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The history of Bazarov’s relationship with Odintsova (based on Turgenev’s novel “Fathers and Sons”)
Bazarov learns about the existence of Anna Odintsova from Kukshina, an acquaintance of his friend Sitnikov. The first time he sees her is at the governor’s ball, where he came with Arkady. “What kind of figure is this? - he said. “She’s not like other women.” There he meets her. She invites her and Arkady to her place. While visiting Odintsova, Bazarov is clearly trying to keep his interlocutor busy. She invites them to her place in Nikolskoye.
“What a rich body! - Bazarov said on the way. “At least now to the anatomical theater.” In Nikolskoye, Bazarov became interested in Anna, spent all his time with her, felt that he loved her. One morning she called him into her room and asked him to tell him what was happening to him - he confessed his love to her. That afternoon, he apologizes to her and says he is leaving. “We’ll see each other again, won’t we?” - she said. “As you order... In that case, we will see each other,” answered Bazarov.
After that, they did not meet for a long time, until Bazarov decided to stop by her on the way to his parents. He apologizes again and hopes that she will not remember him with disgust. Anna Sergeevna says that the reason for their quarrel was that they did not need each other and, most importantly, there was too much... homogeneity in them. She asks him to stay, but he leaves: “Farewell, sir, and be healthy.” After some time, he fell mortally ill, when he became very ill, he sent a messenger to Madame Odintsova, just before her death she kissed him, and he died.
Love seemed like a test for Bazarov, for Turgenev it is one of the meaning-forming values. Love conquers selfishness, enlightens the world, this feeling turned out to be not physiological, as the hero assumed, this feeling is shocking and traumatic. In words he denied love, but in reality life forced him to admit it. Neither Bazarov nor Pavel Petrovich wins a dispute with life.
What is the complexity of Bazarov’s relationship with Odintsova?
In response to her frankness, Odintsova wants to penetrate Bazarov’s soul. She is interested in the hero's innermost thoughts, his plans for the future. But Evgeny Petrovich is closed. The hero is very lonely, he is not used to sharing his thoughts and experiences. Anna Sergeevna assures that Evgeny can open up to her. Love in Turgenev's works is a natural force, subjugating a person often against his desire; it is beautiful, formidable and instantaneous, like lightning. The feelings of the heroine in the story “Asya” and the hero in the story “Faust” are compared with a thunderstorm. Love is a wonderful moment that cannot be stopped, just like lightning cannot be stopped. Love is always a test because it requires self-sacrifice. All Turgenev’s heroes experience this “test of love” situation, and the heroes of “Fathers and Sons” are no exception. The story of Pavel Petrovich's fatal love for Princess R. unfolds before us. Arkady falls in love first with Anna Sergeevna Odintsova, and then with her sister Katya. Nikolai Petrovich loves Fenechka. However, the center of the novel is the love story of Bazarov and Odintsova. It is the meeting with Anna Sergeevna that seems to divide the novel into two parts. If in the first part of the novel we see Bazarov the winner, never meeting worthy resistance, self-confident and strong, then the second part shows us a different Bazarov. He faced a force more serious than Pavel Petrovich. And this power is love. The tragedy of this love is not only that it remained unrequited. The development of the relationship between Bazarov and Odintsova occupies a central place. Before meeting Anna Sergeevna, love was one of the beautiful “words”; the hero ironically called it “romanticism”, “stupidity”, “art”. Probably, the hero has the right to such an attitude towards love: the story of Pavel Petrovich and Princess R. (let's dwell on this in a little more detail) is significant proof of this. But a “misfortune” happened to Bazarov, and the relationship with Odintsova “didn’t work out” or did it “work out”? And again we turn to professional readers. V. Troitsky: “Odintsova, who was undoubtedly attracted by Bazarov for his originality, very soon realized that he was not the hero of her novel. She felt in him the absence of that spirituality, without which there could be no love for her.” G. Byaly: “The “new man,” the nihilist Bazarov, is capable of truly great and selfless love. Odintsova, for all the extraordinary nature of her nature, is afraid of heartfelt anxieties and life complications... Odintsova is one of the unusual and even rare people of her circle, her environment, but Bazarov decisively surpasses her in the depth and warmth of his feelings. This is perhaps his greatest victory, despite the appearance of defeat.” Further work on the essay can be built around the comparison of these points of view. In conclusion, we talk about happy love stories. Firstly, Fenichka and Nikolai Petrovich. Along the way, we note that many heroes of the novel are drawn to the simple Fenechka: Bazarov kisses her after a difficult conversation with Odintsova, Pavel Petrovich finds in her a resemblance to the mysterious Princess R. Let's think about it - why? Let's turn to another heroine - Katya, who will raise a glass “in memory of Bazarov,” Arkady will shake her hand, but will not dare to “propose this toast loudly.” But his father also did not immediately decide to make Fenechka his wife. It seems that when closely reflecting on these happy stories, more questions arise than answers. | From Bazarov’s behavior at the beginning of the work, we can conclude that suffering from unrequited love does not threaten him. Bazarov was a great hunter of women and female beauty, but he called love in the ideal sense, or, as he put it, romantic, nonsense, unforgivable foolishness, considered knightly feelings to be something like deformity or illness, and more than once expressed his surprise: why weren’t they put in the yellow house of Toggenburg with all the minnesingers and troubadours? “If you like a woman,” he used to say, “try to get some sense; but you can’t - well, don’t, turn away - the earth is not like a wedge.” He represents that type of person who shares nihilistic views on various areas of life, who does not recognize love, even as a feeling. “We, physiologists, know what kind of relationship this is...” But this does not mean at all that he does not recognize any relationship between a man and a woman at all. Eugene simply cannot stand chivalry. And his comments regarding Pavel Petrovich, who survived unhappy love: “Not a man, not a male,” complete the portrait. Bazarov and love are incompatible things. But suddenly Odintsova appears in his life. After the ball, he realized “that something was wrong here.” And after the first minutes of a closer acquaintance with Odintsova, he was bewitched by her beauty and intelligence. Anna Sergeevna was so smart that Bazarov was interested in communicating with her, and so beautiful that he liked him. When one person is interested in another, when he likes him, love arises. This is what began to happen to him: he suddenly became verbose, “trying to keep his interlocutor busy.” When the friends returned home after this meeting, Evgeny, still trying to get out of Odintsova’s power, already recognizes her beauty and anticipates Arkady’s desire to go to Nikolskoye. Soon Bazarov realized that he had fallen in love. And he tried with all his might to eradicate in himself this knightly “feeling that tormented and enraged him and which he would have rejected with contemptuous laughter and cynical abuse if anyone had even remotely hinted to him at the possibility of what was happening in him.” Eugene struggled with himself: he “expressed indifference to everything romantic,” but “with indignation he recognized the romanticism in himself.” He scolded “both her and himself” in a low voice for what was happening between them, but the image of Odintsova kept appearing in his head.
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Fenechka, Anna Odintsova, Princess R. - the heroines of Ivan Turgenev’s novel “Fathers and Sons”
I. S. Turgenev’s novel “Fathers and Sons” is replete with descriptions of nature, a wide variety of characters and social types. It is impossible to imagine any work of art without the atmosphere surrounding its characters, because it is this atmosphere that serves as the main outline, the canvas for all the stitches, all the strokes with the help of which the master then creates his painting. Embroiders. Draws. In other words, it creates. And here any detail, any plot or compositional move in the work is important.
Very interesting in this regard is the love story of Pavel Petrovich Kirsanov for Princess R. At first glance, this is an ordinary life story, placed in a novel to satisfy the curiosity of an inquisitive reader and, in part, to explain the current state of Pavel Petrovich.
But if you look a little closer, it becomes clear how symbolic this episode is, and therefore significant. We suddenly notice how clearly Princess R. appears before us, despite the small amount of text devoted to describing her story. In terms of the vividness of the image, in terms of the author’s attitude, it can only be compared with Anna Sergeevna Odintsova. But, having drawn one parallel, we discover how similar these images are to each other.
They essentially have the same lifestyle - if in the second half of her life the princess “cries and prays,” then Odintsova, also in the village, suddenly turns from a rich, rather unapproachable lady into an ordinary woman, tired of life and very unhappy. Even their marital status is similar - a quiet and calm marriage with an unloved person with the princess and exactly the same quiet life, first with her husband, then as a widow with Odintsova.
But the main thing is the general aura of mystery. Even the definitions for them are chosen with a touch of mystery. (The princess led a “strange life”, she had an extraordinary “mysterious look”, etc. It is said about Anna Sergeevna that she was “a rather strange creature.”) And suddenly we begin to identify the Sphinx-Nellie with a “mysterious creature” - Odintsova, unwittingly spreading to Odintsova what was said about the princess. Thus, Odintsova’s portrait becomes more complete and complemented.
But, comparing Odintsova with Princess R., we cannot help but compare the men who are in love with them - Pavel Petrovich and Bazarov. A certain invisible connection arises between irreconcilable enemies, and differences in beliefs and habits become superficial and frivolous when a person falls into the power of nature. Indeed, Bazarov, having learned the story of Pavel Petrovich, becomes softer towards him, no longer argues with him, even takes pity on him, having fallen in love with Anna Odintsova.
But the most incomprehensible parallel with the story of Princess R. is found in Fenechka. Pavel Petrovich himself compares these two completely different women. True, this comparison is superficial, only external and plays almost no role in the plot. But it proves once again that Pavel Petrovich still loves the princess.
So, we see that the story of Princess R. plays a significant role in the novel, being a kind of connecting moment for a more vivid manifestation of characters, to indicate difficulties, various kinds of kinks in a person’s fate. This inserted episode seems to be intended to emphasize the author’s position - love is not happy if it is real and strong. Such love is almost always destined for a sad end - loss, discord, separation.
The life and death of BazarovThere are only two novels in Russian literature in which the main characters are named Eugene: “Eugene Onegin” and “Fathers and Sons.” Is this name coincidence?
The parallels between the plots of the two novels do not end there: each Eugene has his own younger friend; in both novels, two landowner sisters live next door; Very difficult relationships between Bazarov and Anna Sergeevna, as it were, corresponds to the failed love between Onegin and Tatyana, and Lensky’s romance with Olga would have ended in the same way as Arkady’s romance with Katya, if Lensky had remained alive. By the way, in both novels there is a duel in which the one for whom a duel is an absurd prejudice wounds the one for whom a duel is a matter of honor. In general, both Evgenievs are characterized by a disdainful attitude towards norms that are considered generally accepted in environment. Finally, the main action of both novels takes place in the village, where the heroes come from the capital. And one more thing: both Onegin and Bazarov are always alone.
If we assume that Turgenev deliberately made all these coincidences, then it is interesting to see the differences between the heroes of these novels. The contrast is created by the very names of these heroes. The soft, gentle name Evgeniy is consonant with the surname Onegin. The surname Bazarov is rude, perhaps even vulgar. Bazarov’s appearance naturally goes with such a surname: red hands, a “long and thin face, with a wide forehead, a flat upward, pointed downward nose, large greenish eyes and drooping sand-colored sideburns,” and so on.
It is interesting to compare the influence of Onegin and Bazarov on the lives of others. Bored Onegin tries to live on his own, but nevertheless leaves an indelible mark on the lives of those he encounters: Lensky was killed, because of this Olga’s life took a different course, Tatiana’s mental wound remains for the rest of her life. Bazarov, on the contrary, bursts into life with reformist fervor, trying to undermine the traditional foundations of society as much as possible. Like Onegin, Bazarov is lonely, but his loneliness is created by a sharp opposition to everyone and everything. Bazarov often uses the word “we,” but who these “we” are remains unclear: not Sitnikov and Kukshina, whom Bazarov openly despises. It would seem that the appearance of such a person as Bazarov could not help but shake society. But then Bazarov dies, and, reading the epilogue of the novel, we see that the fates of all the heroes (with the exception, of course, of Bazarov’s old parents, who will soon follow him) turned out as if there was no Bazarov at all. Only kind Katya remembers her untimely departed friend at the happy moment of her wedding. Bazarov is a man of science, but in the novel there is not a single hint that he left any trace in science. The outcome of Bazarov’s life involuntarily recalls Lermontov’s lines: Crowd gloomy and soon forgotten
We will pass over the world without noise or trace.
Without giving up the centuries a single fertile thought,
Not the genius of the work begun. Deadness was in Bazarov’s very philosophy, in his desire to reduce all living life to the laws of inanimate matter. Death was in him, and it is not for nothing that he dies from cadaveric poison. Perhaps the most absurd thing in Bazarov’s life was the desire to assert his personality, to oppose himself to others by preaching complete impersonality: “People are like trees in the forest; no botanist will study every single birch tree.”
I wonder if Bazarov applied similar “principles” (as Pavel Petrovich would say) to himself? Bazarov evokes sympathy when he rebels against the inertia of Russian life at that time (primarily in disputes with Pavel Petrovich), but he essentially opposes even greater inertia, a general leveling out.
Wasn’t the futility of Bazarov’s life an attempt by Turgenev to suppress his prophetic anxieties for the future of Russia, to convince himself that the Bazarovs come and go, but life goes on? But if this is not so, if Bazarov’s spirit infects entire generations of the Russian intelligentsia - what then? Turgenev did not find an answer to this question. History answered it... Bazarov's Dream
I really love I. A. Goncharov’s novel “Oblomov,” and one of my favorite chapters is “Oblomov’s Dream.” It seems to me that this is one of the most poetic and tender pictures in the novel. Every description of nature, every word spoken by the residents of Oblomovka exudes some kind of bliss, affection and kindness. True, this dream also explains why the fate of the main character turned out the way it is described in the novel. If this chapter had not been in the novel, I think more than one generation would have been at a loss as to why Ilya Ilyich Oblomov, “a man of thirty-two or three years old,” spent whole days lying on the sofa, “with the absence of any definite idea, any concentration in the facial features.”
I. A. Goncharov called “Oblomov’s Dream” the “overture” of the entire novel. “Oblomov’s Dream” first appeared as “an episode from an unfinished novel.” Goncharov emphasized that in this short work he sketched out “the main motive of Oblomovism.”
What and how was this motive expressed? Goncharov saw that “Oblomovism” is inseparable from serfdom. The picture painted by Goncharov can be perceived as a kind of allegory: Oblomovka is a very bright and complete personification of “sleep, stagnation, motionless, dead life.”
How did the “dear Oblomovites” influence the life of a healthy, gifted, lively, observant and impressionable boy? Little Ilyusha Oblomov was a very active and inquisitive child. He was bored repeating prayers after his mother for a long time. His lively nature demanded movement, and his energy demanded outlet.
It is very possible that in favorable conditions Ilyusha would achieve great success in life. But upbringing under serfdom suppressed everything good that was in the boy. They constantly told him that he was a master, that he had “Zakhar and 300 other Zakharovs.” When Zakhar pulls stockings on Ilyusha, the boy “all he knows is that he is laying down first one leg, then the other; and if anything seems wrong to him, he’ll kick Zakharka in the nose.” Such upbringing killed Ilyusha’s initiative and natural liveliness. Any attempt by the boy to do something on his own was immediately stopped: “Father and mother, and three aunts in five voices and shout: - Why? Where? What about Vaska, and Vanka, and Zakharka? Hey! Vaska! Vanka! Zakharka! What are you looking at, dumbass? Here I am!
The parents did not care that the boy received a correct understanding of the world around him. He formed this idea mainly from his nanny’s stories. Some of these stories (about the dead and about various monsters) terrified Ilyusha and developed in him a fear of life. They influenced the impressionable boy so much that “his imagination and mind, imbued with fiction, remained in his thrall until old age.” Already an adult, Ilya Ilyich understood that in life there are no such miracles as he was told about in childhood, but still “he always has the disposition to lie on the stove, walk around in a ready-made unearned dress, eat at the expense of the good sorceress” and he “ sometimes unconsciously sad, why is a fairy tale not life, and why is life not a fairy tale.”
Gradually, Ilyusha begins to come to the conclusion that he needs to live the way the people around him live. Apathy, laziness, and lack of will began to develop in him. Oblomovka extinguished any desire for knowledge in him.
How do the owners of Oblomovka live and spend their time? “Oblomov himself, an old man, is also not without his activities,” says Goncharov with irony. What kind of activities are these? “He sits all morning and strictly watches everything that happens in the yard.” Meanwhile, the economy is gradually declining. The clerk, taking advantage of the carelessness and mismanagement of Oblomov Sr., appropriates a significant part of the income. The master does not even know how much income his estate brings. However, to check the clerk, you need to work hard, and work in Oblomovka is considered a punishment. And it is not surprising that Ilya Oblomov, who inherited the “talent for managing” from his father, does not know how to count money and, with childish naivety, thinks that the headman of Oblomovka will give as much money as needed.
Ilyusha’s mother is also busy with “business”: she devotes all her free time from sleep to choosing dishes for breakfast, lunch and dinner. This activity was so important that the whole house conferred. And it’s not surprising, because “caring for food was the first and main concern of life in Oblomovka.”
Ilyusha was not burdened with studies. To prevent him from becoming exhausted and losing weight, he was often allowed to skip classes at the boarding school. The reasons were very different. For example, if pancakes were being baked in the house, then there was no need to go to the boarding house. When he did go to class, he taught the assigned lessons no further than “the line under which the teacher, assigning the lesson, drew a line with his fingernail.” Ilyusha’s parents saw education primarily as a benefit. Those who had it received ranks and awards, and made money faster. And since the Oblomovites had enough of what they had, then, in their opinion, there was no need to study.
The impact on Ilyusha of Oblomov’s environment was so strong and deep that it could no longer be eradicated. Ilya was increasingly overcome by laziness and apathy; he did not have enough strength to fight them. When he was studying at the university, the desire to achieve a position in society suddenly flared up in him, and bright hopes appeared. But the period of elation was short-lived.
The first encounters with life, the first difficulties frightened Oblomov. The service required energy and labor. After serving somehow for two years, Ilya Ilyich resigned. Oblomov began to gradually isolate himself from the world. He “said goodbye to a crowd of friends” and left the house less and less. Thus, it becomes obvious: everything that Ilyusha saw in childhood made him the way we meet him in the apartment on Gorokhovaya. I really sympathize with Oblomov, I really like him. I'm sorry that his life turned out this way. When I read the novel, I wanted to return Oblomov to childhood, so that he would again become little Ilyusha, but so that his childhood would be completely different. He could then remain energetic and inquisitive, would receive a good education, and life would be f*cking joy for him. His gaze would not be “darkened by an expression as if tired or bored,” he would have interesting activities, he would read a lot and communicate with interesting people. But Oblomovka did its job - it had the most detrimental effect on the entire future life of Ilya Ilyich Oblomov.
Tragedy of Bazarov
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Love is an amazing feeling. When it fills a person, it makes his soul blossom. In many literary works The theme of love comes up. What role does she play in the novel by I. S. Turgenev. "Fathers and Sons"? In order to answer this question, let's turn to the work.
There are four lines of love present and described in the novel: Nikolai Petrovich and Fenechka, Arkady and Katya, Pavel Petrovich and Princess R., Bazarov and Odintsova.
Nikolai Kirsanov and Fenechka are undoubtedly a worthy example of tender and happy love.
Despite the different social status: he is a nobleman, she is the daughter of the housekeeper, they are together and live happily. This does not prevent them from living happily and having a child, and getting married at the end of the work. Thus, the author proves to us that differences in class, and especially in age, cannot be an obstacle to love.
The second line is somewhat similar to the first. She has the same a happy ending. Arkady and Katya were glad to be in each other's company. I.S. Using the example of Arkady, Turgenev shows the inconsistency of Bazarov’s theory. Kirsanov succumbs to the feeling of love and ultimately abandons nihilism in favor of a calm and happy family life, repeating the example of his father.
Pavel Petrovich’s love is tragic “... a man who put his whole life on the card of female love and when this card was killed for him, became limp and sank to the point that he was not capable of anything, this kind of person is not a man...”. There is some truth in Bazarov's words. Pyotr Petrovich should not have resigned and “chased” after the princess. Love is a really important feeling, but it should not turn into a person’s end in itself, otherwise it will destroy him. A similar thing happened to Pavel Petrovich. I believe that love should bring joy, not disappointment and suffering.
Obviously, the most important line of love in the novel is Bazarov’s feeling for Odintsova. Main character works - nihilist. He denies everything: nature, art, religion, authorities, beauty, including love. He considers everything from a practical point of view “... Nature is not a temple, but a workshop, and man is a worker in it...”. This happens until he meets Anna Sergeevna. Then the heart takes over his mind. Bazarov's theory begins to collapse. The author subjects him to the test of love in order to show him internal conflict. The heart speaks of love, and the mind speaks of nihilism. In the end, love wins and the hero admits it: “...Well, what can I tell you... I loved you! ... " He also remembers his parents “... After all, people like them cannot be found in your big world during the day…” Bazarov’s feelings for the second time prove the inconsistency of his theory, in which he himself has lost faith.
Thus, love in the novel “Fathers and Sons” shows the feelings of the heroes, their actions are manifested through it, it helps to understand themselves and choose the right path. All the characters in the novel are tested by love, but not all pass it.
Bazarov and Odintsova, test of love.
Essay based on the novel by I.S. Turgenev "Fathers and Sons".
"Fathers and Sons" by I.S. Turgenev, in my opinion, can be called not only a polemic novel, but also a “novel of trials.”
Studying your hero, fundamentally disagreeing with him life philosophy, the author conducts Bazarov - a bright representative nihilism - through several important tests.
Thus, I think, Turgenev is testing the viability of Evgeniy Vasilyevich’s views, their ability to exist in real life.
It seems to me that the most important test for Turgenev was the test of love.
We see that before meeting Anna Sergeevna Odintsova, Bazarov, like a true nihilist, despised love and did not believe in it.
The relationship between a man and a woman in the imagination of this hero was limited only to the physical side, physiology.
Everything else that exists between two people, this nihilist considered nonsense, romantic inventions of idle aristocrats.
That is why Bazarov’s conversation about the relationship between the two sexes was thoroughly permeated with cynicism.
It was cynicism that initially prevailed in the hero’s phrases directed towards Odintsova.
For the first time, Evgeny Vasilyevich saw this woman at the governor’s ball.
As soon as she entered the hall, Anna Sergeevna immediately attracted the attention of the men present: “he saw a tall woman, in a black dress, stopping at the door of the hall. She struck him with the dignity of her posture. Her naked arms lay beautifully along her slender figure; they fell beautifully from her shiny light fuchsia branches on sloping shoulders..."
Odintsova was distinguished not only by her beauty and self-esteem.
She was undoubtedly smart: “her bright eyes looked calmly and intelligently, precisely calmly, and not thoughtfully, from under her slightly overhanging white forehead...” In general, the heroine exuded “affectionate and soft strength.”
Of course, Bazarov, as an intelligent and subtle person, could not help but feel this. Moreover, Odintsova made a strong impression on the hero. However, he immediately put on his usual mask of cynicism. The nihilist’s first phrases about Anna Sergeevna were: “Well, do you think she’s definitely - oh-oh-oh?”, “she has such shoulders as I haven’t seen for a long time” and “Let’s see what category of mammals she belongs to.” this person."
But we already understand that Odintsova, equal to Bazarov in intelligence, education and strength of character, will significantly influence his fate and become important person in the life of a hero. The author also hints at this to us. Even at the first mention of the name of Anna Sergeevna, at Kukshina’s, Bazarov involuntarily brings Odintsova and love closer together: “No, why talk about love,” said Bazarov, “but you mentioned Odintsova... Is that what you called her? this lady?" We feel that the hero is, as it were, pushing away the possibility of falling in love, but this fate will not escape him. So, in the person of Anna Sergeevna, Bazarov will be overtaken by life itself. It will overtake and destroy all his speculative philosophy.
We see that, having met Odintsova and talked with her, the hero begins to respect this woman more and more as an intelligent and brilliant interlocutor. Moreover, Bazarov was comfortable and interesting in Odintsova’s house, surrounded by her and her family. And somehow, unexpectedly for himself, Evgeniy Vasilyevich...fell in love!
The culmination of the development of the relationship between the two characters is the confession scene. Anna Sergeevna, an intelligent woman, but reserved and cold, was herself carried away by Bazarov. And so, as if by accident, when she and Bazarov became close enough to talk about “internal” things, Odintsova starts talking about happiness.
She admits that she feels unhappy because she doesn’t see a goal for herself, doesn’t know why she needs to live: “I’m very tired, I’m old, it seems to me that I’ve been living for a very long time.” Bazarov immediately deduces the reason for the heroine’s troubles: “You want to love,” interrupted Bazarov, “but you cannot love: that is your misfortune.”
Indeed, Odintsova values the state of inner balance and comfort too much to give herself over to feelings.
But human nature is such, says Turgenev, that it cannot exist without love.
Without love, a person feels unhappy, he grows old early, he has no purpose in life.
It was precisely such a woman that Evgeny Bazarov was destined to fall in love with.
The heroine extracted a confession from him: “So know that I love you, stupidly, madly... This is what you have achieved.”
Moreover, she herself could have reciprocated the hero’s feelings (“She did not immediately free herself from his embrace”), but she chose something else.
And a revolution took place in Bazarov’s soul. He realized that he was capable of love.
This meant that love exists.
Consequently, the entire belief system, the philosophy of this hero was destroyed. You could say he lost life basis, lost all sorts of landmarks.
But, in addition, Bazarov also lost faith in himself. After all, he fell in love like the most insignificant aristocrat, a slacker, whom he so despised.
This means that he, Evgeny Bazarov, is a very ordinary person, with all his weaknesses and shortcomings.
Thus, a very serious crisis arose in the hero’s life, which he could not overcome.
Bazarov could not accept the values of the “fathers”, could not answer the fundamental questions of existence that began to come to him.
Therefore, his death was the logical conclusion of his life story.
We see that on the pages of the novel "Fathers and Sons" Turgenev subjects his hero to the most important test - the test of love.
Bazarov cannot cope with him and dies.
Thus, the writer debunks the nihilistic theory popular in his time and asserts the priority of unshakable cultural and ethical principles.
The center of the novel “Fathers and Sons” is the love story of Bazarov and Odintsova. It is the meeting with Anna Sergeevna that seems to divide the novel into two parts. If in the first part of the novel we see Bazarov the winner, never meeting worthy resistance, self-confident and strong, then the second part shows us a different Bazarov. He faced a force more serious than Pavel Petrovich. And this power is love. The tragedy of this love is not only that it remained unrequited.
In response to her frankness, Odintsova wants to penetrate Bazarov’s soul. She's interested innermost thoughts hero, his plans for the future. But Evgeny Petrovich is closed. The hero is very lonely, he is not used to sharing his thoughts and experiences. Anna Sergeevna assures that Evgeny can open up to her.
The development of the relationship between Bazarov and Odintsova occupies a central place. Before meeting Anna Sergeevna, love was one of the beautiful “words”; the hero ironically called it “romanticism”, “stupidity”, “art”. Probably, the hero has the right to such an attitude towards love: the story of Pavel Petrovich and Princess R. is significant proof of this. But a “misfortune” happened to Bazarov, and the relationship with Odintsova “didn’t work out” or did it “work out”?
The logical culmination of the relationship between him and Odintsova was the explanation he made. But how did he do it! It was not a passionate confession truly loving person who can no longer live without her. This was an angry and insane accusation against Odintsova for the fact that she, with her beauty and intelligence, made Bazarov fall in love with her. At that moment, in his soul there was not a slight “quivering of youthful timidity,” but “a passion similar to anger and, perhaps, akin to it.” Evgeny, having lived his whole life as a nihilist and mocked Arkady’s loves, so disfigured his soul that he himself was no longer capable of not only deep, strong, beautiful feeling, but also for at least some kind of love other than this evil passion.
After some time, a new meeting between Odintsova and Bazarov took place. “Both are no longer young,” “both are smart.” Odintsova noticeably aged and with the arrival of Arkady “again fell into her rut, her real role, the role of aunt, mentor, mother.” Bazarov “came to his senses a long time ago” and wanted to prove to himself and Arkady that “love... after all, this feeling is feigned.” But, despite his outward cooling towards Odintsova, he was still drawn to her, and therefore Bazarov had to come to terms with the role of a father; he turned out to be incapable of playing the role of a husband.
Test of love: Pavel Petrovich and Bazarov.“Only those who are not given the whole truth into their hands value systems,” Turgenev was convinced of this<…>. “The system is exactly the tail of the truth, and the truth itself is like a lizard: it will leave the tail in the hand and run away...” It is not only Bazarov who will have to make sure that the truth of life is more complex than any “systems” or theoretical constructions. In parallel with him, his antagonist, Pavel Petrovich, travels the same path. In the sphere of love - twice. The first time was in St. Petersburg. The lucky officer found out that brilliant career can collapse overnight from one “mysterious glance”, and satisfied pride does not bring joy if the beloved is unhappy. The collapse of feelings, an irreparably distorted fate forced him to withdraw into the armor of aristocratic “principles.” His current love for Fenechka is doubly paradoxical. Not only does it contradict the accepted knightly duty to remain faithful to the love and memory of Princess R. There is nothing in common between the simple and charming Fenichka and the aristocratic society lady. Pavel Petrovich involuntarily lies with himself when he sees the similarity “especially in the upper part of the face.” And yet he is right - the princess and Fenichka are “in the same vein.” Powerless to explain to himself the origins of late passion, Pavel Petrovich exclaims in semi-delirium: “Oh, how I love this empty creature!” But the princess made a similar impression on him. The young officer met her at a ball, where “her tongue babbled the most empty speeches.” He danced a mazurka with the princess, “during which she did not say a single worthwhile word.” Later he realized that her “small mind” was subject to “the power of some secret forces, unknown to her.” From the point of view of an intelligent man (and Pavel Petrovich is undoubtedly intelligent), both women are quite naive. There is nothing in them that could bind a person to themselves forever. But they tie you down! Love, one of the mysteries of life, turns out to be stronger than reason. The riddle of life is personified in the novel by the sphinx. And love brings us closer to the solution.
A similar test falls to Bazarov. His interest in Odintsova arose before he met, when he heard about her from Kukshina and Sitnikov. According to their stories, Anna Sergeevna was able to arouse involuntary curiosity as a brave, free and independent woman. There was all the more reason to expect that it would be possible to start an open relationship with her, to which Mark Volokhov called for Vera in The Precipice. Having met Anna Sergeevna at the ball, Bazarov realized that he was mistaken. And although he continues to confuse Arkady with hints about Odintsova’s “rich body,” from that moment on, the needle of life’s compass steadily shifts from carnal interest to spiritual ones. “Some kind of gentle and soft power wafted from her face,” writes the author, characterizing Odintsova’s beauty. Before us is truly Russian beauty, the beauty of a “majestic Slav”. From this moment on, Bazarov knows that there is a person who is equal to him in strength of mind and spirit. Anna Sergeevna is so subtle and insightful that she easily discerns attempts to hide timidity behind the hero’s outwardly defiant behavior. "Bazarov's Breaking"<…>had an unpleasant effect on her<…>; but she immediately realized that he felt embarrassed..." Moreover, Odintsova understood the reason for their rapprochement, their general originality and elation above those around them: "We are both no longer in our first youth<…>; we lived<...>, both of us - why stand on ceremony? - smart." It is to her that Bazarov decides to tell his views and cherished beliefs. “All people are alike, both in body and soul<…>, small modifications mean nothing.” Odintsova instantly penetrated into the vulnerable side of Bazarov’s reasoning: universal averageness as a guarantee of a wonderful future. She “kills” the subtle polemicist with one ironic remark: “Yes, I understand; everyone will have the same spleen.” Bazarov has no choice but to dryly agree: “Exactly so, madam.”
We have already mentioned the main thing ideological sense novel: Bazarov is judged not by people, but by fate. Anna (the Grace of God) was sent by fate to prove the limitations of his “princes.” Appearing at the ball, she attracts attention with the “dignity of her posture.” Pavel Petrovich spoke about “self-esteem”, “self-respect” as the main sign of aristocracy. Odintsova behaves majestically not only at the ball, where she “conversed casually<…>with a dignitary." Even on a weekday, walking in the garden, she is filled with majestic, unostentatious grace: “Elegantly, even exquisitely dressed,” she, standing on the path, “moved the ears” of the domestic dog with the tip of her open umbrella. “She should wear a train behind her and a crown on her head,” Bazarov aptly defines her.
A village house becomes a reflection of the mistress - with many footmen, an arrogant butler, a strict alternation of meals and rest. Like Pavel Petrovich, who strived “not to lose himself in the village, in the wilderness,” Odintsova is convinced that “you cannot live in a disorderly manner in the village, boredom will overcome you.” Bazarov, categorical in his views, had to make sure that aristocracy also comes in different forms. There is an abyss between the aristocracy of Anna Sergeevna and her arrogant aunt. “The duchess is good,” Arkady rightly notes, “from the first time she invited such strong aristocrats as you and I.” The hated aristocracy can be reasonable - at least in the way of life home life Nikolsky, where “that’s why life was so easy.”
At first he tried, as in the Kirsanovs’ house, to subjugate the will of those around him and force them to listen to himself. But I found a scythe on a stone. Anna Sergeevna, calmly and logically explaining the expediency of her actions, “continued to do things her own way,” “forced others to submit.” She contrasted Bazarov’s theory with logic and experience. But the most important thing is that he fell in love with an aristocratic, rich, spoiled by luxury woman: “... The feeling that tormented and infuriated him and which he would have immediately rejected with contemptuous laughter and cynical abuse, if anyone<…>hinted to him the possibility of what was happening in him.”
The “self-deluded” hero tries in vain to destroy this feeling in himself: “In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before; and when left alone, he was indignantly aware of the romanticism in himself. Then he went into the forest and walked along it with long steps<…>, scolding both her and himself in a low voice; or climbed into the hayloft, into the barn ... "
Turgenev was convinced of the irresistible, superhuman power of love. It cannot be explained by logic, it cannot be derived from friendship or mutual sympathy; she is the most big secret life. In his story “Correspondence” Turgenev directly states that “love is not even a feeling at all - it is a disease<...>, usually it takes possession of a person without asking, suddenly, against his will - like cholera or fever.” In the story " Spring waters” selects an equally striking comparison: “First love is the same revolution: the monotonously correct structure of the established life is broken and destroyed in an instant...” Destroyed so much that the stern Bazarov easily escapes poetic words, similar to compliments: “Why do you, with your intelligence, with your beauty, live in the village?” And Anna Sergeevna responds with liveliness: “How? How did you say that?
Bazarov perceives this force as coming from outside, alien and hostile - “what was happening in him,” “something entered into him,” “as if a demon was teasing him.” The writer does not agree with the hero: although love is an unreal feeling, it unfolds its possibilities in a person - what was hidden until time was dormant in the soul. And certainly not a hostile force, since it can give all the riches of the world. Previously, Bazarov was indifferent to nature. But now he is left alone with his beloved. Anna Sergeevna asks to open the window to the garden - “it swung open with a bang.” What appears to the hero (for the first time)? “The dark, soft night looked into the room with its almost black sky, faintly rustling trees and the fresh smell of free, clean air.” Time passes, but the magical charm of nature does not decrease: “...The irritable freshness of the night flowed through the occasionally swaying sky, its mysterious whispering could be heard...” Love sharpens not only vision, but also hearing. Among magical night“The sounds of the piano reached them from the living room.”
The main thing is that Bazarov’s view of the world and people, recently expressed with such conviction, begins to change. Every person is “like a tree in the forest”; dealing with it is useless and boring. Communication with Odintsova, a “strange creature”, contradictory, charming, leads to a striking result: “Maybe<…>“Exactly, every person is a mystery.” Bazarov, a nature who did not recognize any power over himself, convinced that he was independently building his future (and not only his own) - suddenly begins to admit the presence in the world of outsiders, forces independent of him: “...What kind of desire is there to talk and think about the future, which mostly not up to us?»
What about Anna Sergeevna? A “strange creature” indeed. In the appearance of his heroine, the author emphasizes cold serenity, something akin to Snow Queen: “Her beautiful eyes shone with attention, but serene attention,” “...And she fell asleep, all clean and cold, in clean and fragrant linen.” But in the mirror Odintsova sees herself differently, full of life and dangerous passions, “... with a mysterious smile on her half-closed, half-opened eyes and lips, she seemed to be telling her at that moment something that made her feel embarrassed...” A completely daring, defiant gesture was the way she “with a hesitant but good smile” invited the young people she had met the day before to stay with her in Nikolskoye. It is difficult for us to imagine the courage of this act, which certainly raised new wave gossip around her name. No wonder her aunt, the princess, expresses undisguised displeasure during the entire stay of the young guests: “Princess, as usual<…>, expressed surprise on her face, as if something indecent was up..." It is no coincidence that this evil, repulsive old woman accompanies the heroine throughout the love plot: a kind of living compass, showing how much she has deviated from the rules prescribed by secular etiquette.
Anna Sergeevna does not flirt when she says about herself that she has experienced a lot. Along with coldness, there is a hidden hereditary adventurous streak in her. After all, she was the beloved daughter of a “famous swindler and gambler.” Her father put everything on the line and went bankrupt at the end of his life, leaving Anna with her little sister in her arms. Public opinion considered it impossible to live independently unmarried girl. Anna had to “discharge” her aunt-princess for the sake of decency and endure the antics of the arrogant, narcissistic old woman. Existence in the wilderness doomed her to the fate of an old maid, the second version of a princess. Unlike her, Anna loved her sister and was ready to give all her affection to little Katya. “But fate had something else in store for her,” the writer notes meaningfully. “Fate” was largely determined by her captivating beauty. The author does not say what played decisive role- fear of poverty or the desire to be independent - but the girl agreed to marry the “plump, heavy, sour” Odintsov. Marriage, and then wealthy widowhood, returned her to her previous level of the social ladder, but could not revive her previous attitude to life. The experience reduced the thirst for adventure to the level of vague dreams. It made me appreciate comfort and the independence it represents.
Throughout all the episodes in Nikolskoye, it remains a mystery to the reader: does Odintsova have any feelings for the guest? Or does it speak of “consciousness of a passing life,” “desire for novelty,” a dangerous desire to “reach a certain point”? She seems to be balancing on the threshold of her ice palace, completely in the grip of “vague” experiences, incomprehensible to her. Sometimes it seems that the ice mask is about to fall off. Especially after the first date, when Anna Sergeevna, “suddenly, impulsively rising from her chair, walked with quick steps towards the door, as if wanting to bring Bazarov back.” And only the appearance of a witness, a maid, stopped her impulse.
The thought expressed in “Rudin” is heard again. An indicator of an extraordinary nature is the ability to understand one single woman. Unlike the romantically sublime Rudin, soaring in the clouds, the materialist Bazarov does not want, rather, is afraid to understand. Bazarov is content with a simple social explanation. Odintsova is an aristocrat, a bored lady. If she suffers from anything - from boredom, and from secular gossip. On their first date, Odintsova admits that she is “very unhappy.” "From what? - Bazarov is amazed. - Can you really give<…>the meaning of trashy gossip? “Odintsova frowned. She was annoyed that he understood her like that.” Entirely at the mercy of feelings, Bazarov, however, completely rejects the possibility of such a thing in her soul: “You are flirting.”<…>“, you’re bored and teasing me because you have nothing to do, but I...” Finally, he pronounces the final and terrible verdict, forever returning Anna Sergeevna to her icy loneliness: “You want to love, but you cannot love.” Bazarov’s persistent assurances had their effect. “No,” she finally decided.<…>, - calmness is still better than anything in the world.”
At their last meeting, Anna Sergeevna, moreover, was frightened by the anger with which Bazarov spoke about his feelings. “...It was the passion that beat in him,” the author explains, moving away from the principle of non-interference in inner world characters. But now this invasion is necessary: it is so unusual for us what is happening in Bazarov’s soul: “Not the trembling of youthful timidity, not the sweet horror of the first confession<…>, strong, heavy - a passion similar to anger and, perhaps, akin to it.” Love raises more than just bright feelings from the bottom of the soul. But it is also innate, about which Katya astutely notes: “He is predatory, and you and I are tame.” “The instincts of a strong beast make themselves felt, for which everything encountered on the way is either a threat, or prey, or an obstacle.”
Bazarov already knows what view of love Odintsova adheres to: “In my opinion, it’s either all or nothing. A life for a life. You took mine, give me yours, and then without regret and without return.” “This condition is fair, Anna Sergeevna,” he picks up. But Anna Sergeevna is ready for this with a guarantee of complete respect for her personality - “how can you not value yourself?” For Bazarov, love is complete submission to his will. At the same time, he himself avoids the question of whether he is capable of sacrificing himself - “I don’t know, I don’t want to brag.” But it is precisely this kind of passion - self-loving, without the desire for happiness for a beloved being, without self-sacrifice - according to Turgenev, which reduces a person to the level of an animal. It is not for nothing that he draws attention to Bazarov’s “almost brutal face.” Can we blame Odintsova for coldness when this clever woman“two times... I looked at his face, stern and bilious, with downcast eyes, with an imprint of contemptuous determination in every feature, and thought: “No... no.. no.” At the last rude question about her feelings, “Bazarov’s eyes flashed for a moment from under his dark eyebrows.” ““I’m afraid of this man,” flashed through her head.”
But this is not the end of their relationship. Bazarov now traces every stage of his life to his meeting with Odintsova. After a short stay with their parents, Bazarov and Arkady roll into the city. The driver asks a truly fateful question: “right or left?” Bazarov’s reaction is not given, but it is said that he “shuddered” internally:
Evgeny, he asked ( Arkady), - to the left? Bazarov turned away.
What kind of stupidity is this? - he muttered.
We know that for Bazarov “stupidity” is synonymous with the words “romanticism” and “love”. Friends turn to Odintsova. Her reaction is arrogant, truly aristocratic, to match Lasunskaya in the scene of Rudin’s expulsion. Anna Sergeevna resembles her aunt with her change of mood, capricious disgust - “now the blues have come over me.” But, firstly, her “blueness” is similar to Bazarov’s bitterness. She is probably also painfully experiencing her love within herself. And secondly, Odintsova demonstrates to Bazarov a manner of freedom of behavior unconstrained by decency, to which he himself is accustomed. Arkady got used to it, not wanting to notice that he was mortally offending his parents. Fate holds a mirror up to him. It turns out that unceremoniousness can be very offensive. It’s not for nothing that all the way to Maryino Bazarov “almost didn’t open his mouth and kept looking to the side.”<…>with some kind of fierce tension."
Now proud Bazarov, convinced that “ better stones to beat on the pavement than to allow a woman to take possession of even the tip of a finger” - now (we think) he has broken up with Madame Odintsova forever. And he will not take a step to Nikolskoye, despite the belated invitation from the hostess (“come again<…>after a while"). But no! The reason is the most “respectful”: to personally tell Arkady (who had earlier rushed to Nikolskoye, to see Katya) about the ill-fated duel. But this is just an excuse. It is not for nothing that Bazarov, ascetic in his clothes, “arranged his new dress so that it was at his fingertips.” Nikolsky’s hostess is scrupulous in matters of external decency...
On this visit, Bazarov tries to assure her and himself that everything is over. “Before you is a mortal who has long come to his senses and hopes that others have forgotten his stupidity...” says Bazarov. But how the structure of his speech changes! Already now, long before last date, the nihilist takes possession of the vocabulary and tone of the romanticism he rejected. Further proof that romanticism always lived in his soul. Anna Sergeevna chimes in with relief: “Whoever remembers the old is out of his sight.”<…>. It was a dream, wasn't it? Who remembers dreams? Again Turgenev the artist refuses the mission of an all-knowing and all-explaining wizard: “This is how Anna Sergeevna expressed herself, and this is how Bazarov expressed himself; they both thought they were telling the truth. Was there truth, complete truth, in their words? They didn’t know it themselves, and even less so the author.”
Excerpts from the conversation overheard by Arkady and Katya indicate that not everything is over yet:
- <…>I have lost all meaning for you, and you tell me that I am kind... It’s like putting a wreath of flowers on the head of a dead man.
Evgeny Vasilyevich, we have no power... - began<…>Anna Sergeyevna; but the wind came, rustled the leaves and carried away her words.
After all, you are free,” Bazarov said a little later. “Nothing else could be made out...”
And it's not necessary. The predictions of Zhukovsky's rejected ballad came true. Like the knight Toggenburg, Eugene, in response to requests for love, hears: “It is sweet for me to be your sister, / Dear knight, / But with another love / I cannot love.”
The hero is capable of jealousy. As soon as Bazarov starts talking about Arkady, “the boiling of bile was heard in his calm but dull voice.” The more sincerely Odintsova rejoices that Arkady is “just like a brother with Katya,” the more rudely Bazarov accuses her of cunning. Any woman, mentioning the name of another so often, wanted to flirt, to test her feelings for her. Any... but not cold Anna Sergeevna. In turn, Anna Sergeevna is mistaken about Arkady’s affection for her sister. “How come I didn’t see anything? This surprises me! - she exclaims, having received a letter asking for Katya’s hand. Bazarov cannot hide the “gloating feeling” that “instantly flared up in his chest.” There is a joyless laugh of mutual defeat. This is truly “woe from mind”! Confident in their insight, observation, the right to even control the destinies of loved ones, sister and friend, both turn out to be infinitely alien to them.
The defeat of the “older” heroes has another aspect. Again, as in “Rudin,” the misadventures of the unlucky couple are offset by the happy couple. Here relations develop quite traditionally. As befits a lover, Arkady, painfully tongue-tied, begins to explain: “...Eloquence changed Arkady; he hesitated and hesitated. (“Help me, help me!” thought Arkady with despair.)” And Katya behaves as befits a modest young lady: “It seemed like she didn’t even understand where this was all leading...” Finally, seemingly banal words are uttered, that have been said millions of times... But without saying them, you will not know, “.. to what extent, completely frozen with gratitude and shame, a person can be happy on earth.” These naive young people turned out to be somewhat wiser, accepting without doubt the humble gifts of life. And Odintsova and Bazarov have only one thing left to do - to part ways, maintaining their pride. "No! - he said and took a step back. “I’m a poor man, but I still haven’t accepted alms.” Their farewell is bitter - largely precisely because they analyze, understand, and strive to penetrate the mystery of existence. And they talk too much... A spoken thought is not always a lie. “It’s like putting a wreath of flowers on the head of a dead man,” says Bazarov. “...This is not the last time we see each other,” Anna Sergeevna conjures. They happened to meet already at the bedside of the dying man.
Odintsova is in a hurry - the sound of a luxurious carriage is heard in the wilderness of the village. “My Eugene is still alive, alive and now he will be saved!” - Vasily Ivanovich exclaims enthusiastically. Indeed, love can perform a miracle, resurrect the sick. The simple-minded old man is wrong about one thing - for this miracle to happen, mutual love is needed. But she’s not there. “And now here you stand, so beautiful...” A century later, these poetic words of Bazarov were picked up by Mayakovsky. But Odintsova - “she was just scared<…>. The thought that she would have felt differently if she really loved him instantly flashed through her head.” And although Anna Sergeevna “generously” “sat down<…>near the sofa on which Bazarov was lying,” neglecting the danger of infection, still “gave him a drink, without taking off his gloves and breathing fearfully.”
