How bazaars behave during illness. "Trial by Death". Bazarov's illness and death. Analysis of the episode of death. Need help learning a topic

In the 60s of the XIX century, Russia was embraced by a new trend of "nihilists" and I.S. Turgenev studies with interest its foundations, its directions. He creates a wonderful novel "Fathers and Sons", the main character who is an ardent spokesman for the nihilists.

Appears in front of the readers. Throughout the novel, the author tries to reveal his character traits, demeanor, habits and life principles.

Eugene was a hardworking man who studied natural sciences, devoted all his time to research. The hero is of the opinion that society only needs useful sciences, such as physics, mathematics or chemistry. They can be much more useful than ordinary poetry and poems.

Bazarov is blind in relation to the surrounding beauties of nature, he does not perceive art, does not believe in religion. According to the principles of nihilists, he is trying to destroy everything that the ancestors left and passed on. In his opinion, it is necessary to clear the place in order to create something new. But, creation is no longer his concern.

The main character is unusually smart and witty. He is independent and self-reliant. However, such a position in life is quite dangerous, because it fundamentally contradicts the normal laws of human existence.

Deep changes occur in the hero's soul after he falls in love with Anna Odintsova. Now Eugene understands what feelings are, what romance is. And most importantly, the emerging emotions are absolutely beyond the control of reason, they are difficult to control. Everything that Eugene lived earlier is destroyed. All the nihilist theories of life have been dispelled. Bazarov does not know how to live on.

To put things in order in his thoughts, the hero leaves for the parental home. And there misfortune happens to him. When a typhoid patient is opened, Eugene becomes infected with the virus. Now, he will die! But, the desire to live in it flared up more and more. He understood that neither chemistry nor medicine would save him from death. And at such a moment, Bazarov ponders the existence of a real God who could miraculously correct the whole situation.

He asks his parents to pray for him. It is now, just before his death, that Eugene understands the value of life. He looks differently at his parents, who were madly in love with their son. He reinterprets his love for Anna. He calls Odintsova to him, goodbye and the woman fulfills Evgeny's request. It is in moments of communication with his beloved that Bazarov reveals the true essence of his soul. Only now he realizes that he has lived his life completely meaningless, that he has not left anything behind him.

Turgenev's hero was endowed with intelligence, strength, and hard work. He was a good man who fell under the influence of nihilism. And what ultimately happened? It was nihilism that killed all human impulses in his soul, destroyed all the bright dreams that a person can strive for.

We chose Turgenev's novel Fathers and Sons, and in it the scene of Bazarov's death.

In order to do this work it is necessary to define what an episode is. According to the explanatory dictionary of the Russian language by S. I. Ozhegov and N. Yu. Shvedova, the episode is "part literary work, possessing relative independence and completeness. "The scene of Bazarov's death fully meets this criterion. encyclopedic dictionary, who interprets the term "episode" as "a relatively independent unit of action" of the work, "fixing what happened in the easily visible boundaries of space and time."
Since the specified article divides actions into fiction into "external" and "internal", then the proposed episode can be considered as an independent unit of internal action, when "changes are more subject to the mood of the hero" than his behavior. The selected episode develops and ends final stage storyline related to the main character - Bazarov's illness and death. The time frame of the selected episode is three days (the last stage of Bazarov's illness), the scene of the action is Bazarov's room in his father's house. Thus, the passage we have chosen about the death of Bazarov is quite suitable for work on the analysis of the episode.

This episode begins with the words: "The doctor, the same district doctor who did not have a hell of a stone, came and, after examining the patient, advised him to stick to the methods of waiting and immediately said a few words about the possibility of recovery," and ends with the words: "And that's enough! - he said and sat down on the pillow. - Now ... darkness ... ". We defined the boundaries of the episode in this way, because the text limited by these phrases is completely devoted to the extinction of Bazarov: from the moment when unconsciousness began to take possession of him to the last word spoken in his mind.

We have chosen several phrases that reflect, in our opinion, the hero's deep feelings, his state of mind.

Bazarov "suddenly grabbed a heavy table by the leg, which was standing near the sofa, shook it and moved it from its place." Bazarov realizes his powerlessness before death, indignant that in the prime of life and full of physical strength, he is forced to accept the inevitability and recognize a more powerful force that "denies" himself - death.

“I don’t want to rave,” he whispered, clenching his fists, “what nonsense!” Bazarov is still fighting, trying to resist the disease.

"He asked Arina Vlasyevna to comb his hair, kiss her hand ..." love, respect.

When the father invites him to receive communion, "... something strange crept across the face of his son, although he continued to lie with his eyes closed." It is "strange", as the following phrases indicate, consent to the sacrament. He, who denied religion, has changed so much internally that he is ready to accept a religious ceremony.

"Goodbye," he said with sudden force, and his eyes flashed with the last sparkle.

The last flash of consciousness revealed the strength of his love.

Thus, we see what deep emotional experiences and changes occur with the hero in the last moments of his life.

In the episode, the central figure is the protagonist himself, Yevgeny Bazarov, and although there are others characters novel (parents of Bazarov, Odintsov), they are only a background for the full disclosure of the character of Bazarov. In the selected episode, the main character is revealed from a new, unexpected side. In it, he appears as a tragic figure, about which Turgenev himself wrote: "The death of Bazarov (...) should, in my opinion, put the last line on his tragic figure."

In order to understand the meaning of this scene, it is important to remember what the image of Bazarov is in the novel. This is a strong, active, purposeful nature, and at first glance, a whole nature. He sees the meaning of his life in the destruction of the old foundations of society, in serving the new society. He denies all the basic foundations of the old society, both social and moral-philosophical, believing that denial is his main task, believing that he has enough strength to implement it. But in the episode of death, the hero realizes that he is powerless, denial is impossible and meaningless: "Yes, go and try to deny death. She denies you, and that's it!" He believed that he was the master own life and the fate that he can make grandiose plans and strive to implement them. But now he finds himself in a situation that at once crossed out all his confidence by a simple and indisputable fact: he fell ill and would inevitably die. "And after all, I also thought: I will break off a lot of things, I will not die, where! There is a task, because I am a giant! And now the whole task of a giant is how to die decently, although no one cares about this ...." Not only is his plans not destined to come true, the main principle of life is nonsense, so he also understands how lonely he is and, perhaps, is not needed by the new society, for which he wanted to work. "Russia needs me ... No, apparently, it doesn't. And who does it need? A shoemaker is needed, a tailor is needed, a butcher ... sells meat ... a butcher ... wait, I'm confused ...". The inner split felt by him is exposed: somewhere in the depths of his soul, Bazarov lurks doubt about the usefulness and expediency of his activities for the good of society. And immediately Bazarov's revelations come to mind, which he shares with Arkady: "I hated this last man. Well, he will live in a white hut, and a burdock will grow out of me (...)." It was to this inner tragedy of his hero, revealed in his dying insights, that Turgenev led the reader throughout the entire novel. The suffering of the nihilist and destroyer is exposed in the scene of his death. It is no coincidence that this trait of Bazarov's character was noticed by F.M. Dostoevsky, calling the hero Turgenev "yearning Bazarov".

According to the literary encyclopedia, the culmination is "the moment of the highest tension of action in the work, when the plot conflict, the goals of the heroes, their inner qualities are especially clearly revealed. In the work of a large form, where several plot lines are intertwined, two or more culminations are possible." Certainly, in the novel by I. S. Turgenev "Fathers and Sons", several climaxes can be distinguished. One of them is a duel scene (the storyline of Bazarov's relationship with Pavel Petrovich). Another is the scene of Bazarov's explanation with Madame Odintsova (the storyline of Bazarov's love for Madame Odintsova).

However, in our opinion, in the novel, all these events, one after another, serve another purpose - to reveal the character of the protagonist Bazarov more and more clearly and versatile. And we believe that it is the episode of the death of the protagonist that fully reveals his contradictory nature, thus being the culmination of the development of the protagonist's image.

The work was done by pupils of 10-1 grade Mikhail Ignatiev and Igor Khmelev.

The novel "Fathers and Sons" by I.S. Turgenev ends up with the death of the main character. Understanding the reasons why the author ends his work in this way is possible through the analysis of the episode "Bazarov's death". Fathers and Sons is a novel in which the death of the protagonist is certainly not accidental. Perhaps this ending speaks of the inconsistency and beliefs of this character. So, let's try to figure it out.

Who is Bazarov?

An analysis of the episode of Bazarov's death is impossible without understanding what this character is. Thanks to what is told about Eugene in the novel, we imagine an intelligent, self-confident, cynical young man who denies generally accepted moral principles and ideals. He considers love to be "physiology", in his opinion, a person should not depend on anyone.

Subsequently, however, Turgenev reveals to us in his hero such qualities as sensitivity, kindness, the ability to deep feelings.

Bazarov is a nihilist, that is, a person who denies all generally accepted values, including he does not share the enthusiasm of amateurs.In his opinion, only that which brings practical benefit is significant. He considers everything beautiful to be meaningless. Eugene means "work for the benefit of society" as his main one. His task is "to live for the great goal of renewing the world."

Attitude towards others

An analysis of the episode of Bazarov's death in Turgenev's novel "Fathers and Sons" cannot be carried out without understanding how the relationship of the protagonist with the people who made up his social circle was built. It should be noted that Bazarov treated others with contempt, he put others lower than himself. This was manifested, for example, in the things he said to Arkady about himself and his relatives. Affection, sympathy, tenderness - all these feelings Eugene considers unacceptable.

Lyubov Bazarova

An analysis of the episode of Bazarov's death requires mentioning that, with all his disregard for lofty feelings, he, ironically, falls in love. His love is unusually deep, as evidenced by an explanation with Anna Sergeevna Odintsova. Realizing that he is capable of such a feeling, Bazarov ceases to treat him as physiology. He begins to consider the existence of love possible. Such a change of views could not pass without leaving a trace for Eugene, who lived with the ideas of nihilism. His old life has been destroyed.

Bazarov's explanation of love is not just words, it is an admission of his own defeat. Eugene's nihilistic theories are shattered.

Turgenev considers it inappropriate to end the novel with a change in the views of the protagonist, and decides to end the work with his death.

Is Bazarov's death an accident?

So, in the finale of the novel, the main event is the death of Bazarov. The analysis of the episode requires recalling the reason why, according to the text of the work, the main character dies.

His life becomes impossible due to an unfortunate accident - a small cut, which Bazarov received when opening the body of a peasant who died of typhus. Ironically, as a doctor who is doing a useful job, there is nothing he can do to save his life. The realization that he was going to die gave the protagonist time to evaluate his achievements. Bazarov, aware of the inevitability of his death, is calm and strong, although, of course, being a young and energetic person, he regrets that there is so little left to live.

Bazarov's attitude to death and to himself

An analysis of the episode of Bazarov's death is impossible without a deeper understanding of how the hero relates to the proximity of his end and death in general.

Not a single person can calmly realize the approach of the finale of his life. Evgeny, being a person who is certainly strong and self-confident, is no exception. He regrets that he did not fulfill his main task. He understands the power of death and speaks of the approaching last minutes with bitter irony: "Yes, go and try to deny death. She denies you, and that's it!"

So, the death of Bazarov is approaching. The analysis of the episode, which is one of the key in the novel, needs an understanding of how the character of the protagonist has changed. Eugene becomes kinder and more sentimental. He wants to meet with his beloved, once again talk about his feelings. Bazarov is softer than before, treats parents, now understanding their importance.

An analysis of the episode of Bazarov's death shows how lonely the protagonist of the work is. He does not have a loved one to whom he could convey his beliefs, therefore, there is no future for his views.

Understanding true values

In the face of death, they change. An understanding comes of what is really important in life.

An analysis of the episode "Bazarov's death" based on the novel by Ivan Turgenev requires an understanding of what values ​​the protagonist now considers to be true.

The most important thing for him now is his parents, their love for him, as well as his feelings for Madame Odintsova. He wants to say goodbye to her, and Anna, not afraid to get infected, comes to Eugene. Bazarov shares his innermost thoughts with her. He comes to the understanding that Russia does not need it at all, it needs those who do their usual work every day.

Bazarov finds it harder to come to terms with his death than any other person, because he is an atheist and does not believe in life after death.

Turgenev ends his novel with the death of Bazarov. The principles by which the hero lived are destroyed. Bazarov did not have any stronger, new ideals. Turgenev notes that it was the deep adherence to nihilism that killed the protagonist, which forced him to abandon the universal values ​​that allow him to live in this world.

We chose Turgenev's novel Fathers and Sons, and in it the scene of Bazarov's death.

In order to do this work it is necessary to define what an episode is. According to the explanatory dictionary of the Russian language by SI Ozhegov and N. Yu. Shvedova, an episode is "a part of a literary work that has relative independence and completeness." The scene of Bazarov's death fully meets this criterion. Let us also refer to the corresponding article of the literary encyclopedic dictionary, which interprets the term "episode" as "a relatively independent unit of action" of a work, "fixing what happened in the easily visible boundaries of space and time."
Since this article divides actions in a work of art into “external” and “internal”, the proposed episode can be viewed as an independent unit of internal action, when “the character’s mood is more subject to changes” than his behavior. In the selected episode, the last stage of the storyline associated with the main character is developed and completed - the illness and death of Bazarov. The time frame of the selected episode is three days (the last stage of Bazarov's illness), the scene of the action is Bazarov's room in his father's house. Thus, the passage we have chosen about the death of Bazarov is quite suitable for work on the analysis of the episode.

This episode begins with the words: "The doctor, the same district doctor who did not have a hell of a stone, came and, after examining the patient, advised him to stick to the methods of waiting and immediately said a few words about the possibility of recovery," and ends with the words: "And that's enough! - he said and sat down on the pillow. - Now ... darkness ... ". We defined the boundaries of the episode in this way, because the text limited by these phrases is completely devoted to the extinction of Bazarov: from the moment when unconsciousness began to take possession of him to the last word spoken in his mind.

We have chosen several phrases that reflect, in our opinion, the hero's deep feelings, his state of mind.

Bazarov "suddenly grabbed a heavy table by the leg, which was standing near the sofa, shook it and moved it from its place." Bazarov realizes his powerlessness before death, indignant that in the prime of life and full of physical strength, he is forced to accept the inevitability and recognize a more powerful force that "denies" himself - death.

“I don’t want to rave,” he whispered, clenching his fists, “what nonsense!” Bazarov is still fighting, trying to resist the disease.

"He asked Arina Vlasyevna to comb his hair, kiss her hand ..." love, respect.

When the father invites him to receive communion, "... something strange crept across the face of his son, although he continued to lie with his eyes closed." It is "strange", as the following phrases indicate, consent to the sacrament. He, who denied religion, has changed so much internally that he is ready to accept a religious ceremony.

"Goodbye," he said with sudden force, and his eyes flashed with the last sparkle.

The last flash of consciousness revealed the strength of his love.

Thus, we see what deep emotional experiences and changes occur with the hero in the last moments of his life.

In the episode, the central figure is the protagonist himself, Yevgeny Bazarov, and, although there are other characters in the novel (Bazarov's parents, Odintsov), they are only a background for the full disclosure of Bazarov's character. In the selected episode, the main character is revealed from a new, unexpected side. In it, he appears as a tragic figure, about which Turgenev himself wrote: "The death of Bazarov (...) should, in my opinion, put the last line on his tragic figure."

In order to understand the meaning of this scene, it is important to remember what the image of Bazarov is in the novel. This is a strong, active, purposeful nature, and at first glance, a whole nature. He sees the meaning of his life in the destruction of the old foundations of society, in serving the new society. He denies all the basic foundations of the old society, both social and moral-philosophical, believing that denial is his main task, believing that he has enough strength to implement it. But in the episode of death, the hero realizes that he is powerless, denial is impossible and meaningless: "Yes, go and try to deny death. She denies you, and that's it!" He believed that he was the master of his own life and destiny, that he could make grandiose plans and strive to implement them. But now he finds himself in a situation that at once crossed out all his confidence by a simple and indisputable fact: he fell ill and would inevitably die. "And after all, I also thought: I will break off a lot of things, I will not die, where! There is a task, because I am a giant! And now the whole task of a giant is how to die decently, although no one cares about this ...." Not only is his plans not destined to come true, the main principle of life is nonsense, so he also understands how lonely he is and, perhaps, is not needed by the new society, for which he wanted to work. "Russia needs me ... No, apparently, it doesn't. And who does it need? A shoemaker is needed, a tailor is needed, a butcher ... sells meat ... a butcher ... wait, I'm confused ...". The inner split felt by him is exposed: somewhere in the depths of his soul, Bazarov lurks doubt about the usefulness and expediency of his activities for the good of society. And immediately Bazarov's revelations come to mind, which he shares with Arkady: "I hated this last man. Well, he will live in a white hut, and a burdock will grow out of me (...)." It was to this inner tragedy of his hero, revealed in his dying insights, that Turgenev led the reader throughout the entire novel. The suffering of the nihilist and destroyer is exposed in the scene of his death. It is no coincidence that this trait of Bazarov's character was noticed by F.M. Dostoevsky, calling the hero Turgenev "yearning Bazarov".

According to the literary encyclopedia, the culmination is "the moment of the highest tension of action in the work, when the plot conflict, the goals of the heroes, their inner qualities are especially clearly revealed. In the work of a large form, where several plot lines are intertwined, two or more culminations are possible." Certainly, in the novel by I. S. Turgenev "Fathers and Sons", several climaxes can be distinguished. One of them is a duel scene (the storyline of Bazarov's relationship with Pavel Petrovich). Another is the scene of Bazarov's explanation with Madame Odintsova (the storyline of Bazarov's love for Madame Odintsova).

However, in our opinion, in the novel, all these events, one after another, serve another purpose - to reveal the character of the protagonist Bazarov more and more clearly and versatile. And we believe that it is the episode of the death of the protagonist that fully reveals his contradictory nature, thus being the culmination of the development of the protagonist's image.

The work was done by pupils of 10-1 grade Mikhail Ignatiev and Igor Khmelev.

Lesson 9. E.V. Bazarov in the face of death

The purpose of the lesson: lead students to the answer to the question: why does Turgenev end the novel with a scene of the death of the protagonist?

During the classes

I... Introductory conversation

We analyzed the relationship of Bazarov with all the main characters: the Kirsanovs, Odintsova, his parents and partly with the people. Each time, Bazarov's objective superiority over the other heroes was revealed. It would seem that the theme of the novel has been exhausted. Nevertheless, from chapter 22, the plot and composition of the second cycle of the hero's wanderings begins to repeat: Bazarov first gets to the Kirsanovs, then to Odintsova, and again to his parents.

(The second circle Bazarov commits to the changed: life made him accept his romance. new Bazarov who knew doubts, painfully trying to keep his theory. Bazarov was confronted with the need to know himself and the world. It is important for Turgenev to show whether this will make Bazarov change in his relations with people, whether people and the situation have changed.)

Has anything changed in Maryino, have the Kirsanovs changed their minds after disputes with Bazarov? (chapter 22-23).

(The same disorder reigns in the Kirsanovs' estate. Pavel Petrovich's dislike for Bazarov has not diminished. Bazarov returns to the Kirsanovs because it is more convenient for him to work there. But even without ideological disputes, their stay together is impossible. Pavel Petrovich comes to a knightly resolution of the conflict - to a duel .)

Did the duel resolve the dispute in favor of Pavel Petrovich? How do we see him after the duel? (chap. 24)

(Pavel Petrovich is not only wounded, but also morally killed in this duel. Pavel Petrovich is shown comically, emphasizes the emptiness of the elegant noble knighthood.

How, in connection with what is the rupture of Bazarov and Arkady? What has changed in their relationship? (chap. 21, 22, 25)

(Bazarov and Arkady are in Maryino for the second time, the split begins when Bazarov is nervous, irritated by relations with Madame Odintsova. Arkady was possessed by a desire to test his strength alone, without patronage. That is why Arkady goes to Nikolskoe: “before he would just shrug his shoulders, if only someone told him that he might get bored under the same roof with Bazarov ... "Earlier Arkady valued friendship with Bazarov, made sure that he was well received in Maryino, extolled Bazarov's knowledge and simplicity. Youth always chooses idols for itself. it is flattering to be a friend of such a person. He repeats his statements with pleasure. Moreover, Arkady does not agree with his friend in everything. He is ashamed to talk about the beauty of nature under Bazarov. He does not feel equal in friendship, he only submits to the influence of Bazarov, imitates him in demeanor, and ideas. Therefore, it is not surprising that he returned to the “bosom of fathers.” As soon as he met Katya, the feeling of love supplanted all traces of Igilism. No wonder Katya calls him tame. ")

Why is Bazarov sure that they say goodbye forever? (chap. 25)

(Even earlier, Bazarov felt the difference in their views with Arkady. The scene under the haystack ends with a quarrel. Even then he told him that he was a “gentle soul.” Seeing Arkady upon arrival at Nikolskoye, Bazarov immediately understood everything. me ... a liberal master. "With these words Bazarov summed up Arkady's short-term passion for nihilism. , since if the tame Arkady leaves Bazarov, then all the more he cannot have rapprochement with the others.)

Exercise.

Why did Turgenev oppose precisely these representatives of the nobility to Bazarov? These are the best representatives of the nobility, compare them with provincial society: "If the cream is bad, what about the milk?"

II... Analysis of the scene of Bazarov's death

Let's turn to the last pages of the novel. How do the last pages of the novel feel?

(A feeling of pity that such a person is dying. A. P. Chekhov wrote: "My God! What a luxury, Fathers and Sons!" as if I got infected from him. And the end of Bazarov? That the devil knows how it was done (Read excerpts from chapter 27).

What do you think Pisarev meant when he wrote: "To die the way Bazarov died is the same as to do a great feat"?

(At this moment, Bazarov's willpower and courage manifested itself. Feeling the inevitability of the end, he did not coward, did not try to deceive himself, and most importantly, remained true to himself and his convictions. Bazarov's death is heroic, but attracts not only Bazarov's heroism, but also the humanity of his behavior ).

Why is Bazarov getting closer to us before his death?

(The romance was vividly revealed in him, he finally uttered the words that he had feared before: "I love you! Goodbye ... I didn't kiss you then ... Blow on the dying lamp and let it go out ..." Bazarov becomes more human .)

Why, after all, does Turgenev end the novel with a scene of the hero's death, despite his superiority over other heroes?

(Bazarov dies from an accidental cut of his finger, but his death, from the author's point of view, is natural. Turgenev will define the figure of Bazarov as tragic and “doomed to death.” That is why he “killed” the hero. Two reasons: loneliness and inner conflict of the hero.

The author shows how Bazarov remains lonely. The first to disappear were the Kirsanovs, then the Odintsovs, then the parents, Fenechka, Arkady, and the last cutting off of Bazarov from the people. New people look lonely compared to the vast mass of the rest of society. Bazarov is a representative of an early revolutionary, a commoner, he is one of the first in this matter, and the first is always difficult. They are lonely in a small-scale and urban noble environment.

But Bazarov dies, but like-minded people remain who will continue the common cause. Turgenev did not show Bazarov's associates and thereby deprived his business of prospects. Bazarov has no positive program, he only denies, since Bazarov cannot answer the question: "What next?" What to do after being destroyed? This is the futility of the novel. This is the main reason for the death of Bazarov in the novel, the main reason that the author was unable to outline the future.

The second reason is the hero's inner conflict. Turgenev believes that Bazarov died because he became a romantic, since he did not believe in the possibility of a harmonious combination of romance and the strength of a civic spirit in new people. That is why Turgenev's Bazarov wins as a fighter, as long as there is no romance in him, no sublime feeling for nature, female beauty.)

(Turgenev was very fond of Bazarov and repeatedly repeated that Bazarov was a “clever girl” and a “hero.” Turgenev wanted the reader to fall in love with Bazarov (but by no means Bazarovism) with all his rudeness, heartlessness, and pitiless dryness.)

III... Teacher's word

Literary critics more than once they called the absence of solid ground under their feet as the main cause of Bazarov's death. In confirmation of this, his conversation with a peasant was cited, in which Bazarov turns out to be "something like a pea jester." However, what Turgenev sees as the doom of his hero is not limited to Bazarov's inability to find a common language with the peasant. Is the tragic death phrase of Bazarov: "... Russia needs me ... No, apparently, it is not needed ..." - can be explained by the above reason? And most importantly, "the hero's story is included in the general theme of the writer of the death of a person in the crucible of natural forces beyond his control", "elemental forces - passion and death."

Turgenev did not put up with the metaphysical insignificance of man. It was his unceasing pain, growing out of the realization of the tragedy of human fate. But he seeks support for a person and finds it in "the dignity of the consciousness of his insignificance." That is why his Bazarov is convinced that in the face of a blind force that destroys everything, it is important to remain strong as he was in life.

It is painful for the dying Bazarov to recognize himself as a "half-crushed worm", to be an "ugly sight". However, the fact that he managed to achieve a lot on his way, managed to touch the absolute values ​​of human existence, gives him the strength to face death with dignity, to live with dignity until the moment of unconsciousness.

The poet is talking to Anna Sergeevna, who, completing his earthly journey, has found for himself the most accurate image of the "dying lamp", whose light symbolized the life of Bazarov. Always despising a beautiful phrase, now he can afford it: "Blow on the dying lamp and let it go out ..."

On the brink of death, Turgenev's hero, as it were, draws a line under his disputes with Pavel Petrovich about whether such, as Kirsanov ironically noted, are needed “saviors, heroes” of Russia. "Does Russia need me?" - asks himself Bazarov, one of the "deliverers", and does not hesitate to answer: "No, apparently, it is not needed." Maybe he was aware of this while arguing with Pavel Kirsanov?

Thus, death gave Bazarov the right to be what, perhaps, he always was - doubting, not afraid to be weak, sublime, able to love ... Thus he will condemn himself to the only possible, fatal, tragic - Bazarov - fate.

However, Turgenev ended his novel with an enlightened picture of a quiet rural cemetery where Bazarov's "passionate, sinful, rebellious heart" rested, and where "from a nearby village two already decrepit old men often come - a husband and wife" - Bazarov's parents.

IV... Preparation for writing an essay. Choosing a theme

Approximate topics for writing homemade essays based on the novel by I. S. Turgenev "Fathers and Sons":

E. Bazarov and P. P. Kirsanov;

- "Damned Barchuks" (NP, PP, Arkady, Kirsanovs, Odintsova);

- "Rebellious Heart" (the image of E. Bazarov);

Why does Russia need the Bazarovs?

Bazarov and the Russian people;

- “To die as Bazarov died is the same as to accomplish a great feat” (Pisarev);

The meaning of the title of the novel by I. Turgenev "Fathers and Sons";

The problem of "fathers" and "children" in the image of Turgenev;

Is the problem of "fathers" and "children" obsolete today?

What does Turgenev criticize in the "fathers" and in what ways is he at odds with the "children"?

What makes Bazarov a hero of his time?

Homework

1. Write an essay on one of the proposed topics.

2. Prepare to test the knowledge of the works of IS Turgenev.

Additional material for the teacher

Image the central character the novel "Fathers and Sons" is unique. In a letter to A. Fet, Turgenev made an important confession: “Did I want to curse Bazarov or extol him? I do not know this myself, for I do not know whether I love him or hate him. " And no matter how the author assured him of sympathy for his hero: “Bazarov is my favorite child,” no matter how much he sympathized with him, one cannot but see how alien to Turgenev the “Bazarov type” is.

“... at the base of the main figure, Bazarov, lay one personality that struck me as a young provincial doctor ... - wrote Turgenev in his article“ Concerning Fathers and Children ”. - In that wonderful person incarnated, barely born, still fermenting principle, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear ... "

The writer, starting work on the novel, even began to write a diary on behalf of Bazarov, in order to penetrate into the essence of the hero, to understand him.

Bazarov is "a hero of the time when the social forces of destruction and rebirth, old and new" are opposed to each other and act simultaneously. Such epochs give rise to unpredictable, built on internal conflict personality. Therefore, it is impossible to unequivocally determine the attitude of Turgenev to his "beloved child", to the hero of the novel "Fathers and Sons" Yevgeny Bazarov.

The author not only does not share Bazarov's nihilistic convictions, but throughout the course of the novel consistently debunks them. And at the same time, the writer has a great interest in his hero, which reflected the era in all its contradictions. No matter how dear to Turgenev Nikolai Petrovich, you cannot explore the era in his personality. Even less interesting to him is Arkady - a weak copy of his father. First of all, he becomes a hero of the time. strong, socially active personality. And such individuals cannot but be interested in literature. The very personality of Bazarov attracts the author. Indeed, Turgenev, striving to love and understand Bazarov, creates an image that is not impeccable, but humanly very interesting, arousing curiosity at first, and compassion towards the end of the novel. Bazarov will not leave anyone indifferent for a second. It evokes hate or love, but there is nothing in it that generates boredom.

The moment of social rearrangements necessarily presupposes the actions of destructive people. But what is the actual interaction of such heroes with the era? What does their nihilism bring to society and what does it give to the nihilists themselves? It was to these questions that Turgenev strove to find an answer.

What turns Turgenev away from nihilism? Why did the author not for a second act as an ideological supporter of Bazarov? From his point of view, nihilism is doomed, because it has no final positive goal. This is Turgenev's first accusation. The author does not hold on to the dilapidated "principles" that have become the armor of Pavel Petrovich. He is looking for something new in the coming times. But what is new with Bazarov? His ideas, in essence, are as old as the world: destruction, annihilation. What is new and unprecedented in this? The Romans have already destroyed the culture of Ancient Greece; already destroyed by Peter I patriarchal Russia ... And then on the burnt ashes for a long time, hard to sprout the seeds of the past culture. But how much was lost! True humanism consists in rejection of such reckless destruction for the sake of obscure utopias of a brighter future. Therefore, Turgenev could not sympathize with the ideas of Russian nihilism.

Nihilism is based on the philosophy of vulgar materialism. Everything is sacrificed for momentary practical benefits. In the words of Mayakovsky, they are only interested in what is "weighty, rough, visible." From this point of view, Pushkin is nonsense, Raphael is “a penny of copper”, any decent scientist is better than a poet. For nihilists, love turns out to be only a physiological attraction of males and females, nature is a workshop, and all people are the same, like trees in a forest. Bazarov scoffs at the speeches about the “mysterious gaze” of Pavel Petrovich’s beloved and recommends Arkady to study “the anatomy of the eye: where does it come from? how do you say, an enigmatic look? " Therefore, the proverb is lying, asserting that the eyes are the mirror of the soul. Where is the mirror at the intersection of the optic nerves? Yes, and no soul. And there is only that which can be taken in hand and applied to the case. How simple and clear the world becomes! Nature turns out to be only a workshop, meaningless and dead without a human master. But then this "worker" came. What will he do with nature? In pursuit of the goal of immediate benefit, such a worker will turn back rivers, destroy the ozone layer, destroy entire plant breeds and animal populations. We, people of the late twentieth century, know about these results of the activities of vulgar materialists. Turgenev did not know about them. With the artist's ingenious perspicacity, he saw in Bazarov's convictions the embryo of future tragedies. "

Turgenev is a great psychologist. His Bazarov, being cynical and shameless in words, is a moral man at heart. He preaches to Arkady the following theory: “You like a woman ... try to get sense; but you can’t - well, don’t, turn away - the earth did not come together like a wedge ”. But he will not be able to translate these views into reality; according to Bazarov's theory, Arkady, who was outraged by it, will act this way: having understood; that Odintsova is not interested in him, he insensitively "switches" to the more accessible Katya.

Without realizing it, Bazarov lives by fairly high moral principles. But these principles and nihilism are incompatible, something will have to be abandoned.

Turgenev tries in the novel to show the inconsistency of nihilistic philosophy, since it, denying spiritual life, denies and moral principles... Love, nature, art are not just lofty words. These are the fundamental concepts underlying human morality. Blind admiration for authorities is stupid, but blind denial of them is no smarter. Life is too short for each person to start building the world from scratch, rejecting everything that was discovered and created by ancestors.

You can not love Pushkin and Raphael: there is no crime in the fact that their work is alien to you. But in general to deny them on the grounds that you do not know them, do not understand them is a sign of a small mind. Therefore, Pavel Petrovich was not so far from the truth, throwing a reproach to Bazarov: “Before, young people had to study; they did not want to be branded as ignorant, so they reluctantly worked. And now they should say: everything in the world is nonsense! - and it's in the bag. The young people were delighted. Indeed, before they would have been just idiots, but now they suddenly become nihilists. " This is a portrait of the "disciples and followers" of Bazarov, Kukshina and Sitnikov. The images of these heroes become an indirect means of exposing nihilism. Philosophy, which has such stupid and ignoble followers as Kukshina and Sitnikov, cannot but raise doubts in a thinking person: apparently, there is something in nihilism that is attractive to them - simplicity, accessibility, non-necessity of mind, education, honor, immorality.

Thus, the author consistently debunks the beliefs of the protagonist; beliefs that Turgenev himself did not accept. “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - and yet doomed to perish, because she still stands on the threshold of the future,” Turgenev wrote about Bazarov, arguing that Bazarov is "a tragic face." What is the tragedy of this hero? From the point of view of the author, first of all, the fact that the time of the Bazarovs has not come.

Turgenevsky Bazarov himself senses this: when dying, he utters bitter words: "Russia needs me ... No, apparently, it is not needed."

With special force Bazarov as a "tragic face" is revealed in the chapter depicting his death. In the face of death, the best properties of Bazarov are manifested: tenderness for parents, hidden under the external severity, poetic love for Odintsova; thirst for life, work, heroic deeds, social affairs; willpower, courage in the face of the threat of imminent death. We hear words so unusual for Bazarov, full of poetry: "Blow on the dying lamp and let it go out ..." We hear and full of love and the pity of the words about the parents: “After all, people like them cannot be found in your big world in the daytime with fire ...” We hear his frank confessions: “And I also thought: I’ll break off a lot of things, I won’t die where! there is a task, because I am a giant! "

The pages depicting Bazarov's illness and death perhaps most clearly express the author's attitude to his hero: admiration for his courage, mental fortitude, sorrowful feelings caused by the death of such an original, strong man.

The death of Bazarov makes his image truly tragic. The tragedy increases in the epilogue, from which we learn that Bazarov died without leaving any followers. Arkady became a landowner; with two or three chemists who cannot distinguish oxygen from nitrogen, but full of negation. Sitnikov was huddled in Petersburg and, according to his assurances, was continuing Bazarov's "business".

Turgenev did not believe that the people of the Bazarov style would find a way to renew Russia. But he accepted their moral strength and great social significance.

"... If the reader does not love Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness," wrote Turgenev, "if he does not love him, I repeat," I am guilty and did not achieve my goal. "