarov is capable of truly great and selfless love; he amazes us with its depth and seriousness, passionate intensity, integrity and strength of heartfelt feeling. IN love conflict he looks big strong personality capable of real feelings for a woman.

Bazarov and Pavel Petrovich Kirsanov. Pavel Petrovich Kirsanov is an aristocrat, an Anglomaniac, and liberal. Essentially the same doctrinaire as Bazarov. The first difficulty is unrequited love– made Pavel Petrovich incapable of anything. Brilliant career and social successes interrupted tragic love, and then the hero finds a way out in abandoning hopes for happiness and in fulfilling his moral and civic duty, Pavel Petrovich moves to the village, where he tries to help his brother in his economic reforms and advocates in support of liberal government reforms. Aristocratism, according to the hero, is not a class privilege, but a high social mission of a certain circle of people, a duty to society. An aristocrat must be a natural supporter of freedom and humanity.

Pavel Petrovich appears in the novel as a convinced and honest man. but clearly limited. Turgenev shows that his ideals are hopelessly far from reality, and his life position does not even provide him with peace of mind. In the reader’s mind, the hero remains lonely and unhappy, a man of unfulfilled aspirations and unfulfilled destiny. This to a certain extent brings him closer to Bazarov. Bazarov is the product of the vices of the older generation, his philosophy is the denial of the life attitudes of the “fathers”. Turgenev shows that absolutely nothing can be built on negation, because the essence of life lies in affirmation, not negation.

Duel of Bazarov and Pavel Petrovich. For the insult inflicted on Fenechka, Pavel Petrovich challenged Bazarov to a duel. This is also the conflict point of the work. The duel completed and exhausted his social conflict, for after the duel Bazarov would forever part with both the Kirsanov brothers and Arkady. She, putting Pavel Petrovich and Bazarov in a situation of life and death, thereby revealed not the individual and external, but the essential qualities of both. The true reason for the duel was Fenechka, in whose features Kirsanov Sr. found similarities with his fatal beloved Princess R. and whom he also secretly loved. It is no coincidence that both antagonists have feelings for this young woman. Unable to tear true love out of their hearts, they try to find some kind of surrogate for this feeling. Both heroes are doomed people. Bazarov is destined to die physically. Pavel Petrovich, having settled Nikolai Petrovich’s marriage with Fenechka, also feels like a dead man. The moral death of Pavel Petrovich is the passing of the old, the doom of the obsolete.

Arkady Kirsanov. In Arkady Kirsanov, the unchanging and eternal signs of youth and youth with all the advantages and disadvantages of this age are most openly manifested. Arkady’s “nihilism” is a living play of young forces, a youthful feeling of complete freedom and independence, an ease of attitude towards traditions and authorities. The Kirsanovs are equally far from both the noble aristocracy and the commoners. Turgenev is interested in these heroes not from a political, but from a universal human point of view. The ingenuous souls of Nikolai Petrovich and Arkady maintain simplicity and everyday unpretentiousness in an era of social storms and catastrophes.

Pseudo-nihilists Kukshin and Sitnikov. Bazarov is lonely in the novel; he has no true followers. His imaginary comrades-in-arms cannot be considered as successors to the hero’s work: Arkady, who after his marriage completely forgets about his youthful passion for fashionable freethinking; or Sitnikova and Kukshina - grotesque images, completely devoid of the charm and conviction of the “teacher”.

Kukshina Avdotya Nikitishna is an emancipated landowner, pseudo-nihilist, cheeky, vulgar, downright stupid. Sitnikov is a pseudo-nihilist, recommended to everyone as Bazarov’s “student”. He tries to demonstrate the same freedom and sharpness of judgment and actions as Bazarov. But the resemblance to the “teacher” turns out to be parodic. Next to the truly new man of his time, Turgenev placed his caricature “double”: Sitnikov’s “nihilism” is understood as a form of overcoming complexes (he is ashamed, for example, of his father, a tax farmer, who makes money by soldering the people, at the same time he is burdened by his human insignificance ).

Bazarov's worldview crisis. Denying art and poetry, neglecting the spiritual life of man, Bazarov falls into one-sidedness, without noticing it. Challenging the “damned barchuks,” the hero goes too far. His denial of “your” art develops into a denial of art in general; the denial of “your” love - into the assertion that love is a “feigned feeling”, explainable only by the physiology of the sexes; denial of sentimental noble love for the people - into contempt for the peasant. Thus, the nihilist breaks with the eternal, enduring values of culture, putting himself in a tragic situation. Failure in love led to a crisis in his worldview. Two mysteries arose before Bazarov: the mystery of his own soul and the mystery of the world around him. The world, which seemed simple and understandable to Bazarov, becomes full of secrets.

So is this theory needed by society and is it necessary to him this type of hero like Bazarov? The dying Eugene tries to reflect on this with bitterness. “Is Russia necessary... no. apparently not needed,” and asks himself the question: “And who is needed?” The answer is unexpectedly simple: a shoemaker, a butcher, a tailor are needed, because each of these invisible people does their job, working for the good of society and without thinking about high goals. Bazarov comes to this understanding of the truth on the threshold of death.

The main conflict in the novel is not the dispute between “fathers” and “children”, but internal conflict As experienced by Bazarov, the demands of living human nature are incompatible with nihilism. Being a strong personality, Bazarov cannot renounce his convictions, but he is also unable to turn away from the demands of nature. The conflict is insoluble, and the hero is aware of this.

Death of Bazarov. Bazarov's beliefs come into tragic conflict with his human essence. He cannot renounce his convictions, but he cannot strangle the awakened person within himself. For him there is no way out of this situation, and that is why he dies. The death of Bazarov is the death of his doctrine. The hero's suffering, his untimely death is a necessary payment for his exclusivity, for his maximalism.

Bazarov dies young, without having time to begin the activity for which he was preparing, without completing his work, alone, without leaving behind children, friends, like-minded people, not understood by the people and distant from them. His enormous strength is wasted in vain. Bazarov's gigantic task remained unfulfilled.

The death of Bazarov revealed the author's political views. Turgenev, a true liberal, a supporter of the gradual, reformist transformation of Russia, an opponent of any revolutionary explosions, did not believe in the prospects of the revolutionary democrats, could not pin high hopes on them, perceived them as a great force, but transitory, believed that they would very soon go away historical arena and will give way to new social forces - gradualist reformers. Therefore, the revolutionary democrats, even if they were smart, attractive, honest, like Bazarov, seemed to the writer to be tragic loners, historically doomed.

The dying scene and the scene of Bazarov's death are the most difficult test for the right to be called a man and the most brilliant victory of the hero. “To die as Bazarov died is the same as to accomplish a great feat” (D. I. Pisarev). Such a person who knows how to die calmly and firmly will not retreat in the face of an obstacle and will not be afraid in the face of danger.

The dying Bazarov is simple and humane, there is no longer any need to hide his feelings, he thinks a lot about himself and his parents. Before his death, he calls Odintsova to tell her with sudden tenderness: “Listen, I didn’t kiss you then... Blow on the dying lamp and let it go out.” The very tone of the last lines, the poetic rhythmic speech, the solemnity of the words, sounding like a requiem, emphasize loving relationship the author to Bazarov, the moral justification of the hero, regret for a wonderful person, the thought of the futility of his struggle and aspirations. Turgenev reconciles his hero with eternal existence. Only nature, which Bazarov wanted to turn into a workshop, and his parents, who gave him life, surround him.

The description of Bazarov’s grave is a statement of the eternity and greatness of nature and life in comparison with the vanity, temporality, futility of social theories, human aspirations to know and change the world, and human mortality. Turgenev is characterized by subtle lyricism, this is especially evident in his descriptions of nature. In landscape, Turgenev continues the traditions of the late Pushkin. For Turgenev, nature as such is important: aesthetic admiration of it.

Critics about the novel.“Did I want to scold Bazarov or praise him? I don’t know that myself, because I don’t know whether I love him or hate him!” “My whole story is directed against the nobility as an advanced class.” “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society...” “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction because it still stands on the threshold of the future” (Turgenev). Conclusion. Turgenev shows Bazarov in a contradictory way, but he does not seek to debunk him or destroy him.

In accordance with the vectors of the struggle of social movements in the 60s, points of view on Turgenev’s work were also built. Along with the positive assessments of the novel and the main character in Pisarev’s articles, negative criticism was also heard from the ranks of the democrats.

Position of M.A. Antonovich (article “Asmodeus of our time”). A very strong position, denying social significance And artistic value novel. In the novel “... there is not a single living person or living soul, but all are only abstract ideas and different directions, personified and called by proper names.” The author is not friendly towards the younger generation and “he gives complete preference to fathers and always tries to elevate them at the expense of the children.” Bazarov, in Antonovich’s opinion, is a glutton, a chatterbox, a cynic, a drunkard, a braggart, a pathetic caricature of youth, and the whole novel is slander against the younger generation.” Dobrolyubov had already died by this time, and Chernyshevsky was arrested, and Antonovich, who primitively understood the principles of “ real criticism", accepted the original author's intention for the final artistic result.

The liberal and conservative part of society perceived the novel more deeply. Although there were some extreme judgments here too.

Position of M.N. Katkov, editor of the magazine “Russian Herald”.

“How ashamed Turgenev was to lower the flag in front of the radical and salute him as before an honored warrior.” “If Bazarov is not elevated to apotheosis, then one cannot help but admit that he somehow accidentally ended up on a very high pedestal. It really overwhelms everything around it. Everything in front of him is either rags or weak and green. Is this the kind of impression you should have wanted?” Katkov denies nihilism, considering it a social disease that must be fought by strengthening protective conservative principles, but notes that Turgenev puts Bazarov above everyone else.

The novel as assessed by D.I. Pisarev (article “Bazarov”). Pisarev gives the most detailed and thorough analysis of the novel. “Turgenev does not like merciless denial, and yet the personality of the merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev is prone to idealism, and yet none of the idealists depicted in his novel can compare with Bazarov either in strength of mind or strength of character.”

Pisarev explains the positive meaning of the main character, emphasizes the vital importance of Bazarov; analyzes Bazarov’s relationships with other heroes, determines their attitude towards the camps of “fathers” and “sons”; proves that nihilism got its start precisely on Russian soil; determines the originality of the novel. D. Pisarev’s thoughts about the novel were shared by A. Herzen.

The most artistically adequate interpretation of the novel belongs to F. Dostoevsky and N. Strakhov (Time magazine). Views of F.M. Dostoevsky. Bazarov is a “theorist” who is at odds with “life”, a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering Bazarov's theory, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory breaks down in reality. Dostoevsky does not talk about the reasons that give rise to these theories. N. Strakhov noted that I. S. Turgenev “wrote a novel that is neither progressive nor retrograde, but, so to speak, eternal.” The critic saw that the author “stands for eternal beginnings human life,” and Bazarov, who “shuns life,” meanwhile “lives deeply and strongly.”

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

Death of Bazarov

Main character I. S. Turgenev's novel “Fathers and Sons” - Evgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing the work of his father. Eugene’s position in life is that he denies everything: views on life, feelings of love, painting, literature and other forms of art. Bazarov is a nihilist.

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

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

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

Bazarov, having arrived to his parents, notices that he is getting bored with them: Bazarov cannot talk to either his father or his mother the way he talks to Arkady, or even argue the way he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father treat sick peasants. People of different generations, different development.

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

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

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

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

DI. Pisarev claims that “It’s still bad for the Bazarovs to live in the world, even though they sing and whistle. No activity, no love, and therefore no pleasure.” The critic also argues that one must live “while one can live, eat dry bread when there is no roast beef, be with women when one cannot love a woman, and generally not dream about orange trees and palm trees when there are snowdrifts and cold tundra underfoot.”

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

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

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

“Nihilism,” according to Turgenev, challenges the eternal values of the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the reason for his inevitable death.

Evgeniy Bazarov cannot in any way be called “ extra person" Unlike Onegin and Pechorin, he is not bored, but works a lot. Before us is a very active person, he has “immense strength in his soul.” One job is not enough for him. In order to really live, and not drag out a miserable existence, like Onegin and Pechorin, such a person needs a philosophy of life, its goal. And he has it.

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

The reader understands that Bazarov has no one to convey what little, but the most precious thing he has is his beliefs. He has no near and dear person, and therefore no future. He does not imagine himself as a district doctor, but he also cannot be reborn, become like Arkady. There is no place for him in Russia, and, perhaps, abroad too. Bazarov dies, and with him dies his genius, his wonderful, a strong character, his ideas and beliefs. But true life is endless, the flowers on Eugene’s grave confirm this. Life is endless, but only true...

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

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

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

Let us remember the words of Bazarov: “When I meet a person who would not give up in front of me, then I will change my opinion about myself.” There is a cult of power. “Hairy,” - this is what Pavel Petrovich said about Arkady’s friend. He is clearly offended by the appearance of a nihilist: long hair, a robe with tassels, red unkempt hands. Of course, Bazarov is a working man who does not have time to take care of his appearance. This seems to be the case. Well, what if this is “deliberate shocking” good taste"? And if this is a challenge: I dress the way I want and do my hair. Then this is bad, immodest. The disease of cheekiness, irony at the interlocutor, disrespect...

Speaking purely from a human perspective, Bazarov is wrong. At his friend’s house he was greeted cordially, although Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony and immediately enters into a heated argument. His judgment is uncompromising. “Why would I recognize authorities?”; “A decent chemist is twenty times more useful than a poet”; he reduces high art to “the art of making money.” Later it would go to Pushkin, Schubert, and Raphael. Even Arkady remarked to a friend about his uncle: “You insulted him.” But the nihilist did not understand, did not apologize, did not doubt that he behaved too impudently, but condemned: “He imagines himself to be a practical person!” what kind of relationship is this between a man and a woman...

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

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

But a subjective view of the characters is one thing, the objective thought of the entire work is another matter. What is it about? About the tragedy. The tragedies of Bazarov, who, in his thirst for “doing things for a long time”, in his enthusiasm for his god-science, trampled upon universal human values. And these values are love for another person, the commandment “thou shalt not kill” (fought in a duel), love for parents, forbearance in friendship. He is cynical in his attitude towards women, mocks Sitnikov and Kukshina, narrow-minded people, greedy for fashion, miserable, but still people. Eugene excluded from his life high thoughts and feelings about the “roots” that feed us, about God. He says: "I look at the sky when I want to sneeze!"

The tragedy of the hero is also completely alone, both among his own people and among strangers, although both Fenechka and the emancipated servant Peter sympathize with him. He doesn't need them! The men who called him “a buffoon” feel his inner contempt for them. His tragedy lies in the fact that he is inconsistent in his attitude towards the people whose name he hides behind: “...I hated this last man, Philip or Sidor, for whom I have to bend over backwards and who won’t even say thank you to me... And why should I thank him? Well, he will live in a white hut, and I will grow into a burdock - well, what then?

It is interesting that before his death Bazarov remembers the forest, that is, the natural world that he previously essentially denied. Now he even calls on religion for help. And it turns out that Turgenev’s hero in his short life passed by everything that was so beautiful. And now these manifestations of true life seem to triumph over Bazarov, around him and rise within him.

First the hero of the novel does weak attempt fight the disease and asks his father for a hellstone. But then, realizing that he is dying, he stops clinging to life and rather passively surrenders himself into the hands of death. It is clear to him that consoling himself and others with hopes of healing is in vain. The main thing now is to die with dignity. And this means - don’t whine, don’t relax, don’t panic, don’t give in to despair, do everything to ease the suffering of elderly parents. Without deceiving his father’s hopes at all, reminding him that everything now depends only on the time and pace of the disease, he nevertheless invigorates the old man with his own steadfastness, conducting a conversation in professional medical language, and advising him to turn to philosophy or even religion. And for the mother, Arina Vlasyevna, her assumption about her son’s cold is supported. This concern for loved ones before death greatly elevates Bazarov.

The hero of the novel has no fear of death, no fear of losing his life, he is very courageous in these hours and minutes: “It’s all the same: I won’t wag my tail,” he says. But he is still resentful that his heroic forces are dying in vain. In this scene, the motive of Bazarov's strength is especially emphasized. First, it is conveyed in the exclamation of Vasily Ivanovich, when Bazarov pulled out a tooth from a visiting peddler: “Evgeny has such strength!” Then the hero of the book himself demonstrates his power. Weakened and fading, he suddenly lifts the chair by the leg: “The strength, the strength is all still here, but we must die!” He imperiously overcomes his semi-oblivion and speaks of his titanism. But these forces are not destined to manifest themselves. “I’ll screw up a lot of things” - this task of the giant remains in the past as an unrealized intention.

The farewell meeting with Odintsova also turns out to be very expressive. Evgeniy no longer restrains himself and utters words of delight: “glorious”, “so beautiful”, “generous”, “young, fresh, pure”. He even talks about his love for her, about kisses. He indulges in a kind of “romanticism” that would previously have led him to indignation. And the highest expression of this is the hero’s last phrase: “Blow on the dying lamp and let it go out.”

Nature, poetry, religion, parental feelings and filial affection, the beauty of a woman and love, friendship and romanticism - all this takes over and wins.

And here the question arises: why does Turgenev “kill” his hero?

But the reason is much deeper. The answer lies in life itself, in the social and political situation of those years. Social conditions in Russia did not provide opportunities for the realization of the commoners' aspirations for democratic changes. Moreover, their isolation from the people to whom they were drawn and for whom they fought remained. They could not accomplish the titanic task that they set for themselves. They could fight, but not win. The stamp of doom lay on them. It becomes clear that Bazarov was doomed to the impracticability of his affairs, to defeat and death.

Turgenev is deeply convinced that the Bazarovs have come, but their time has not yet come. What can an eagle do when it cannot fly? Think about death. Evgeniy, in the midst of his everyday life, often thinks about death. He unexpectedly compares the infinity of space and the eternity of time with his short life and comes to the conclusion of “his own insignificance.” It is amazing that the author of the novel cried when he ended his book with the death of Bazarov.

According to Pisarev, “to die the way Bazarov died is the same as having accomplished a great feat.” And Turgenev’s hero accomplishes this last feat. Finally, we note that in the death scene the thought of Russia arises. It is tragic that the homeland is losing its big son, a real titanium.

And here I remember the words Turgenev said about the death of Dobrolyubov: “It’s a pity for the lost, wasted strength.” The same author's regret is felt in the scene of Bazarov's death. And the fact that powerful opportunities were wasted makes the hero’s death especially tragic.

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Question

How did you perceive the last pages of the novel? How did Bazarov's death make you feel?

Answer

The main feeling that the last pages of the novel evoke in readers is a feeling of deep human pity that such a person dies. The emotional impact of these scenes is great. A.P. Chekhov wrote: "My God! What a luxury “Fathers and Sons” is! Just at least shout guard. Bazarov’s illness was so severe that I became weak and felt as if I had become infected from him. And the end of Bazarov?.. It’s the devil knows how it was done. Simply brilliant."

Question

How did Bazarov die? (Chapter XXVII)

“Bazarov was getting worse every hour; the disease took on a rapid course, which usually happens with surgical poisoning. He had not yet lost his memory and understood what was being said to him; he was still struggling.

“I don’t want to be delusional,” he whispered, clenching his fists, “what nonsense!” And then he said: “Well, subtract ten from eight, how much will it come out?” Vasily Ivanovich walked around like a madman, offering first one remedy, then another, and did nothing but cover his son’s feet. “Wrap in cold sheets... emetic... mustard plasters to the stomach... bloodletting,” he said with tension. The doctor, whom he begged to stay, agreed with him, gave the patient lemonade, and for himself asked for either a straw or a “strengthening-warming”, that is, vodka. Arina Vlasyevna sat on a low bench near the door and only went out to pray from time to time; a few days ago the dressing mirror slipped out of her hands and broke, and she always considered this a bad omen; Anfisushka herself did not know how to tell her anything. Timofeich went to Odintsova.”

“The night was not good for Bazarov... A severe fever tormented him. By morning he felt better. He asked Arina Vlasyevna to comb his hair, kissed her hand and drank two sips of tea.”

“The change for the better did not last long. The attacks of the disease have resumed."

“I'm finished. Got under a wheel. And it turns out that there was nothing to think about the future. The old thing is death, but something new for everyone. I’m still not afraid... and then unconsciousness will come, and fuck! (He waved his hand weakly.)"

“Bazarov was no longer destined to wake up. By evening he fell into complete unconsciousness, and the next day he died.”

Question

Why D.I. Pisarev said: “To die the way Bazarov died is the same as doing a great feat...”?

Answer

Bazarov's fatal illness is his last test. In the face of the inevitable force of nature, courage, strength, will, nobility, and humanity are fully manifested. This is the death of a hero, and a heroic death.

Not wanting to die, Bazarov fights illness, unconsciousness, and pain. Until the last minute he does not lose clarity of mind. He shows willpower and courage. He made an accurate diagnosis for himself and calculated the course of the disease almost hourly. Feeling the inevitability of the end, he did not chicken out, did not try to deceive himself and, most importantly, remained true to himself and his convictions.

“...now, for real, the hellstone is not needed. If I got infected, it’s too late now.”

“Old man,” Bazarov began in a hoarse and slow voice, “my business is crappy. I am infected, and in a few days you will bury me.”

“I didn’t expect to die so soon; This is an accident, a very unpleasant one, to be honest.”

“The strength, the strength,” he said, “is all still here, but we have to die!.. The old man, at least he managed to wean himself from life, and I... Yes, go ahead and try to deny death. She denies you, and that’s it!”

Question

According to the beliefs of believers, those who received communion were forgiven all their sins, and those who did not receive communion fell into eternal torment in hell. Does Bazarov agree or not to take communion before his death?

Answer

In order not to offend his father, Bazarov “finally said”: “I do not refuse, if it can console you.” And then he adds: “... but it seems to me that there is no need to rush yet. You yourself say that I’m better.” This phrase is nothing more than a polite refusal to confess, since if a person feels better, then there is no need to send for a priest.

Question

Does Bazarov himself believe that he is better off?

Answer

We know that Bazarov himself accurately calculated the course of the disease. The day before, he tells his father that “tomorrow or the day after tomorrow his brain will resign.” “Tomorrow” has already arrived, at most there is still a day left, and if you wait any longer, the priest will not have time (Bazarov is precise: that day “by the evening he fell into complete unconsciousness, and the next day he died”). This cannot be understood otherwise as an intelligent and delicate refusal. And when the father insists on “fulfilling the duty of a Christian,” he becomes harsh:
“No, I’ll wait,” interrupted Bazarov. - I agree with you that a crisis has arrived. And if you and I were wrong, well! after all, even the unconscious are given communion.
- Have mercy, Evgeniy...
- I'll wait. And now I want to sleep. Do not disturb me".

And in the face of death, Bazarov rejects religious beliefs. For weak person It would be convenient to accept them, to believe that after death one can go “to heaven”; Bazarov is not deluded by this. And if they do give him communion, it will be unconscious, as he foresaw. There is no will here: this is the act of parents who find solace in this.

Answering the question why Bazarov’s death should be considered heroic, D.I. Pisarev wrote: “But to look death in the eyes, to foresee its approach, without trying to deceive oneself, to remain true to oneself until the last minute, not to weaken and not to become afraid - this is a matter of strong character... such a person who knows how to die calmly and firmly, will not retreat from an obstacle and will not will cower in the face of danger".

Question

Did Bazarov change before his death? Why did he become closer to us before his death?

Answer

The dying Bazarov is simple and humane: there is no longer any need to hide his “romanticism.” He thinks not about himself, but about his parents, preparing them for a terrible end. Almost like Pushkin, the hero says goodbye to his beloved and says in the language of a poet: “Blow on the dying lamp and let it go out.”

He finally uttered “other words” that he had been afraid of before: “... I loved you!.. Goodbye... Listen... I didn’t kiss you then...” “And caress your mother. After all, people like them cannot be found in your big world during the day…” Love for a woman, filial love for his father and mother merge in the consciousness of the dying Bazarov with love for his homeland, for mysterious Russia, which remains an incompletely solved mystery for Bazarov: “There is a forest here.”

Before his death, Bazarov became better, more humane, softer.

Question

In life, Bazarov dies from an accidental cut on his finger, but is the death of the hero accidental in the composition of the novel?

Why does Turgenev end his novel with the death scene of the main character, despite his superiority over other characters?

Answer

About his departure, Bazarov says: “Russia needs me... No, apparently I’m not needed. And who is needed?

Every plot and compositional device reveals the writer’s ideological intent. Bazarov's death, from the author's point of view, is natural in the novel. Turgenev defined Bazarov as a tragic figure, “doomed to destruction.”

There are two reasons for the hero’s death - his loneliness and internal conflict. Both of these interrelated reasons were part of the author's intention.

Question

How does Turgenev show the hero's loneliness?

Answer

Consistently, in all of Bazarov’s meetings with people, Turgenev shows the impossibility of relying on them. The first to fall away are the Kirsanovs, then Odintsova, then the parents, then Fenechka, he has no true students, Arkady also leaves him, and finally, the last and most important clash occurs with Bazarov before his death - a clash with the people.

“Sometimes Bazarov went to the village and, teasing as usual, entered into a conversation with some peasant.
-What were you talking about?
- It is known, master; does he really understand?
- Where to understand! - answered the other man, and, shaking their hats and pulling down their sashes, they both began to talk about their affairs and needs. Alas! shrugging his shoulder contemptuously, knowing how to talk to the peasants, Bazarov (as he boasted in a dispute with Pavel Petrovich), this self-confident Bazarov did not even suspect that in their eyes he was still something of a fool...

The new people look lonely compared to the vast majority of the rest of society. Of course, there are few of them, especially since these are the first new people. Turgenev is right in showing their loneliness in the local and urban nobility; he is right in showing that here they will not find helpers.

The main reason for the death of Turgenev’s hero can be called socio-historical. The circumstances of Russian life in the 60s did not yet provide an opportunity for fundamental democratic changes, for the implementation of the plans of Bazarov and others like him.

“Fathers and Sons” caused fierce controversy throughout Russian history literature of the 19th century century. And the author himself, with bewilderment and bitterness, stops before the chaos of contradictory judgments: greetings from enemies and slaps in the face from friends.

Turgenev believed that his novel would serve to unite the social forces of Russia, that Russian society would heed his warnings. But his dreams did not come true.

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, exhausted, but still doomed to death, because it still stands on the threshold of the future.” I.S. Turgenev.

Exercise

1. Share your feelings about the novel.
2. Did the hero evoke your sympathy or antipathy?
3. Do the following assessments and definitions of him coexist in your idea of him: smart, cynic, revolutionary, nihilist, victim of circumstances, “genius”?
4. Why does Turgenev lead Bazarov to death?
5. Read your miniature essays.

Death of Bazarov

The main character of I. S. Turgenev’s novel “Fathers and Sons” - Evgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing the work of his father. Eugene’s position in life is that he denies everything: views on life, feelings of love, painting, literature and other forms of art. Bazarov is a nihilist.

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

He regrets his unspent strength, his unfulfilled task. Bazarov devoted his entire life to the desire to benefit the country and science. We imagine him as an intelligent, reasonable, but deep down, sensitive, attentive and kind person.

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

The reader understands that Bazarov has no one to convey what little, but the most precious thing he has is his beliefs. He has no near and dear person, and therefore no future. He does not imagine himself as a district doctor, but he also cannot be reborn, become like Arkady. There is no place for him in Russia, and, perhaps, abroad too. Bazarov dies, and with him his genius, his wonderful, strong character, his ideas and beliefs die. But true life is endless, the flowers on Eugene’s grave confirm this. Life is endless, but only true...

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

Let us remember the words of Bazarov: “When I meet a person who would not give up in front of me, then I will change my opinion about myself.” There is a cult of power. “Hairy,” - this is what Pavel Petrovich said about Arkady’s friend. He is clearly offended by the appearance of a nihilist: long hair, a robe with tassels, red unkempt hands. Of course, Bazarov is a working man who does not have time to take care of his appearance. This seems to be the case. Well, what if this is “a deliberate shocking of good taste”? And if this is a challenge: I dress and do my hair the way I want. Then it is bad, immodest. The disease of swagger, irony towards the interlocutor, disrespect...

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