Compare the disputes between Bazarov and Pavel Petrovich. Bazarov and Pavel Petrovich

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

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

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

Aristocrats are unpleasant and unusual in Bazarov’s appearance and behavior. Evgeny wears a robe with tassels, he does not wear gloves, and when they meet, he boldly extends his naked red hand. According to all the rules of etiquette, Arkady's father Nikolai Petrovich warmly welcomes the guest, but he behaves somewhat cheekily and responds to participation with laziness in his habits and conversation. The scraping of the owners evokes irony in Bazarov. When we meet, his face expresses self-confidence and intelligence. Arkady begs his father to “caress” his friend, but he doesn’t know how to please him anyway.

Evgeny is opposed in everything by Pavel Petrovich - a former officer, lives with his brother in the village and his whole life is spent in thoughts and memories of the past. In appearance his is not swagger, like Bazarov’s, but gloss and panache: “a dark English suit, a fashionable low tie and patent leather ankle boots.” The appearance of Pavel Petrovich, as the author emphasizes, is “elegant and thoroughbred.” The contrast between him and Bazarov immediately catches the eye, but it is even more noticeable when Pavel Petrovich takes his trousers out of his pocket beautiful hand with long pink nails.

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

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

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

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

Gradually, Pavel Petrovich begins to feel increasingly irritated towards Bazarov. “His aristocratic nature was outraged by Bazarov’s complete swagger. This doctor’s son not only was not timid, he even answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.” The conflict between the heroes grows when Bazarov begins to express his nihilistic judgments. “A decent chemist is twenty times more useful than any poet,” he declares to Pavel Petrovich, who knows and literature lover. In Evgeniy’s conversation, a contemptuous grin is heard every now and then; he does not give in at all to his interlocutor and even attacks him.

It differentiates the characters and their upbringing and attitude towards love. Pavel Petrovich Kirsanov was brought up like all children of aristocratic families. At first he was given the basics of knowledge at home, then he was assigned to the page corps. He always enjoyed success with women and men envied him. He led an active lifestyle, but everything changed instantly when Princess R. appeared in his life, whom Kirsanov met at a ball and with whom he fell passionately in love. The princess soon lost interest in him, and he almost went crazy and began chasing her all over the world, showing cowardice. Exhausted by these relationships, Pavel Petrovich grew old, gray and lost interest in life.

Bazarov treats love very coldly. “A man who put his whole life on the line of a woman’s love, and when this card was killed for him, became limp and sank to the point where he was incapable of anything, this man is not a man,” he notes after hearing his life story Pavel Petrovich. Bazarov does not agree to explain his behavior by his upbringing. “Every person must educate himself,” he says confidently. "For Pavel Petrovich love drama can become a source of self-esteem: memories of her support the consciousness of the originality and significance of the life he lived. For Bazarov, such a drama means humiliation: it is perceived as a manifestation of shameful weakness, which the hero can excuse himself only on the threshold of death,” says literary critic V. M. Markovich.

Pavel Petrovich and Bazarov have different attitudes towards the people. Kirsanov idealizes the people. “He sacredly honors traditions, he is patriarchal, he cannot live without faith,” he claims. And Bazarov talks about the darkness, the underdevelopment of the people, about their superstition. Despising the people, Evgeniy nevertheless communicates with them freely and with pleasure. As the critic D.I. Pisarev emphasized, “in Bazarov’s relationship with to the common people One must notice, first of all, the absence of any pretentiousness and any sweetness. The people like it, and that’s why the servants love Bazarov, the kids love him...” But Pavel Petrovich, speaking to a man, turns away and sniffs a scented handkerchief.

According to Bazarov, reading Pushkin is nonsense, idolizing nature is stupidity, “Raphael is not worth a penny.” Evgeniy is also cynical about women. Listening to Bazarov's judgments, Pavel Petrovich simply begins to hate him. He considers him proud, impudent, cynic and plebeian. For Kirsanov, contempt for him from a person like Bazarov is outrageous. Pavel Petrovich, becoming more and more indignant, goes out to meetings with Evgeny, irritated and determined in advance.

The culminating moment in the development of their relationship is the fight that occurred between the heroes. The word “aristocrat”, disdainfully thrown by Bazarov to the neighboring landowner, completely infuriates Pavel Petrovich, who was eagerly awaiting the fight with Evgeny. In the dispute that has begun, Pavel Petrovich tries to completely defeat his opponent, rightly reproaching him for the fact that, while destroying, one must also worry about construction. Bazarov is not worried about this. He only intends to “clear the place.”

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

In the confrontation between the heroes, their characters are revealed, the most hidden corners of the soul are exposed. Despite the apparent swagger, which turns out to be just a mask, one can discern in Bazarov an energetic, strong-willed, and courageous character. At the same time, he turns out to be sincere and kind person. The Kirsanovs are typical aristocrats; they lead an inactive lifestyle. Evgeniy differs from them in his love of work and perseverance in achieving his intended goal.

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

The first “duel” is a verbal duel in Chapter 6. This is more likely not a dispute, but a kind of preparation, Pavel Petrovich’s reconnaissance. He raises several topics: 1) about the success of the Germans in the natural sciences, 2) about authorities, 3) about poets and chemists, 4) about the non-recognition of art, 5) about faith in authorities (almost secondary). Bazarov objects very reluctantly and sluggishly, and Nikolai Petrovich, as always, intervenes in the conversation when there is a “smell of something fried,” he acts as a softener, a buffer.

Before the main ideological battle (Chapter X) in the previous chapter, Turgenev specifically places an episode with Fenechka and the child. Here, for the first time, some of Bazarov’s true qualities are revealed, which, however, as always, are hidden behind harsh and cynical rhetoric. Bazarov talks about plants with enthusiasm and love, and most importantly, the child willingly comes into his arms, which indicates the healthy inside of the hero: children always behave calmly with kind, strong and loving people.

Chapter X is the main ideological duel of the heroes. All the disputes begin with Pavel Petrovich, for whom everything in Bazarov is unacceptable - from appearance and habits to character, lifestyle and views. Bazarov is not eager to fight, but only briefly parries Kirsanov’s blows, but only until he touches him to the quick, offending his filial feelings.

Pavel Petrovich and Bazarov disagree on the following issues:

on the issue of changing society for the better (Pavel Petrovich - for gradual, small reforms, Bazarov wants to break everything at once);

on the question of the principles and meaning of life (Bazarov laughs at Kirsanov’s “principles” and denies the very appearance of principles;

on the issue of attitude towards the people (Pavel Petrovich honors his patriarchy, adherence to antiquity, faith, humility, and Bazarov despises him for the same and considers the peasant’s consent to slavery, drunkenness and ignorance a vice);

on the issue of patriotism (Pavel Petrovich considers himself a patriot and loves the people theoretically, Bazarov is somewhat closer to the people, easier to deal with a peasant, but no less alien and incomprehensible to a peasant - his name is “the jester”, since the people are not capable of the work of a naturalist take it for work.

Bazarov does not want to recognize any authorities, because he believes that everything created thanks to these authorities is subject to destruction. Bazarov's trust extends only to the knowledge and experience he himself gained during experiments and research.

Gradually, even before the duel, with all Turgenev’s sympathy, with all the sympathy of the Kirsanovs who were closer to him in spirit, and with all the limitations of the nihilist Bazarov, a certain superiority of the nihilist over the “fathers” becomes more and more clearly revealed. This superiority pinches the author’s heart, and it is not objectively good in everything. The author, for example, highly values ​​the dignity, nobility and will of Pavel Petrovich, the sensitivity, kindness, aesthetics of Nikolai Petrovich, the emotionality, delicacy and goodwill of Arkady.

Finally, the reader begins to fully understand Bazarov’s “self-destruction,” the peculiar sacrifice of his figure, and subsequently his painful duality and loneliness. Hiding behind the usual cynical mask of a destroyer, his feelings begin to burst the shell of the mask from the inside. He is infuriated by the fact that he cannot explain his sympathy for Fenechka in the usual way - only by physiological needs; that during and after the duel (romantic absurdity!) he is forced to show nobility towards the enemy; that he feels within himself a desire to see next to him a more serious friend and follower than Arkady; finally, he is overtaken by a real feeling of love for Odintsova - that is, exactly what he denied in every possible way and about which he openly made fun of him.

So, we know that the novel “Fathers and Sons” is about a progressive and a nihilist. Why is so much space given to love in the novel? Why, according to the author, does Bazarov fall in love?

It's simple: the feeling will shed everything superficial, and we will see a living person. Remember how Turgenev himself treated love. Bazarov was always and everywhere confident in himself. Spiritual stability begins to be disrupted when the test of love occurs.

What are Bazarov's views on love? Remember what Bazarov says about this after Arkady’s story about Pavel Petrovich. There is nothing poetic or romantic about this. Bazarov does not accept love as an all-consuming feeling. Romantic relationships doesn’t want to know and doesn’t admit it.

The relationship between Bazarov and Odintsova develops out of mutual interest. Bazarov, seeing her at the ball, was amazed and, in order to hide this, rather cynically shows his interest: “Who is she?”, “She doesn’t look like other women.” Anna Sergeevna also noticed Bazarov, but she did not single him out by his sophistication of manners; outwardly he was no different from the others; he was, like everyone else, in a tailcoat. She noticed an extraordinary face. The fact that he noticed her speaks in favor of Bazarov, because... Anna Sergeevna amazed him not only with her “physiology”, but also with something else, he admired her, but at first he hides it, suppresses it. His feeling is still in its infancy. And then amazing things follow: Odintsova, out of interest in Bazarov, invites friends to the hotel, and Arkady, during this visit, notices that Bazarov is embarrassed, embarrassed and, in the end, blushes, although there is a serious conversation. Odintsova asks him about his attitude towards people, science and art. Bazarov answers her questions completely seriously. We see the feeling begin to grow.

Bazarov accepts Odintsova’s offer to visit Nikolskoye. He didn't go there to work, but to visit beautiful woman. This love grows not only as a passion, but also as a thirst for communication with a truly intelligent woman, capable of understanding him, and he intuitively feels this: “Not like all the other Russian women,” he says about Anna Sergeevna.

What new do we learn about Bazarov during his visit to Odintsova?

We again see his embarrassment, but we also see his significance, his originality. Turgenev says about Odintsova: “The vulgarity alone repelled her,” but no one will accuse Bazarov of vulgarity. The word "nihilist" in the 19th century meant "ordinary." Bazarov is clearly outstanding. In a conversation with Anna Sergeevna, he speaks very seriously, and his thoughts are deep and significant: “Correct society - and there will be no diseases.” In a conversation with her, he also touches on his future scientific activity. We do not see any satanic pride, but in these relationships something is revealed that he did not yet know in himself: the ability for a deep, unified, all-consuming feeling. And this is very important because it is truly human.

But what about his beliefs? He, who laughs at all romanticism, suddenly recognizes the romanticism in himself. Even dying, he remembers Odintsova. Life is governed not by principles, but by sensations. It seemed to him that there was no such love, but his feelings told him that there was. And he is unable to resist the human, and benefits from this: his feelings opened his soul, showed him truly human face. Passion and spirituality combine harmoniously in Bazarovo.

Anna Sergeevna Odintsova herself is a difficult woman. We learn her biography and know how she ended up in Nikolskoye. Her blood flows calmly, life rolls along the well-trodden path. For her, peace is above all else. Anna Sergeevna composes Bazarova good duet in conversations. She is his match in intelligence and intelligence. In many ways I disagree with him. But just as Bazarov reaches out to her, so she reaches out to him.

Please note: against the background of the relationship between Bazarov and Odintsova, the feelings of Arkady and Katya develop. Arkady does not hide the fact that he is in love, Bazarov demonstrates his Olympic calm. For Arkady, everything happens as if by itself. Katya is what his soul wanted. Katya, music, nature - and Arkady’s soul agrees with this.

But with Bazarov it’s more difficult. Bazarov himself is ambivalent about his feelings. Bazarov loves, at some point he is angry with himself, because his deep nature understands that the romanticism that he considered unworthy of a man is entering into him. Bazarov's passion is heavy because, having fallen in love with Odintsova, he discovered obvious voids in his worldview. Before meeting her, he explained everything with his mind, but now he cannot explain this feeling with his mind. His worldview is falling apart. He wages a tough struggle with himself, but still finds the strength to explain himself to her.

Explanation happens, and it happens unusually. Anna Sergeevna herself provokes Bazarov to this act. Her life is empty, she wants life’s impressions, she is tired of this measured movement of life. And he is a strong, mature man, he is not like everyone else. This is what attracts her to him. She wanted him to tell her something about love. But Bazarov is not in the mood for jokes. He has such power of passion! He pressed his forehead against the cold glass. She forced him to confess. She extended her arms, and the next moment she was already at the other end of the room. "We'll remain friends," she says.

What pushes Odintsova away from Bazarov? What is she afraid of: that he is poor or that he is a doctor and the son of a doctor? She allows herself to be loved, but she does not love herself yet, she is on the verge of love. She was afraid of that restless beginning, the beginning of the search, the revolutionary beginning that lives in Bazarovo. To be with Bazarov means to lose peace. After all, even for her sake, he will not give up his beliefs. (Imagine, if he gives up, then who will he become? Pavel Petrovich). When parting, she does not look brilliant, asks Bazarov to stay, and he replies: “Why?” For Bazarov you need everything or nothing, for Odintsova, rather, nothing than everything. Remember Odintsova’s thoughts after Bazarov’s note, in which he writes that he will no longer stay. She understands that there will not be such a real feeling in her life, but for her “peace is better than anything in the world,” and, having made such a decision, satisfied, she falls asleep. Anna Sergeevna would never dare to connect her life with Bazarov. She herself builds her life based only on reason. But Bazarov and Odintsova have common features:

1) they do not share anyone’s opinions;

Katya, who is afraid of her sister, having fallen in love with Arkady, changes, but Anna Sergeevna does not understand her. In her development, in her destiny, she loses more than she finds, she does not go through life as a mistress. She passes by as a shadow, unlike Pavel Petrovich, who loved. Odintsova strangled everything within herself, being a bright and gifted person. In the epilogue, Turgenev talks about her marriage, but his words sound bitter: “... maybe he will live to see love.”

Bazarov looks larger against her background. He is talented, broad-minded, able to look life in the eye, and courageous. He can accept life as it is, as it has hit him in the face. But comfort is important to Odintsova; she cannot and does not want to waste herself on love, on worries. She was frightened. One can only dream of such love, but it is difficult to live with such a person: he does not recognize any half-tones. She insulted him: “You didn’t understand me...”, and he realized that she didn’t love him. He, like a real man, can no longer be in this house.

Bazarov is also higher than everyone else in his love, higher in his natural human simplicity. Him real love, fire, and she…. Turgenev emphasizes her coldness several times, saying that she has “frozen” herself. From this moment on, Bazarov changes radically. But he is also lonely in love. The tragedy of his situation increases from chapter to chapter.

Odintsova, with her mysteriousness, resembles Princess R. What Bazarov denied, it turns out, exists in nature. Odintsova is a mysterious, selfish, cold creature. Both Princess R. and Odintsova are both unworthy of her great love, which the heroes feel for them.

Bazarov does not accept alms - “... you took my life - give yours.” Why does he need crumbs and handouts? In his opinion, a man who has staked his whole life on love is not a man. Remember the conversation between Bazarov and Arkady when they first leave Nikolskoye (“It’s better to break stones on the pavement. A real man must be fierce..."). A real man should be serious and busy with real work. You can’t put a woman’s life at stake. Bazarov had to admit due to the feeling that love, in the romantic sense, exists, but he does not give up his business, does not betray him.

Having said goodbye to Odintsova, Bazarov and Arkady go to Vasilyevskoye to visit their parents.

What are Bazarov's parents like? Evgeny’s father wants to keep pace with his son, he doesn’t want to let Evgeny guess what an event this is for him – his son’s arrival. He tries to behave in such a way as to show that his son's arrival is normal phenomenon. Vasily Ivanovich assumes severity, and his lips and eyebrows twitch. He, like Arkady’s father, does not want to lag behind his son, he wants the blood, human, spiritual connection not to be interrupted, so the father has an internal monologue: “I will be a man of his circle, his beliefs.” His father's intonations irritate Evgeniy.

Vasily Ivanovich argues that a person should live by his own work; he himself has worked all his life and continues to work. Like Nikolai Petrovich, he first of all sees his connection with the century in the fact that “...not without sensitive sacrifices, he put the peasants on quitrent and gave them his land for share.” But the efforts of the good old man are in vain. Life moves forward rapidly, and a gap appears between him and his son. Evgeniy’s father himself realizes this and bows his head to the youth: “Of course, you, gentlemen, know better; where can we keep up with you? After all, you have come to replace us.”

D.I. Pisarev says about this: “When such a discord between parents and children appears as we see between the old Bazarovs and their son, then no way out can be thought of. Evgeny Bazarov, of course, can shrink away from his parents, and his life will still be full, because it will be filled with mental work; but their lives? And what a real Bazarov, what thinking person will decide to alienate the old people who live and breathe him and who did everything they could for his education. These old men literally lifted him up on their shoulders so that he could grab with his adolescent hands the lowest branch of the tree of knowledge; he grabbed hold and climbed and climbed high, and there is no turning back, and it is impossible to go down, and it is also impossible for them to climb up, because they are weak and decrepit, and they have to be heard from afar, and they have to suffer because there is no way to hear and understand each other friend; and yet the old people are glad that they can at least hear the vague sounds of their native voice. Tell me, for God’s sake, who would not dare, being in Bazarov’s position, to remain completely silent and not respond with a single sound to the meek and affectionate speeches that rise to him... And Bazarov responds.”

What feelings does Bazarov experience at home? Bazarov comes to Vasilievskoye with the thought that “the woman will not break him,” he comes to be cured of his love for Odintsova. His worldview changes. The joy of the parents breaks Bazarov. He allows his mother to hang on his shoulder. Previously, he said no to the feelings he called romanticism. But now everything is different. He sees how his father behaves, especially in the garden: Vasily Ivanovich sings. It turns out that everything he did not admit to common man, the father has all this, and it turns out that, according to his concepts, the father is a plebeian.

And yet, how does Bazarov feel about his parents? Is Pisarev right? Yes. Let's remember the scene of the conversation between Arkady and Bazarov under the haystack. When asked by Arkady whether Bazarov loves his parents, he replies: “Yes, Arkady, I do.”

And we feel his loneliness even more, we see him internal conflict, he is not at peace with himself. In the 10th chapter, he is confident in himself, in his business: “We need to clear the place,” he knows what he needs to do in life. In Chapter 21 he is different.

Pay attention to the landscape in the scene - reflections on eternal nature.

Bazarov talks about the purpose of life and speaks about himself from a different point of view. His mind is split. He is not only obsessed with the desire to “clear the place.” Bazarov is probably beginning to realize the error of his views. Hence his words: “And I hated this last man, Philip or Sidor, for whom I have to bend over backwards and who (talking about a man) won’t even say thank you to me... and why should I thank him? Well, he will live in a white hut, and a burdock will grow out of me; Well, what next?”

Therefore, the burdock after death, which is logical conclusion human life, according to his own theory, now Eugene is no longer satisfied, because who would want a mug to grow out of him just like that, without any meaning, without any idea. The death of the idea becomes obvious to the hero, and therefore all further attempts to fight only cause him mental anguish.

Bazarov sees himself in connection with eternity. No matter how smart and strong he is, we hear his silent question: “... no matter how strong, smart I am, Lord, what do I mean, even if I am like this?”

Turgenev leads Bazarov to bitter thoughts. Bazarov looks at himself: “What does it mean for this eternal life my fluttering? Is it possible to shake the eternal, the universal? “Even someone so strong and smart, what can he change in this eternal life? And is it necessary? He tried and hit this life.

How does Bazarov feel about the peasant? Bazarov believes that he looks at the people from the inside and understands them, but even he is not able to look into the secret worldview of the Russian peasant. (But in Maryino ordinary people accepted him as one of their own, and in Vasilievsky he is a gentleman for the peasants). Bazarov treats the woman “using the latest method,” in the words of the elder Bazarov, and the woman is on her own: she is thinking about how to leave her four testicles in gratitude.

Remember the scene of playing cards with Alexy. Both have their own principles, their own beliefs. The priest has a thousand years of living experience of communication with Russian people. With some feeling, he realized that Bazarov did not need to be blessed. He is flexible, broad, plays cards, smokes. Bazarov takes risks in the game. The priest says: “He’s playing risky.”

What is this scene for? She has certain meaning: Bazarov’s extreme views (for Turgenev, a gradualist, “extreme”) are inferior to natural life, Russian life.

Turgenev forces Bazarov, now another, who has experienced love and defeat, who has seen his father’s tears, who has moved away from his friend, to go through the second circle: Nikolskoye - Maryino - Nikolskoye - Vasilyevskoye.

The development of the plot leads the hero to the same places twice. And if on the first visit contradictions between the characters are discovered, then during the second visit they develop into conflict. You remember that the ideological, verbal duel between Bazarov and Pavel Petrovich Kirsanov was shown by the author at the beginning of the novel; at the end of the novel a real duel took place between them.

On the second visit of young people to Maryino, the Kirsanovs and elders greeted them joyfully. Even Pavel Petrovich shook Bazarov’s hand, smiling condescendingly. But Pavel Petrovich does not enter into arguments with Bazarov: “We cannot understand each other, at least I do not have the honor to understand you,” he notes. Nevertheless, he sees in Bazarov a scientist, a doctor, a person.

What was the reason for the duel? Let's remember the scene with Fenechka, when Bazarov kisses her.

Let's think about what caused Bazarov's behavior. Bazarov loves Odintsova, and he doesn’t need Fenechka. It was flirting. Remember the circumstances: a summer morning, a broken Bazarov, for whom Odintsova is like an obsession. Bazarov's kiss is an attempt to return to himself. He believes that love is romanticism, it does not exist, there are only sensations. (Remember his statements about love). He wants to return to those positions, to the state that Odintsova violated. But Fenechka is the wife of Nikolai Petrovich, and Bazarov does not recognize traditions, feelings, or conventions. In his opinion, there is no love, but only instinct. He, as already noted, wants to return to his previous state, which is why he kisses Fenechka

Fenechka, who previously respected Bazarov and trusted him, says: “It’s a sin to you.” It contains spiritual culture, folk morality. Women's instinct and folk morality suggest these words to her. From her point of view, Bazarov’s act is immoral, it testifies to Evgeniy’s unspiritual state. Fenechka’s very nature is spirituality and moral beauty.

But it’s interesting: Fenechka is Nikol Petrovich’s wife, and Pavel Petrovich challenges Bazarov to a duel.

Why? There are two reasons for this.

1). The former Pavel Petrovich would not have challenged a plebeian to a duel, but what happens in him is internal evolution. Principles are one thing, practice is another. In his house, his brother's wife is insulted. It turns out that Pavel Petrovich crosses out his attitude towards the aristocracy and goes out to a duel. 2). He himself is in love with Fenechka, casts ardent glances at her, from which, according to Fenechka, “it gives you such a cold feeling.”

So, Bazarov sees Odintsova in Fenechka and tries to get rid of his love for her, P.P. Kirsanov sees Princess R. in Fenechka.

Let us remember how the explanation takes place between them, the scene of the challenge to a duel (Chapter 24). Pavel Petrovich comes with a stick decorated with a knob, Bazarov behaves in the only possible way: he is calm, ironic and accepts the challenge.

Why does Bazarov agree to a duel? If Pavel Petrovich had challenged Bazarov to a duel in the first dispute, Bazarov would not have agreed to accept the challenge. There were no feelings in my soul then. Now he himself has changed, and his views have also changed, he is already a different person, living not only by sensations, but also by feelings.

Read the duel scene with the words: “Bazarov raised his head and saw Pavel Petrovich...”. The duel scene is the culmination of the development of the conflict between Bazarov and Pavel Petrovich. The only second is the cowardly lackey Peter. Bazarov is calm and continues to be ironic: “I deign it,” he says to Kirsanov, who offered to “deign it” to choose a weapon. And he adds: “And you must agree, Pavel Petrovich, that our duel is unusual to the point of ridiculous...”

Pavel Petrovich aims carefully, but Bazarov doesn’t aim at all and pure chance gets into the flesh of Kirsanov's thigh. Bazarov conducts a conversation with Pavel Petrovich in a joking manner, with mockery, and Kirsanov pompously, seriously. Bazarov agrees to measure mutual hostility in steps.

After Pavel Petrovich is wounded, Bazarov refuses to fight a duel and goes about his commonplace: he is a doctor. Pavel Petrovich's fainting is not cowardice, he is just very nervous.

Thus, the duel showed the complete failure of Pavel Petrovich in comparison with Bazarov. If in disputes Bazarov defeated Pavel Petrovich, and this was not said anywhere, then in a duel defeat is completely obvious. “This scene was introduced to expose the elegant noble chivalry, and rightly so.”

Main character duels - Bazarov. Why is a duel necessary at all? We saw Bazarov quite clearly. Having outlined the positions of the characters, the author leads them through the trials of love and life. Bazarov stands the test of love; he is a man of great feelings. Thus, Bazarov comes out victorious through the tragic ordeal. Next, Turgenev takes him through the comic. The hardest thing is not to seem funny and pathetic in funny circumstances. It's hard to maintain your dignity when you're in funny situation. Bazarov even goes through the funny with dignity, so that we do not blame him. In a duel, Bazarov is strong, courageous man worthy of respect.

But this scene also has another meaning - a philosophical one. Extreme ideological positions push people towards confrontation. Bazarov and Pavel Petrovich - the personification of social forces one nation. The unity of the nation is eternity, and ideology and social struggle are modernity, which must be guided by eternity. You cannot split a nation, a family. A crack in a family is a crack in a nation. These people, the heroes of the novel, deserve each other. The duel shows that both Bazarov and Pavel Petrovich are not bad people. Pavel Petrovich praises Bazarov’s behavior, and he says: “I am a doctor. And stop it!” Such a duel is scary. It is a tragedy when a verbal duel escalates into physical destruction.

Notice the landscape at the beginning of the chapter. Disharmony in the hero's soul and in nature.

How are Bazarov’s relations with other representatives of the “old world”? What can you say about them?

Nikolai Petrovich. Let's remember everything we already know about him. He's soft weak person. (Remember the diminutive suffixes: chubby, gray-haired, legs, etc.).

Does the author sympathize with Nikolai Petrovich? Yes. He even gives his own character traits: love of nature, art, love of Pushkin. He takes care of the farm, separated himself from the peasants, and started a farm. He tries to live by the progressive ideas of the century, a determined opponent of serfdom. Its 200 acres are processed by civilian workers who damage the machines. Liberal principles and the decency of a person do not allow sending for the stanov. He is superfluous, incapable of practical activities(see Chapter 22) He is gentle, smart, arranges his marriage with Fenichka, and is a loving father. N.P. Kirsanov enjoys the respect of the author, but he is “superfluous”

How is your relationship with Arkady? Let's follow their relationship from beginning to end. Arkady Kirsanov, a young, romantic nobleman, falls under the influence of the democrat Bazarov, being carried away by his ideas. Arkady is generally easy to influence. But the working lifestyle of democrats is obviously not very typical for Arkady: the author never shows young Kirsanov at work. But so many times Arkady declares his new views and openly admires himself. Think about a few examples. When Arkady and his father go to Maryino, his father tells him about his native place and reads Pushkin. Arkady likes this, but, afraid to seem like a romantic in front of Bazarov, pretending to be indifferent, he says that it makes no difference for a person where he is born. Clearly wanting to puzzle his father and uncle, Arkady utters the word “nihilist” and not very tactfully starts a conversation about Fenechka’s place in the house - he wants to demonstrate his broad-mindedness. Nihilistic roots were not firmly entrenched in him.

How does Bazarov feel about Arkady? He pulls his young student back, asks him “not to speak nicely,” but at the same time he is attached to Arkady, and one can understand him: Arkady is a kind and in many ways likeable young man, but the severity and severity of the task that he wants to take upon himself , he understands poorly.

Contradictions between friends begin to emerge from the time they visited Odintsova. It is in Nikolskoye that the first crack appears. Arkady cannot stand comparison with Bazarov. Anna Sergeevna is not interested in him. Here, in Nikolskoye, his passion for Katya begins, although at first he does not realize it. For some time now, a kind of false, cheeky banter had been established between the two young people, which always serves as a sign of secret displeasure or unexpressed suspicions.

At the Bazarovs' estate, Arkady gets into an argument with Evgeniy. This has never happened before! Under the influence of rivalry, Arkady’s final awareness of his “I” occurs, and here Arkady’s connection with noble nest: he seeks to justify Pavel Petrovich in the eyes of Bazarov, does not agree with his harsh assessments.

The heroes find themselves in the same situation: both are in love with Odintsova, both without reciprocity. Bazarov's deep passion sets off the passion of the quickly consoled Arkady.

How is Arkady’s relationship with Katya built? Arkady is a soft wax from which a strong person can mold anything. He reports to Katya, an 18-year-old girl. This doesn't surprise her: she strong nature, she is a real miracle: smart, beautiful, knows how to stand up for herself. Without noticing, Arkady falls under the influence of Katerina Sergeevna. She immediately sees the difference between Arkady and Evgeny and notices that they are people different breeds. “He is a predator, and we are tame,” she says. Katya understands that people like Bazarov, who is a “different breed,” must be born. Smart Katya soon understands something else: after Arkady left Bazarov, he had no convictions left, only traces of a satirical direction remained. He, having fallen in love with Katya, becomes a zealous owner, leads common life with his father in Maryino. Arkady's love for Katya finally separates his friends, and marriage “pacifies” Arkady. How strong are Arkady's democratic ideals, the scenes in Nikolskoe again show

Bazarov: “We say goodbye forever... you were not created for our bitter, tart, bean life. You have neither insolence nor anger, but only youthful courage and youthful enthusiasm; This is not suitable for our business. Your brother, a nobleman, cannot go further than noble humility or noble ebullience, and this is nothing. For example, you don’t fight and already imagine yourself to be great, but we want to fight. Our dust will eat into your eyes, our dirt will stain you, and you have not grown up to us, you involuntarily admire yourself, you enjoy scolding yourself; But it’s boring for us - give us others; We need to break others! You’re a nice guy, but you’re still a soft liberal baric.”

Arkady: “I am no longer the arrogant boy I was when I arrived here... I still want to be useful; I wish to devote all my strength to the truth; but I am no longer looking for my ideals where I looked for them before; they seem much closer to me. Until now, I did not understand myself, but set myself tasks that were beyond my strength.”

As we see, Arkady realized the impossibility of taking part in revolutionary activities. And although “transformations are necessary,” his role in them will be limited only economic activity in his estate. The tasks of self-education turned out to be beyond Arkady's ability. So, the ideals of the nobility were achieved by Arkady and are achievable by him. Arkady is sad at separation from Bazarov: “Are you saying goodbye to me, Evgeny?” And Bazarov answers him: “You yourself said goodbye to me a long time ago.” Arkady has long since parted with the business to which Bazarov is so devoted. This is a bitter farewell for both; both are experiencing separation. “You say goodbye, and there are no other words,” says Arkady, and Bazarov is true to himself: he does not want to show his feelings, but we understand what is happening in Bazarov’s soul: “Yes, but I can get upset.” Of all the people, Arkady was the closest person to Bazarov, but Evgeny understands: it is natural for Arkady to do what he did. And Evgeniy tells Arkady to follow the example of the jackdaw. The jackdaw is a family bird, sitting on the tip of its nest, and Arkady returned to his nest, becoming a zealous owner.

Why "zealous"? Arkady did not go alongside Bazarov, he sank lower than his parents - “fathers”, believing that it is reasonable to build relationships with workers with the help of the police officer. If Arkady's father is soft, then Arkady himself is spineless. Young Kirsanov does not keep up with the level of decency of his fathers. Before us is a nobleman-owner with a capitalist grasp.

Conclusion. Even the best of the nobles, free from prejudices, practical, democratic, “cannot reach further than a noble boiling point, and this is nothing.” They are weak, lethargic, and cannot resist “new people.” Turgenev's main task is to prove: “if cream is bad, what is milk?”

In the assessment of the nobles, Turgenev remains a person of their circle, the nobility is his class, but he has ceased to be advanced, having, of course, the right to exist. The nobles cannot lead into the distant future. “My whole story is directed against the nobility as an advanced class.”

But Turgenev did not see any conditions for development in another direction. The liberal nobles, who will not do anything, still have some conditions for activity (Arkady’s farm is thriving), and Bazarov is tragically alone: ​​there are no comrades nearby, there are no people of the same caliber as him, those who could “fail in front of him.” " Anna Sergeevna is a strong person, but she is indifferent to Bazarov’s affairs.

Bazarov says goodbye not only to Arkady, but also to Odintsova, although she expresses hope for a meeting. Let's trace their relationship again and see if Bazarov understood Anna Sergeevna. What is going on in the soul of each of them? We will need to know this in order to understand them during their last meeting before Bazarov’s death.

So, Bazarov meets Anna Sergeevna at the ball. They drew attention to each other, standing out from the rest with their originality. He accepts the invitation to visit her, first at the hotel, and then at her estate in Nikolskoye. You and I also know the reason for Bazarov and Arkady’s arrival in Nikolskoye: they are each infatuated with Anna Sergeevna in their own way, and are trying to hide it from each other. We know about their “monotonous” 15 days spent here. For Bazarov, these days have their own hidden dynamics in the formation of his relationship with Odintsova; we know how this relationship ends.

How does Pisarev characterize them? Bazarov's relationship with Odintsova ends with a strange scene taking place between them. She challenges him to talk about happiness and love, with the curiosity characteristic of cold and smart women, asks him what is happening in him, she pulls out of him a declaration of love. She pronounces his name with a hint of involuntary tenderness; then, when he, stunned by the sudden influx of sensations and new hopes, rushes to her and presses her to his chest, she recoils in fear to the other end of the room and assures him that he misunderstood her, that he was mistaken.”

Everything is over. One of Bazarov’s principles: “If you like a woman, try to get some sense; but you can’t - well, don’t, turn away - the earth is not like a wedge,” - in its first part it has outlived its usefulness. As hard as it is for Bazarov to realize, now he has nothing to do with Odintsova. “Bazarov leaves the room, and that’s the end of the relationship. He leaves the next day after this incident, then sees Anna Sergeevna twice, even stays with her together with Arkady, but for him and for her the past events turn out to be truly an irrevocable past, and they look at each other calmly and speak to each other in a tone reasonable and respectable people,” noted D.I. Pisarev.

But is it? Is everything really so calm in the relationship between Bazarov and Odintsova? Did Pisarev overlook some of the underlying processes that led to Bazarov’s death? What did his new visit to Odintsova’s estate mean for Bazarov? After all, his principles determine the meaning of his life, and suddenly...

He violated this principle; I knew that I couldn’t get “any sense” from Odintsova, but I still went to see her again. Bazarov fell in love with Odintsova very much, so perhaps he consoled himself with the fact that he could be deceived by her coldness... What if she still turns out to be better, what if new meeting she will still say the three words he expected. He subjected his entire worldview to a cruel test: after all, if this one principle is worth “breaking,” then what is the price of everything else. It was not so easy for Bazarov to decide on a third visit to Odintsova’s estate.

What happened during this meeting? Bazarov now did not stay with Odintsova for long, but he would have been glad to live here longer, then he came, but he realized that Odintsova would not change her attitude towards him, so he did not stay long.

But something interesting still happened. Remember, Turgenev says that after one phrase Bazarov said the next day after his arrival, Odintsova’s face “... alternately turned red and pale.” What's happened? Bazarov spoke about the possibility of Katya and Arkady’s engagement: “The party is good in all respects; Kirsanov's condition is fair, oh

Bazarov and Pavel Petrovich Kirsanov

In order to understand the conflict of the novel in its entirety, one should understand all the shades of disagreement between Evgeniy Bazarov and Pavel Petrovich Kirsanov. "Who is Bazarov?" - the Kirsanovs ask and hear Arkady’s answer: “Nihilist.” According to Pavel Petrovich, nihilists simply do not recognize anything and do not respect anything. The views of the nihilist Bazarov can only be determined by finding out his position. The question of what to admit, on what, on what grounds to build one’s beliefs is extremely important for Pavel Petrovich. This is what the principles of Pavel Petrovich Kirsanov represent: aristocrats won the right to a leading position in society not by origin, but by moral virtues and deeds (“The aristocracy gave freedom to England and supports it”), i.e. moral standards developed by aristocrats are the support of the human personality.

Only immoral people can live without principles. Having read Bazarov’s statements about the uselessness of big words, we see that Pavel Petrovich’s “principles” do not in any way correlate with his activities for the benefit of society, and Bazarov accepts only what is useful (“They will tell me the case, I will agree.” “In the present time, it is more useful all denial - we deny").

Evgeny also denies the state system, which confuses Pavel Petrovich (he “turned pale”). Pavel Petrovich and Bazarov have different attitudes towards the people. To Pavel Petrovich, the religiosity of the people, life according to the rules established by their grandfathers seem primordial and valuable traits people's life, touches him. Bazarov hates these qualities: “The people believe that when thunder roars, it is Elijah the prophet in a chariot driving around the sky. Well? Should I agree with him?” The same phenomenon is called differently, and its role in the life of the people is assessed differently. Pavel Petrovich: “They (the people) cannot live without faith.” Bazarov: “The grossest superstition is strangling him.” The differences between Bazarov and Pavel Petrovich in relation to art and nature are visible.

From Bazarov’s point of view, “reading Pushkin - Lost time, making music is ridiculous, enjoying nature is absurd." Pavel Petrovich, on the contrary, loves nature and music. Bazarov’s maximalism, which believes that one can and should rely in everything only on one’s own experience and one’s own feelings, leads to the denial of art, since art is precisely and represents a generalization and artistic comprehension someone else's experience. Art (and literature, painting, and music) softens the soul and distracts from business. All this is “romanticism”, “nonsense”. To Bazarov, for whom the main figure of the time was the Russian peasant, crushed by poverty and “grossest superstitions,” it seemed blasphemous to “talk” about art, “unconscious creativity,” when “it’s about our daily bread.” So, in Turgenev’s novel “Fathers and Sons,” two strong, vibrant characters collided. According to his views and convictions, Pavel Petrovich appeared before us as a representative of the “binding, chilling force of the past,” and Evgeny Bazarov - as part of the “destructive, liberating force of the present.”

Essay on the topic: The essence of Bazarov’s conflict with Pavel Petrovich (Based on the novel by I. S. Turgenev “Fathers and Sons”)

The conflict in the novel is based on disputes between a representative of the old, noble culture Pavel Petrovich Kirsanov and the representative of the new, democratic movement Evgeny Bazarov.

Pavel Petrovich is an aristocrat to the core. Even having settled in the village, he does not want to part with his aristocratic habits, with his refined manners and polish, which do not fit well into the simple rural setting of Bazarov, which is completely different. Some readers didn’t even like that Iurgenev gave his hero a not very attractive appearance. He is hairy, with red hands, a long and thin face, with wide forehead. However, this face “was enlivened by a calm smile and expressed self-confidence and intelligence...”

So, they met - the aristocrat Kirsanov and the democrat commoner Bazarov. It should be noted that they did not like each other at first sight. By short question, which Pavel Petrovich asked his brother: “Who is this?”, one can judge that he immediately sensed something foreign and unpleasant in Bazarov; Bazarov did not like the external gloss of Pavel Petrovich. And Pavel Petrovich, when Arkady told him that Bazarov is a nihilist, that is, a person who approaches everything from a critical point of view, perceived Bazarov as a person who “respects nothing.” And so the duel began not just between two different people, but two completely different life positions, two generations and entire eras. It is interesting that while Pavel Petrovich was losing his temper, Bazarov remained completely calm. Pavel Petrovich was irritated by everything about Bazarov: “His aristocratic nature was outraged by Bazarov’s complete swagger. This doctor’s son was not only not timid, he even spoke abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.” Bazarov was not at all ashamed of his origin, and was even proud of it. “My grandfather plowed the land,” he said, clearly feeling superior to the white-handed nobles. Gradually, Pavel Petrovich developed an active feeling of enmity and hatred towards this plebeian. without clan, without tribe. In addition, the nihilist Bazarov self-confidently denied all the principles on which the very existence of the elder Kirsanov was based. Pavel Petrovich saw in Bazarov a class enemy whom he passionately wanted to destroy. Bazarov, for his part, was filled with increasing contempt for the liberal “aristocrat.” The hard worker Bazarov is deeply unpleasant about the empty existence of Pavel Petrovich, completely devoid of any activity. A two-way ideological and psychological process of growth, first of hostility and then of enmity, began. The instigator of the clashes was always Pavel Petrovich. Bazarov answered him instantly and confidently. He ridiculed the views of Pavel Petrovich, which were a mixture of Anglophilism and Slavophilism. Bazarov's statements about beauty, nature, love, art cannot but irritate Pavel Petrovich. Bazarov's judgments offend his aesthetic feelings, and a certain amount of mockery present in these judgments humiliates his human dignity.

The duel that took place between Kirsanov and Bazarov was not accidental. A reason was found (precisely a reason, not a reason), and now there are “fathers” on one side of the barrier, and “children” on the other. This duel began earlier, as soon as they saw each other, and the pistols appeared when words were no longer enough. The very fact of Bazarov’s consent to participate in the duel and the dignity with which he participated in it again betrays the presence of natural aristocracy and even romanticism in him. Was Bazarov fighting with Pavel Petrovich or with something that was in himself and that he definitely wanted to eradicate? After all, “children did not appear on their own, they were raised by their “fathers,” and therefore when they begin to fight with their “fathers,” they unwittingly (or deliberately) kill part of themselves.

These fights do not subside even today. Children,” growing up, become “fathers,” and everything repeats all over again. The struggle might not be so acute if people knew how to listen and hear other people. Bazarov and Kirsanov, for example, could appreciate nobility and decency in each other, but there were a lot of dividing and irritating moments on which they concentrated their attention. I wish there was a problem different generations gradually lost its sharpness and so that “children” and “fathers” lived in peace and harmony.