Preview:

Option I

1. I.S.Turgenev wrote:

a) "Doctor's notes"

b) "Notes on the cuffs"

c) "Notes of a Hunter"

d) "Notes from the House of the Dead"

2. What are the names of E. Bazarov's parents?

3. The basis of the conflict in the novel "Fathers and Sons" is:

a) Quarrel between P.P.Kirsanov and E.V. Bazarov.

b) The conflict that arose between E.V. Bazarov and N.P. Kirsanov.

c) The struggle of bourgeois-noble liberalism and revolutionary democrats.

d) The struggle between the liberal monarchists and the people.

4. Get to know the characters in the novel by the following characteristics:

1) A representative of the young noble generation, quickly turning into an ordinary landowner, spiritual narrow-mindedness and weakness, superficiality of democratic hobbies, a tendency to rhetoric, lordly manners and laziness.

2) The adversary of everything truly democratic, an aristocrat admiring himself, whose life has been reduced to love and, unfortunately, about the passing past, an esthete.

3) Uselessness and inability to live, to its new conditions, the type of "outgoing lordship".

4) An independent nature, not bowing to any authorities, a nihilist.

a) Evgeny Bazarov

b) Arkady Kirsanov

c) Pavel Petrovich

d) Nikolai Petrovich

5. Bazarov wrote a critical article:

a) I.S.Turgenev.

b) V.G.Belinsky.

c) A.I. Herzen.

d) D.I. Pisarev.

6. Which layer of Russian society did E. Bazarov consider promising?

a) The peasantry.

b) Noble aristocracy.

c) Russian patriarchal nobility.

d) the intelligentsia

"A long and thin [face] with a wide forehead, a pointed nose up flat to the bottom, large greenish eyes and hanging sand-colored sideburns, it was animated by an awkward smile and expressed self-confidence and intelligence."

8. What was especially alien to Turgenev in his hero?

a) Lack of understanding of the role of the people in the liberation movement.

b) Nihilistic attitude towards cultural heritage Russia.

c) Exaggeration of the role of the intelligentsia in the liberation movement.

d) Separation from any practical activity.

9. Insert the missing words:

a) "The only witness to the duel between Bazarov and Pavel Petrovich was ..."

b) “Such a rich body! At least now in ... the theater. "

c) "Pavel Petrovich took out his beautiful hand with long ... nails from his trousers pocket."

10. I. S. Turgenev wrote: "He did not have, like Onegin and Pechorin, the era of idealization, sympathetic exaltation."

a) Why was Bazarov negatively received by the progressive magazine Sovremennik, liberal and democratic circles?

b) Are there features in Bazarov worthy of imitation for the younger generation of that time?

Test for the creativity of I.S.Turgenev

Option II

1. What are the names of I.S.Turgenev's parents?

2. Who is the dedication of the novel "Fathers and Sons" addressed to:

a) A.I. Herzen

b) V.G.Belinsky

c) N.A.Nekrasov

d) To another person

3. The disputes of the heroes of the novel "Fathers and Sons" were conducted around various issues that worried the public thought of Russia. Find unnecessary:

a) On the attitude towards the noble cultural heritage.

b) About art, science.

c) On the system of human behavior, on moral principles.

d) On the position of the working class.

e) About public duty, about education.

4. IS Turgenev gave a general assessment of the political content of his novel "Fathers and Sons": "My whole story is directed against ..." Finish the sentence.

a) The proletariat as an advanced class

b) Nobility as an advanced class

c) the peasantry as an advanced class

d) Democrats as an advanced class

5. Remember which of the characters in the novel owns the words: "We know approximately why bodily ailments occur, and moral illnesses come from bad upbringing ... from the ugly state of society, in a word, correct society, and there will be no illnesses."

a) Arkady Kirsanov

b) N.P. Kirsanov

c) E. V. Bazarov

d) P.P. Kirsanov

6. Which of the characters in Fathers and Sons would you call a “little man”?

a) V.I.Bazarov

b) N.P. Kirsanov

c) A. N. Kirsanov

d) another character in the novel

7. Find out the hero of the novel by the portrait description:

“He looked about 45 years old, his cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, not usually regular and clean, as if drawn with a thin and light incisor, showed traces of remarkable beauty. "

8. Distribute the characters in the novel according to their social status:

a) »Emancipe

b) Russian aristocrat

c) Regimental doctor

d) Student barich

e) Student Democrat

a) E. Bazarov

b) Kukshina

c) V.I.Bazarov

d) A. N. Kirsanov

e) P. P. Kirsanov

9. Insert the missing words:

a) “Pavel Petrovich moistened his forehead with cologne and closed his eyes. Illuminated by a bright light, his beautiful, emaciated head lay on a white pillow, like a head ... "

b) “We are talking about one of the neighboring landowners. Rubbish ..., - said Bazarov indifferently, who met with him in St. Petersburg. "

c) The novel was set in ... year.

10. IS Turgenev wrote: “It would be unimportant to present him (Bazarov) as an ideal; but to make him a wolf and still justify him - it was difficult ... "

a) What did Bazarov lack to be an ideal?

Home\u003e Literature

Chapter 2. The image of a positive hero in the works of I.S. Turgenev 2.1. Controversy around the image of Bazarov I.S.Turgenev's novel "Fathers and Sons" was loved by A.P. Chekhov. "Oh my God! What a luxury Fathers and Sons! Just shout at least a guard! " Contemporaries, however, said that there was some kind of commonality between Bazarov and Chekhov himself. It is possible that the choice of medicine as a profession was made by Chekhov not without the influence of Bazarov. “Positive, sober, healthy,” writes IE Repin, “he reminded me of the Tour-Genevan Bazarov. A subtle, implacable, purely Russian analysis prevailed in his eyes with facial expression. The enemy of sentiments and high-profile hobbies, he seemed to keep himself in the mouthpiece of cold irony and with pleasure felt the mail of courage on himself. " “My first feeling, or, rather, an impression, - recalls his acquaintance with the writer A.I.Suvorin, - was that he should be like one of my favorite heroes - like Bazarov”. AV Amfitheatrov especially often returned to this comparison. “Each time, approaching the personality of a friend, Amphitheater-memoirist returned to the image of Turgenev's Bazarov, a“ typical analyst-realist ”: Chekhov,“ son of Bazarov, ”he“ had the mind of a researcher ”; "There was not a drop of sentimentality in him"; as a type of intellectual-thinker, he is closely related to Bazarov. " Today Bazarov is not favored, he is baptized, he is exposed. In 1985, even before the beginning of perestroika, the spirit of which was already in the air, O. Tchaikovskaya warned on the pages of the Uchitelskaya Gazeta about the danger of Bazarov for modern youth: “... in an undeveloped soul it is not difficult to induce thirst and even the delight of destruction ... "," there were times when we ourselves experienced a period of some kind of nihilism ... and who knows, maybe some violent leftist, blowing up monuments of ancient art, had a the image of Bazarov and his destructive doctrine? " In 1991, on the pages of Komsomolskaya Pravda, I. Virabov in his article "An autopsy showed that Bazarov was alive" (B. Sarnov rebuked her in his book "Overturned Ku-pel"), stated that "we turned into Society of the Bazarovs ": wanting to find out" how this happened ", reasoned:" In order to build a new building, a new person was needed - with an ax or scalpel. He came. There were only a few bazarovs, but they became an ideal. The struggle for universal happiness was entrusted to Bazarov, a man who subordinated everything to one idea. " A little later, in 1993, in Izvestia, K. Kedrov summarized: “I don't know who Bazarov is, but I feel every day and every hour an evil heart that hates everything and everyone. They heal as they kill, and he loves as nena sees. " The methodology of such revelations was well shown by A.I.Batuto: individual quotations are pulled out of the living context and the concept is built on them. Here is one example among many. Bazarov's words are often quoted: "All people are alike" (Chapter XVI). But in the next chapter Bazarov will say to Madame Odintsova: "Maybe you are right: maybe, for sure, every person is a mystery." “As if to Bazarov who had comprehended everything,” the researcher writes, “not everything is clear and understandable. Constantly in the novel we see how "the confidence of judgments and sentences is replaced by anxious reflection." Sometimes it is completely ignored that what we have before us is not a speculative treatise, not a sum of ideological, political and moral-aesthetic quotations, but a living, full-blooded, contradictory image... Constructing from quotations torn from figurative flesh and living context turns out to be very sad. We will confine ourselves to one, but very expressive example. For example, a certain thinker took up arms against many prominent figures of world culture. Sophocles, Euripides, Aeschylus, Aristo-fan, Dante, Tasso, Milton, Shakespeare, Ra-fael (the one whom Bazarov did not accept), Michelangelo, Beethoven, Bach, Wagner, Brahms, Strauss - for him savagery, meaninglessness, absurdity, harmfulness, inventedness, incompleteness, incomprehensibility. He puts Uncle Tom's hut above Shek-spira. “I studied Shakespeare and Goethe three times in my life from beginning to end and never could understand what their charm was. Chaikovsky, Rubinstein - so-so, from among them. They write a lot that is fake, contrived, artificial. " Who is this subverter of sacred things, who so mercilessly dumps the greatest cultural values \u200b\u200bfrom the steamer of our time? Who is he, a desperate nihilist of nihilists? The answer is: Lev Nikolaevich Tolstoy. But can Tolstoy be reduced to these assessments and statements? Although without them it is not. Likewise, we do not reduce Bazarov to his biting aphorisms, although he does not exist without them. But it is more complex, deeper, more voluminous, more tragic. And the figure of the denier of everything and everything, by its very essence, cannot be tragic. We inherited from long decades intolerance to a different point of view, different views, tastes, and unusual positions. This intolerance is especially dangerous in our time, when polyphony of opinions has become an objective reality of our life, and the ability to listen and hear is a necessary condition of our existence. Literature teaches this difficult art of tolerance. After all, an artistic text, according to Yu. Lotman, “makes us experience any space as a space of proper names. We oscillate between the subjective world we know personally and its antithesis. IN art world “Alien” is always “ours”, but at the same time, “ours” is always “alien”. But where does the self-confident Bazarov get such bitter thoughts? Of course, and from bitter love for Madame Odintsov. It was here that he said: “He didn’t break himself, so the ba-benka won’t break me”. And from loneliness (at least in the space and time of the novel). But there are also more global reasons here. And Tolstoy's Konstantin Levin thinks that “without knowing what I am and what I am here for, it is impossible to live”: “In infinite time, in infinite matter, in infinite space, a bubble-organism emerges, and this bubble will last and burst, and this bubble is me. " This "bubble" makes you remember Bazarov's "atom", "mathematical point" not only because in Fathers and Children and in Anna Karenina, thinking about oneself - a "bubble", "atom ”Is associated with the infinity of space and time, but also because, first of all, that both there and here the initial doubt as to why I am here. Konstantin Levin will find support and answer in Christ, faith. For Bazarov, there are no answers here. "And in this atom, in this mathematical point, the blood circulates, the brain works, it wants something too ... What a disgrace!" “Ugliness - because values \u200b\u200bare too immeasurable: a tiny thinking creature and endless space. A man is lost in a world devoid of God - rejected, Pavel Petrovich would say; nonexistent and non-existent, according to Bazarov's ideas. There is no supreme power, no providence, no predestination; man is alone with the Universe, and he opposes it and must organize and order everything around himself, and the burden of immeasurable gravity falls on his shoulders. There is no one to turn to for support, for new strength; he must endure everything and decide for himself. " It is difficult to talk about all this today, when, according to Bazarov, “it’s a matter of real bread,” when millions of people are deprived of the bare essentials, when, if it’s about that, millions of people and thousands of schools are deprived of normal sewage systems. But after all, Bazarov speaks about all this not in modern well-fed Sweden, or prosperous Germany, or comfortable Switzerland, And nevertheless. And does not the biblical sound in the subtext of these words of his: "Man does not live by bread alone"? "When you are hungry", "when it comes to daily bread" - such is Bazarov's starting position. But he does not see the ultimate goal in his daily bread. He well understands that the solution to the problem of daily bread (very important in itself) is not the goal of a person's life. And a white hut (house, apartment, as we would say today) is not his ideal. You know, cheat, does he have a different ideal? And this, another ideal, he does not have. “Correct society, and there will be no illnesses,” says Bazarov. But what does "fix society" mean? And how can you change it? Bazarov does not know the answer to these questions. Let's remember him dying words: “I’m the wives of Russia ... No, I’m not needed. And who is needed? " Who Russia needs and what to do, Bazarov does not know. Bazarov says that there is not a single resolution "in our modern life, in the family and in society, which would not cause complete and merciless denial." The tragedy of Bazarov is that full and merciless denial extends not only to him, let us use the words of Pavel Petrovich, to all the principles that protect the existing order of things and the institutions between people, but also to all the principles that oppose them ... Nothing meets his limitless demands and aspirations. Now that the literary critical works of D. N. Ovsyaniko-Kulikovsky have been republished, you can read his reflections on this topic from an article about Bazarov written a hundred years ago. Moreover, these reflections are based on the analysis of the same scene under the haystack, which we are talking about now. “But what is especially characteristic of Bazarov and at the same time is a sign of a sharp difference in his inner peace from the natures and minds of the most revolutionary, this is that eternal dissatisfaction and the inability to find satisfaction, that lack of balance of spirit, which was especially evident in the next tirade. The revolutionary is overwhelmed with the consciousness of his mission, the illusion of a great historical cause, which he is called to serve, and is more inclined to exaggerate his significance, his value - social, national, international - than to feel his insignificance. In the psychological sense, there are no people who are more busy as revolutionaries; and there are no people more balanced, alien to skepticism, hesitation, doubt. Those thoughts about infinity, eternity, about the insignificance of man, to whom Bazarov is so accessible, do not even occur to them. These are people of the life of the current historical moment, whose interests and illusions are overflowing with their souls - they have no time to philosophize about the vanity of vanities, and human insignificance "does not stink for them." This alone is enough to conclude that Bazarov is not a representative of the revolutionary type. " (We will later remember these words when we talk about Rakhmetov, and when we read Nekrasov's poems "In Memory of Dobrolyubov" and "The Prophet", whose heroes have a clearly realized goal and who are devoid of doubts and hesitations, sincere confusion, in contrast, we will notice in a way, from Nekrasov himself.) Let's try to approach everything said from a different angle. After reading the novel, Dostoevsky immediately wrote a detailed letter to Turgenev. Answering, Turgenev thanks: “You so fully and subtly grasped what I wanted to express to Bazarov, that I only spread my arms out of amazement - and pleasure. Precisely you entered into my soul and felt even what I did not consider it necessary to say. " However, a year later, Dostoevsky, in his Winter Notes on Summer Impressions, mentioned both Turgenev and his novel. Obviously, his statement did not differ from what was said in the letter to the author and was so enthusiastically received by him. "Well, he got it for Bazarov, anxious and yearning Bazarov (a sign of a great heart), despite all his niggism." But why is anxiety and longing a sign of a great heart? And how to understand this - despite all his niggishism? Then Dostoevsky will put these words in Raskolnikov's mouth: "Suffering and pain are always obligatory for a wide consciousness and a deep heart." And in the last novel of the writer Elder Zosima will say to Ivan Kara-mazov: “This question has not been resolved in you, and this is your great sorrow, for it urgently requires permission. .. But thank the Creator for giving you a higher heart, capable of tormenting with such torment, "the heights of philosophizing and the heights of seeking" That is what it means "despite all the niggleism." After all, if we use the words just quoted from The Brothers Karamazov, there are no unresolved questions for nihilism, for all questions have already been resolved clearly and definitely. Let us now pay attention to one more important circumstance. Dostoevsky took the words anxiety and anguish from the novel itself. But there they sound, it would seem, in a completely different context than in Dostoevsky's response. From the penultimate chapter of the novel: “... the fever of work jumped off him and was replaced by dreary boredom and deaf anxiety. A strange fatigue was noticed in all his movements, even his gait, firm and rapidly bold, changed. " Again, longing and anxiety are the result of change. This is another, different Bazarov. Meanwhile, these, seemingly characteristic only for certain moments of the state, become for Dostoevsky the starting point for defining the most important thing. The words longing and anxiety associated in the novel, seemingly, with specific states, are taken as key, essential. as they would say in philosophy, substantial. Bazarov was close to the author of Crime and Punishment. Let us recall what Porfiry Petrovich says about Raskolnikov's article in this romance: "... A gloomy article, sir, but that's good, sir." Why is it "good, sir"? Yes, because "on sleepless nights and in frenzy, she conceived, with the raising and beating of her heart, suppressed with enthusiasm." Yes and last words , said in "Fathers and Children" about Bazarov - "a passionate, sinful, rebellious heart" - could be applied to Raskolnikov. "With the exception of Nikolai Stavrogin, all the central characters of his tragedy novels, starting with Raskolnikov and ending with Ivan Karamazov, find themselves, to one degree or another, in the sphere of influence of this" sacred anguish "- the consequence of an unfulfilled thirst for the realization of a high ideal. Bazarov and Raskolnikov are thoroughly compared by G.A. Byaly in his article "Two schools of psychological realism (Turgenev and Dostoevsky)": "There could not be a significant similarity among writers who approached a person primarily from his ideological world, who set their the goal is to study the forms of consciousness of a modern person, dissatisfied with life and exhausted by it. This included interest in those painful fractures of consciousness that accompany the intense work of thought and conscience. " At the same time, “for both novelists, the hero was created by an idea, a theory, she dominates him, subordinates him to herself, becomes his passion, his second nature, but it is precisely the second, the first, primary nature that does not obey her, enters into a struggle with her and human psychology becomes the arena of this struggle. " I will give you one more extract, especially since we have already discussed this topic and will continue to talk about it. Raskolnikov “of course still, according to Dostoevsky,” is an unbeliever, but his consciousness, as it were, trembles with the possibility of faith. This is very far from Bazarov's complete and irrevocable denial. Only one thing is close: the irreligious consciousness is alarming and restless not only in Raskolnikov, but also in Bazarov. Pisarev also wrote about the contradiction between views and, as Dostoevsky would say, in kind in his article "Bazarov". Turgenev himself wrote; "Pisarev's article in Russkoye Slovo struck me as very remarkable." So the testimonies of Dostoevsky and Pisarev, one might say, were authorized by Turgenev himself. So this is what Pisarev wrote: “Bazarov's rationality was in him a forgivable and understandable extreme; this extreme, which made him think over himself and break himself, would disappear from the action of time and life; it disappeared in the same way at the time of death. He became human instead of being the embodiment of the theory of nihilism. " It is characteristic that N. Strakhov, speaking about Bazarov, turns to despite: "Despite all his views, Bazarov longs for love for people." In a letter to Dostoevsky, Turgenev wrote: “No one seems to suspect that I tried to present a tragic face in him - and everyone is interpreting: - why is he so foolish? or - why is he so good? " Researchers believe that this phrase - “I tried to imagine a tragic person in him” - was suggested directly by Dostoevsky's letter, or at least in consonance with his spirit. Against the background of this lofty and true tragedy, you especially understand how superficial and opportunistic the attempts to portray Bazarov as a kind of petty demon. 2.2. Bazarov as a positive hero The images of positive characters in literature are similar to each other, but this, however, is natural: bright, powerful individuals are always unique, original, always sharply different. In some ways they are related. In what? Of course, it is impossible to give a general formulation, but they all agree on one thing. Courage, will, courage, hard work - all these traits a normal smart person can develop in himself, that's not all. They have some kind of unique poetry, love for people (not for the abstract concept of humanity, but for the living ordinary peoplewith whom you meet in everyday life ), gentleness, delicacy, talent (talent, not skill) of pure sublime love. All these qualities, combined with courage, determination and enterprise, create the charm of a full-fledged, bright person. Without revealing the qualities that a positive hero should possess, one cannot decide who Bazarov is. In essence, the wording is not entirely accurate: are people divided only into positive and negative? Of course not. Bazarov cannot be put on a par with Mark Volokhov from Goncharov's novel "The Break". In Eugene you can find many qualities that should be admired, but nevertheless, reading the novel, one cannot get rid of the thought of some kind of inferiority, inferiority of the hero, his doom. This has its own explanation. Among Turgenev's heroes, Bazarov looks like a stranger; it is impossible to find anyone in any way resembling an iron nihilist. Furious dreamer Rudin, smart, kind, gentle Lavretsky, courageous and purposeful, but at the same time surprisingly charming and poetic Insarov. And suddenly this man, his harsh categorical judgments, his rudeness, arrogant manners and his will, an iron, unbending, powerful will that can crush everything in his path, his fanatical loyalty to his ideals. Bazarov is not a Turgenev figure: the writer himself was afraid of his hero, he was afraid and admired at the same time. Apparently, despite his assertion that the prototype of the image of a nihilist was not Dobrolyubov, but a certain doctor D. (it is strange that Turgenev did not give the full name, and the initial letter D. fits the name of Dobrolyubov), it was the latter that was reflected in Bazarov. Turgenev was afraid of Dobrolyubov, this seminarian was unpleasant to him, his firmness, harshness, irreconcilability, even the fact that his coat was buttoned up with all the buttons, like a plebeian. And at the same time he admired him. He tried to convince himself that his dislike was not a class feeling, that Belinsky was also a commoner, but he was very charming, but immediately bitterly realized that in him, in Turgenev himself, there were no such features that Dobrolyubov possessed. This strange, contradictory attitude persisted in the novel. Bazarov's ideas were alien to Turgenev, he did not know the true activities of these nihilists, and besides, censorship ... Bazarov is given outside of his business, we see him only from one side. He is very categorical, sometimes even to the point of arrogance, he does not want to listen to other people's opinions. He is rude and harsh and is not at all shy in his assessments. Pavel Petrovich is an "archaic phenomenon" for him. Nikolai Petrovich is "a retired man, his song has been sung." After hearing the story of Pavel Petrovich's romantic infatuation, he dismissively says: "I burned myself with my own milk - it blows on someone else's water." He never has a desire to ponder on someone else's life, understand it, sympathize. He says that he will respect only the one who does not save in front of him, a stronger person, all the rest are weak " ladybugs". But this is fundamentally wrong: before the onslaught of rudeness, a soft and delicate person is always lost. Rudeness is not strength. However, one cannot but admire Bazarov. He says he doesn't want to depend on time - let time depend on him. This is a person who, without any help, received an education and raised himself. He is amazingly efficient: all the time he spent with the Kirsanovs, Evgeny Vasilyevich was busy with business. He is courageous: during the duel with Pavel Petrovich he behaved in such a way that even his opponent was forced to admit that "Mr. Bazarov behaved perfectly." He is proud, he cannot accept Madame Odintsova: pity is not for him. He can be imitated in some cases. But all the charm dissipates when you remember his attitude towards his parents, his condescending tone in conversations with his father, an unusually kind and sweet man, his silence, which always frightened his mother, who doted on her Enyusha. And leaving home, which deeply wounded the souls of father and mother. No, all this hardly speaks for Bazarov. This arrogant attitude towards people is especially manifested in relations with Sitnikov, whom he pushes around like a dog. And again the fatal strangeness of Bazarov's contradictory character is manifested in the picture of his death, where he shows an example of courage. How much nobility and contempt for death we hear in his last monologue! But, reading the last chapters of the novel, as if we feel the hero's doom, the inevitability of his death. Turgenev could not show how his hero lives and acts, and showed how he dies. The whole pathos of the novel lies in this. Bazarov is a strong, bright personality, he can be admired in his own way, but he is not an ideal, he cannot be on a par with the Gadfly, Gray, Martin Eden. He lacks charm, poetry, which, by the way, he denied. Maybe this is due to the time when strong deniers were needed (a person still depends on his era), but Bazarov cannot be a guiding star for youth. 2. 3 The concept of a positive hero in Turgenev's novel "Smoke" The novel "Smoke" reflects Turgenev's deep pessimism, which grew up in the very era when most of society lived with one kind or another of hopes. The source of this pessimism is personal disillusionment in the "universal world." Smoke, something deceptive and unreal, seems to be the whole life of the main character of the novel Litvinov. “Smoke, smoke,” he repeated several times; and everything suddenly seemed to him like smoke, everything own life , Russian life - everything human, especially everything Russian. All the smoke and steam, he thought; everything seems to be constantly changing, everywhere new images, phenomena run after phenomena, but, in essence, everything is the same and the same; everything is in a hurry, in a hurry to somewhere - and everything disappears without a trace, reaching nothing; ... smoke, he whispered, smoke ... "These arguments of Litvinov vaguely echo the final idea of \u200b\u200bTurgenev's speech about Hamlet and Don Quixote:" Everything will pass, everything will disappear, everything will crumble to dust ... All the great earthly Scatter like smoke. .. But good deeds do not fly away in smoke; they are more durable than the most radiant beauty ... "People obsessed with an idea, blindly believing in it and ready to make any sacrifice in the name of its implementation, according to Turgenev, contribute to historical progress. If it were not for them, history would have stopped flowing. Turgenev was not a single-minded person of these people and did not even believe in the possibility of achieving their goals. They reminded him of self-sacrificing, but still ridiculous quixots who, in the struggle for their ideas, often make severe mistakes; but these are holy mistakes - they are history. Honest servants of the idea, according to Turgenev, make history, but they are not the everyday builders of life. For this, the Lezhnevs and Litvinovs are needed, on whose shoulders the painstaking, but honorable task of performing ordinary, everyday and prosaic affairs lies. Under the influence of pessimistic reflections on the fate of the Bazarov type in the 60s, the writer more than ever came to believe in the fruitfulness of the "patient, active labor" of honest and educated landowners, that is, a class of society that life itself confronted with the need to act. In this connection, the central character of Smoke, Litvinov, became such a useful figure for Turgenev — not in a broad, historical sense, but in a narrower and more modest, practical sense of this concept. Having named the real positive hero of his novel, he thereby rejected the attempt to perceive Litvinov as a failed exponent this time of progressive social views. This hero was not in the eyes of Turgenev the ideal of a public figure. The search by the best heroes of the 60s for "world harmony" led to an irreconcilable collision with the imperfection of the surrounding reality, and this imperfection itself was realized not only in social relations between people, but also in the disharmony of human nature itself, which dooms every to an individually unique phenomenon, a personality to death. In Smoke, the first chapters, in which Turgenev draws the various forces that emerged in Russian life after the 1861 reform, constitute the public background of the novel, but Litvinov seems to become an integral part of this background. Although Turgenev sympathizes with Litvinov, he nevertheless immediately shows the reader that this is not the hero that Russia is really waiting for. Turgenev deprived Litvinov of even any distinctive character traits, his image is not associated with historically progressive ideas. Litvinov is endowed with the only quality-confidence in the usefulness of his little practical work. But he will also lose this quality after the first serious collisions with life.

In my imagination since childhood, some amazing, original gallery of my favorite images has arisen. At first they were the heroes of fairy tales: Russian, German, French, Irish. I admired the brave Tsarevich Ivan, Aladdin, the brave and kind knight Hans from Cologne.

Then the heroes of Jules Verne, Mayne Reid, Cooper ... Then they seemed to me to be examples of strong, real men. And at the moment, flipping through these books, I feel an envious toad and some kind of vague melancholy, although I know that for the most part this is fiction, that in reality everything was simpler and rougher.
Then I admired the heroes of Jack London, Green, Ostrovsky, Voynich. Amazing and unique Arthur Gray, the captain of all seas, who gave the girl happiness; Tyrreus Devenath, who bravely walked his path of suffering; Martin Eden with his iron tenacity; heroes of Turgenev ...

All of them do not look like a comrade to a friend, but this is, although in general, it is natural: bright, powerful individuals are eternally unique, peculiar, eternally sharply different. And yet, they are somewhat related. In what? Of course, the general wording cannot be given, but they all agree on one thing. Courage, freedom, courage, hard work - all these traits a normal smart person can develop in himself, that's not all. In the heroes who have become loved by young people, there is some kind of unique poetry, love for people (not for an abstract concept of humanity, but for living ordinary people with whom you meet in everyday life), gentleness, delicacy, talent (namely talent, and not skill) of pure sublime love. All these qualities, combined with courage, determination and enterprise, create that charm of a full-fledged, bright person that you dream of in your youth. And now Bazarov ...

Sorry for the too long introduction, but I think that without revealing the qualities that a positive, no, winged, impeccable hero should have, it is impossible to decide who Bazarov is.

In essence, the wording is not entirely accurate: are people divided only into positive and negative? Of course not. Bazarov cannot be put on a par with Mark Volokhov from Goncharov's novel "The Break". In Eugene you can find many qualities that should be admired, but still, reading the novel, one cannot get rid of the thought of some kind of inferiority, inferiority of the hero, his doom. This has its own explanation.

Among Turgenev's heroes, Bazarov looks like a stranger; it is impossible to find anyone in any way resembling an iron nihilist. The frantic dreamer Rudin, smart, kind, gentle Lavretsky, courageous and purposeful, but at the same time surprisingly charming and poetic Insarov. And suddenly that very man, his harsh categorical judgments, his rudeness, arrogant manners and his freedom, iron, unbending, powerful freedom that can crush everything in his path, his fanatical loyalty to his ideals.

Bazarov is not a Turgenev figure: the writer himself was afraid of his hero, he was afraid and admired at the same time. Apparently, despite his assertion that the prototype of the image of a nihilist was not Dobrolyubov, but a certain doctor D. (it is strange that Turgenev did not give the full name, and the initial letter D. fits the name of Dobrolyubov), the latter was reflected in Bazarov.

Turgenev was afraid of Dobrolyubov, he was unpleasant with the same seminarian, his firmness, sharpness, irreconcilability, moreover, the fact that his coat was buttoned up with all the buttons, like a plebeian. And at the same time he admired him. He tried to convince himself that his dislike was not a class feeling, that Belinsky was also a commoner, but he was very charming, but immediately bitterly realized that in him, in Turgenev himself, there were no such features that Dobrolyubov possessed. This strange, contradictory attitude persisted in the novel.

Bazarov's ideas were alien to Turgenev, he did not know the true activities of these nihilists, and besides, censorship ... Bazarov is given outside of his business, we see him only from one side. He is very categorical, sometimes even to the point of arrogance, he does not want to listen to other people's opinions. He is rude and harsh and is not at all shy in his assessments. Pavel Petrovich is an "archaic phenomenon" for him. Nikolai Petrovich is "a retired man, his song has been sung." After hearing the story of Pavel Petrovich's romantic infatuation, he dismissively says: "I burned myself with my own milk - it blows on someone else's water." He never has a desire to ponder on someone else's life, understand it, sympathize.

He says that he will respect only the one who does not save in front of him, a stronger person, all the rest are weak "ladybugs". But this is fundamentally wrong: before the onslaught of rudeness, a soft and delicate person is always lost. Rudeness is not strength. However, one cannot but admire Bazarov. He says that he does not want to depend on time - let the time depend on him. This is a person who, without any help, received an education and raised himself. He is amazingly efficient: all the time he spent with the Kirsanovs, Evgeny Vasilyevich was busy with business.

He is courageous: during the duel with Pavel Petrovich he behaved in such a way that, moreover, his opponent was forced to admit that "Mr. Bazarov behaved perfectly." He is proud, he cannot accept Madame Odintsova: pity is not for him. He can be imitated in some cases. But all the charm dissipates when you remember his attitude towards his parents, his condescending tone in conversations with his father, an unusually kind and sweet man, his silence, which always frightened his mother, who did not cherish a soul in her Enyusha. And leaving home, which greatly wounded the souls of father and mother ... No, all this hardly speaks for Bazarov.

This arrogant attitude towards people is especially manifested in relations with Sitnikov, whom he pushes around like a dog. Indeed, moreover, if someone is below you in ability, intelligence and will, how can you despise him for this? And if the same person is delighted with you, your speeches, then neglecting him, who unselfishly believes in you, is simply mean!

And again the fatal strangeness of Bazarov's contradictory character is manifested in the picture of his death, where he shows an example of courage. How much nobility and contempt for death we hear in his last monologue! But, reading the last chapters of the novel, as if we feel the hero's doom, the inevitability of his death. Turgenev could not show how his hero lives and acts, and showed how he dies. All the pathos of the novel is contained in this.

Bazarov is a strong, bright personality, he can be admired in his own way, but he is not an ideal, he cannot be on a par with the Gadfly, Gray, Martin Eden. He lacks charm, poetry, which, by the way, he denied. Perhaps the time is to blame, when strong deniers were needed (a person still depends on his era), but Bazarov cannot be a guiding star for youth.

Bazarov and Bazarov.

"It's no better from this side ..."

Donkey Eeyore

The life described by Turgenev in Fathers and Children is very difficult and difficult, and all the heroes of the novel notice this property of it. Except, perhaps, young Bazarov. He is the only one among the characters in "Fathers and Sons" who does not accept the complexity of life, perhaps because at first he simply does not notice it. He contrasts it with an attempt to simplify human existence. At the beginning of the book, he chooses the strategy of nihilism, he denies everything that does not fit into the framework of his ideas about a simple, formulaic life. Bazarov's nihilism extends to the public, personal and philosophical spheres.

Bazarov's public nihilism finds its fullest expression in the dispute with Pavel Petrovich in the first part of the novel. Pavel Petrovich and Eugene adhered to their own views, they could not help but collide, like two opposite charges.

In the question of "The nature of the transformations in Russia" Bazarov stands for a decisive breakdown of the entire state and economic system ("There is not a single civil regulation in Russia that does not deserve criticism")but offers nothing in return. In addition, Bazarov is not shown in any way in public activities, and the reader does not know if he has real plans to translate his views into reality.

In the personal sphere, Bazarov's nihilism consists in his denial of the entire culture of feelings and all ideals. Bazarov generally denies the spiritual principle in man. He treats a person as a biological object: “All people are alike in body and soul; each of us has the same brain, spleen, heart, lungs; and the so-called moral qualities are the same for everyone; small modifications mean nothing. One human specimen is enough to judge all others. People are like trees in the forest; no botanist will take care of every single birch. "Just as Bazarov judges the structure of human organs by a frog, he also thinks of judging a person in general and, moreover, about human society as a whole, based on the data of natural sciences: with the correct organization of society, it will be all the same whether a person is angry or kind, stupid or smart. It's just "Moral diseases"similar "Bodily diseases" and caused "The ugly state of society". "Correct the society, and there will be no diseases."

After Eugene has thoroughly stated his views, their life begins to test. In the city, Bazarov meets with Odintsova, which is a turning point not only in the plot of the novel. This meeting gradually changes the character of Bazarov: he turns out to be conquered by an extraordinary combination of a character equal to him in strength and refined feminine charm. Bazarov falls passionately in love and thereby joins in the spiritual worldwhich has just been denied. Life turns out to be much more complicated than his constructions. Bazarov sees that his feeling is by no means exhausted "Physiology", and with indignation finds the very "romanticism", the manifestations of which he so ridiculed in other people, regarding it as weakness and "Nonsense"... Before meeting with Madame Odintsova, Bazarov was convinced of his freedom and strength, which gave him unshakable self-confidence. But this was only one side of Bazarov - we did not see him from the other side. And only in love is the personality of Eugene finally revealed to us. Love grows into passion for him - "Strong, heavy", "Similar to malice and, perhaps, akin to it." But Odintsova, perhaps due to her aristocratic coldness, could not respond to Bazarov's feelings. The gap was rooted in Eugene himself. Refusal from "Complete and merciless denial" would threaten the disappearance of that "Negative"energy, which was wholly fed by his personality. Bazarov finally realizes that "Created for a bitter, tart, booby life".

Unrequited love destroys Bazarov: he falls into melancholy, cannot find a place for himself anywhere and begins to dig himself, which he still considered a sign of weakness. This "Hamlet" stage is the next step in Bazarov's spiritual evolution: now he philosophizes and realizes the hopelessness of his position in the world. (“I’m lying here under a haystack ... the narrow place that I occupy is so tiny in comparison with the rest of the space, where I am not and where I don’t care; and the part of the time that I manage to live is so insignificant before eternity, where I am not and will not be ... And in this atom, at this mathematical point, the blood circulates, the brain works, it wants something too ... What a disgrace! What a trifle! ")

Soon Bazarov will abandon all principles. He will go further and will reject the very significance, universality and correctness of his previously characteristic way of thinking. (“There are no principles at all .. - but there are sensations.To me nice to denymy the brain works like that ... Why do I like chemistry? Why do you like apples? Also by virtue of sensation. It is all one. People will never penetrate deeper than this. Not everyone will tell you this and I won't tell you that next time ... ») Here denial is no longer justified by its usefulness to society, as it was in the first part. ("Today it is most useful to deny - we deny").Now refutation is a subjective property of Bazarov's personality, which does not find any explanation outside.

But this state of mind of Bazarov is not yet final. Further, the third eventful circle of the novel begins - summing up. When he meets Pavel Petrovich, Bazarov behaves in a completely different way: he cannot secretly disrespect Pavel Petrovich, since now he understands the tragedy of his life better, but between them restrained and even hostile relations still persist. The reason for the final clash between Bazarov and Pavel Petrovich is the kiss that Bazarov snatched from Fenechka and spied on by Pavel Petrovich. A comical duel takes place: not only the frightened lackey Pyotr, but the very outcome of it - a trifling wound in the leg, convinces Pavel Petrovich that the century of duels has really passed, and its vaunted "Principles" noticeably outdated. Pavel Petrovich unexpectedly leaves the stage, the author accompanies him with the words: "Lit by the bright daylight, his beautiful, emaciated head lay on a white pillow like the head of a dead man ... And he was a dead man.".

Bazarov Turgenev also makes him suddenly die. At the end of the novel, a terrible scene of Bazarov's death appears before the reader. Remaining a doctor, Yevgeny cold-bloodedly notes the stages of his illness, angry at death just as an absurd accident and despising himself for his helplessness ("What an ugly sight: a worm half-crushed, and still bristling")... Although Bazarov blames himself, we understand that we are witnessing the death of a strong person, maybe even a hero who, at the moment of death, is capable of such things that he would not have done before: he retains the strength of personality that has always been inherent in him. He tries to console his old parents, whom, as the attentive reader still remembers, he so ignored during the scene of Bazarov's arrival in parental home together with his friend Arkady at the very beginning of the novel.

We feel the strength of Bazarov's personality, which has always lived in him and was the main skin of his character. But now something else appeared in him, more airy than a black hoodie. After all, before his death, he still sends for Madame Odintsova to say goodbye to everything dear that remained in his life - to say goodbye to life as such. Asking her for one last kiss, he suddenly speaks with the same "Beauty"for which Arcadia reproached so: "Blow on the dying lamp and let it go out ...", which means his involuntary obedience to his so recently loathsome romanticism.

One of the last phrases of Bazarov, Turgenev made words about his uselessness for Russia : “Russia needs me ... No, apparently not needed. And who is needed? A shoemaker is needed, a tailor is needed ... "Russia does not need Bazarov as a nihilist; it needs him as an outstanding personality. Evgeny possesses nobility, morality, and a sense of justice, he perfectly knows his job, he is educated and hardworking, he is capable of creative work - and this is why Russia needs him. But he dies, and this atlas falls under the weight of his own sky - nihilism, which pressed on him too much, so much that even Bazarov did not have the strength to get out from under him. Nihilism becomes stupid as soon as it comes into service with the mediocre Sitnikovs. But it’s even worse when it does real harm by killing people who are stronger, smarter, and “bigger” than the theory they preach.

The last picture of the novel - the image of Bazarov's grave with flowers serenely growing on it - relates the entire action of the novel to eternity. Those forces of nature that lived in Bazarov against his will and will act in the world after his death are triumphant. Nature as the mother of all living things is not just majestically "indifferent" to the fate of its children, as Pushkin wrote in his "Do I wander along noisy streets ..."but also reconciles them in his love for "Endless life".

In the course of the novel, Bazarov certainly changes. It changes due to the natural force that lives in it. He is changed by nature, love, beauty - all that is eternal that he denied. Bazarov now understands the greatness, diversity, and complexity of life. But he is dying. How a hero dies when he sees the truth for a moment. Looking into the eyes of the gorgon Medusa.

Answer-reasoning based on the novel by I.S. Turgenev "Fathers and Sons" Grade 10 2nd quarter
Card 1.
“Bazarov came out as a simple man, alien to any break, and at the same time strong, powerful in body and soul. Everything in him goes extraordinarily to his strong nature Bazarov. (…) Bazarov could not be a cold, abstract person; his heart demanded fullness, demanded feelings; and now he is angry with others, but he feels that he should be angry with himself even more ”(NN Strakhov).
"Just think, this fellow, Bazarov, dominates over everyone and nowhere does he meet himself with any sensible rebuff ..." (M.N. Katkov)
“Well, he (Turgenev) got it for Bazarov, restless and yearning Bazarov (a sign of a great heart), despite all his nihilism” (FM Dostoevsky).
- Which of the judgments of critics about Turgenev's hero is closer to your understanding after reading the novel "Fathers and Sons"?
- Which critic do you agree with? Why? Which of the judgments were unexpected for you?
- What is Bazarov's nihilism manifested in?
- Formulate your opinion about Bazarov.
Answer-reasoning based on the novel by I.S. Turgenev "Fathers and Sons" Grade 10 2nd quarter
Card 2.
“... The denial of Bazarov is directed not so much at ideas, concepts, directions, etc., as at the socio-psychological and personal traits of a person: in Pavel Petrovich he denies, first of all, not a liberal. Not an idealist, but a gentleman spoiled by upbringing, spoiled by life, doing nothing, killing the best years for love for a woman ... This is the enmity of two opposite socio-psychological types, two different mental organizations, two moral principles. (D.I. Ovsyaniko-Kulikovsky)
- Whose point of view, Bazarov or Pavel Petrovich, is more convincing in their dispute?
-What is the originality of the speech of the participants in the dispute? What is the role of chapter 10 in the novel?
Answer-reasoning based on the novel by I.S. Turgenev "Fathers and Sons" Grade 10 2nd quarter
Card 3.
“Bazarov misses no opportunity to inform - directly or with a transparent hint - that he is a natural scientist, physiologist, doctor, physician. But here is another oddity in him: he rarely and reluctantly speaks about literature "in his specialty", while he somehow recalls literary, philosophical, journalism almost at every step, revealing at the same time the most extensive and thorough knowledge " (M. Eremin)
- How does Turgenev challenge the statement of his hero about art and nature?
- How can you explain Bazarov's attitude to art: ignorance, neglect as a useless phenomenon, or a deep understanding of his power to influence a person?
Answer-reasoning based on the novel by I.S. Turgenev "Fathers and Sons" Grade 10 2nd quarter
Card 4.
“Did I mean to curse Bazarov or extol him? I don’t know this myself, because I don’t know whether I love him or hate him ... The thing was not important to present him (Bazarov) as an ideal; but to make him a wolf and still justify him - it was difficult ... "(I.S. Turgenev)
- What did Bazarov lack to be an ideal?
- Did the author manage to justify his hero? If so, where?
- Are there features in Bazarov that are worthy of imitation for modern youth?
Answer-reasoning based on the novel by I.S. Turgenev "Fathers and Sons" Grade 10 2nd quarter
Card 5
"The Decembrists are our great fathers, the Bazarovs are our prodigal children."
“That Turgenev brought Bazarov out not to pat him on the head is clear; that he wanted to do something for the benefit of the fathers is clear. But in contact with such miserable and insignificant fathers as the Kirsanovs, the tough Bazarov carried Turgenev away, and instead of whipping his son, he whipped the fathers "(A.I. Herzen)
- In what can you agree, and in what is not, with Herzen?
- Why Bazarov - prodigal son, according to Herzen?
- What is the problem of "fathers" and children "as it is shown in the novel?