Bazarov as a tragic hero (based on the novel by I.S.

M.E. Saltykov-Shchedrin wrote: “...What can be said about all of Turgenev’s works in general? Is it that after reading them it’s easy to breathe, easy to believe, and feels warm? What do you clearly feel, how the moral level rises in you, that you mentally bless and love the author?.. This, it is this impression that these transparent images, as if woven from air, leave behind, this beginning of love and light, surging in every line with a living spring. ..” These words are perfectly suited when we talk about the hero of the novel I.S. Turgenev “Fathers and Sons” to Evgenia Bazarov.

Difficult internal process of cognition true love makes Bazarov feel nature in a new way.

Turgenev shows that love broke Bazarov, unsettled him, last chapters In the novel, he is no longer the same as he was at the beginning. Unhappy love leads Bazarov to a severe mental crisis, everything falls out of his hands, and his very infection seems no coincidence: the man is depressed state of mind becomes careless. But Bazarov did not give up the fight against his pain and did not humiliate himself in front of Odintsova; he tried with all his might to overcome despair in himself and was angry at his pain.

The origins of the tragedy of Bazarov's love are in the character of Odintsova, a pampered lady, an aristocrat, unable to respond to the hero's feelings, timid and giving in to him. But Odintsova wants and cannot love Bazarov, not only because she is an aristocrat, but also because this democrat, having fallen in love, does not want love, is afraid of it and runs away from it. “An incomprehensible fear” gripped Odintsova at the moment love confession Bazarova. And Bazarov “was choking; his whole body was apparently trembling. But it was not the trembling of youthful timidity, nor the sweet horror of the first confession that took possession of him; this passion beat within him, strong and heavy - a passion similar to anger and, perhaps, akin to it.” The element of a cruelly suppressed feeling broke out in the hero with a destructive force in relation to this feeling.

So, you can answer the question of how successfully the hero passed the “test of love” in different ways. On the one hand, the spiritual crisis that occurred in Bazarov’s consciousness speaks of the inferiority and instability of his ideological positions, of the hero’s lack of confidence in his own rightness. On the other hand, in love, Bazarov turned out to be much stronger and sincere than the other heroes of the novel. The power of the hero's love and romanticism was such that it destroyed him morally and physically and led to death.

Words

Originality civil lyrics N. A. Nekrasova

The peculiarity of Nekrasov as a lyrical poet is his citizenship, nationality, depth and diversity of feelings. His poems contain genuine lyricism, sadness, good-natured humor, sarcasm, despondency, joy of life (“Green Noise”), pity, and compassion for the plight of the poor, and calls to fight, and faith in the future triumph of truth. And all this can be summed up in two words: “noble heart.” Reflecting on the people and his fate, the poet often punished himself for the fact that, in his opinion, he had done too little, that he had been inconsistent in the struggle. This is how penitential poems appeared: “For this reason I deeply despise myself...”, “Muse”, “Celebration of life - the years of youth...”, “Shut up, Muse of revenge and sadness”, “My poems! Living witnesses... ", "I'll die soon! A pitiful inheritance..." and others.

Question about lyrical hero Nekrasov's poetry is complex and controversial. Some literary scholars believe that Nekrasov had a single lyrical hero-commoner. Others (for example, N.N. Skatov) prove that there is no such hero, but that there is a “multiplicity of voices and consciousnesses.” Be that as it may, in all of Nekrasov’s poems his personality is present, his voice is heard, which we will not confuse with any other. His popular expression: “You may not be a poet, but you must be a citizen” - everyone knows. It is a modified and clarified formulation of Ryleev: “I am not a poet, but a citizen.”

Nekrasov's poetry is the poetry of confession, sermon and repentance. Moreover, these three feelings, three moods are inextricably fused in him, and often it is impossible to say which feeling, which mood prevails. For example, in “The Poet and the Citizen” there is confession, repentance, and sermon. But there are works that predominantly express one or another feeling and mood. Obviously confessional poems are poems about love: “You are always incomparably good,” “I don’t like your irony,” “Oh letters from a woman dear to us!..”.

In all these works, either in the foreground or as a background, there is an image of the Motherland, enslaved, but filled with secret powerful forces. The form of dialogue helps Nekrasov clarify the meaning of poetry in the poem “The Poet and the Citizen.” The author’s thoughts are put not only into the poet’s mouth, but mainly into the citizen’s statements. The poet's words await the Motherland, the people, and the coming storm. At this time of the Fatherland worthy son“I am obliged to be a citizen,” for “He, like his own, bears on his body all the ulcers of his homeland...”.

Words

My favorite poet

Anna Akhmatova... Quite recently I read her poems for the first time and delved deeply into them. From the first lines, the bewitching music of her lyrics captivated me. I touched the spiritual world that her poems reflected. And I realized that Anna Akhmatova was an extraordinary person, with a big soul. She was extremely true to herself, although how unfairly she often felt bad, hurt, and bitter. She lived a difficult life, full of hardships, trials and bitter disappointments.

Anna Akhmatova loved life. She loved her homeland - Russia, and was ready to give everything so that “the cloud over dark Russia would become a cloud in the glory of the rays.”
Everything was significant about her - and appearance, And spiritual world. Most She dedicated her creativity to the pure, beautiful and at the same time painful feeling of love. And a lot has been written about this with inexpressible deep sadness, melancholy, fatigue;
Heart to heart is not chained,
If you want, leave.
Much happiness is in store
For those who are free on the way...
These verses cannot be confused with others. They are unlike anyone else; Akhmatova’s unique poetry resonates deeply in the heart. And at the same time, Akhmatova’s poetry is sunny, simple and free. She lived with great earthly love and sang about it, and this was the meaning of her life, her natural state. All her life, Anna Andreevna shared the treasures of her soul with the world, which did not always understand her and often simply rejected her. She's been through a lot. Often she “fell” down from the peak of poetry and rose again unconquered thanks to the desire to live and love. She didn't chase fame.
A poet must be sincere, and perhaps it is precisely because of its truthfulness that Akhmatova’s poetry attracts me:

From under what ruins am I speaking?
From under what avalanche I am screaming,
Like burning in quicklime
Under the arches of a fetid basement.
I read Akhmatova as a revelation human soul, ennobling by her example the lives of those people who bow their heads before her song, before the majestic music of truth, love, trust. I am grateful to Anna Akhmatova for giving me the miracle of meeting a Man and a Poet. For her poems, reading which you begin to think about things that were simply not noticed before. I say thank you to her for leaving an indelible mark on my soul.

Essay topics on Russian language and literature

(social and humanitarian direction)

1. “If the soul was born winged...” (based on lyrics by M. Tsvetaeva)

2. “My friend, let’s dedicate our souls to the Fatherland beautiful impulses! (A. S. Pushkin “To Chaadaev”)

3. What is patriotism? (based on the novel by L. Tolstoy “War and Peace”)

4. What works of M.Yu. Lermontov would you advise a friend to read?

5. “There is always a place for heroic deeds in life”? (M. Gorky)

6. Love is “selfless, selfless, not waiting for reward” (based on the story “The Garnet Bracelet” by I.A. Kuprin)

7. “Man – that sounds proud!” (based on M. Gorky’s play “At the Lower Depths”)

8. There is no bond holier than fellowship” (N.V. Gogol)

9. “The soul must work day and night, and day and night” (N. Zabolotsky)

10. My understanding of the poetry of “pure art” in the lyrics of A. Fet and F. Tyutchev

11. Is the image of A. Blok’s “Beautiful Lady” modern?

12. Is there truth in humility or rebellion? (based on the works of F.M. Dostoevsky)

13. Love – “romanticism, nonsense, rot, art”? (based on the novel “Fathers and Sons” by I.S. Turgenev)

14. What is unique about N.A. Nekrasov’s civil lyrics?

15. Why M.Yu. Does Lermontov call his love for his homeland “strange”?

16. “The son is not responsible for his father” (A. Tvardovsky “By right of memory”)

17. What is the essence of poetry? (based on the works of B. Pasternak)

18. “And the smoke of the Fatherland is sweet and pleasant to us” (based on A. Griboedov’s comedy “Woe from Wit”)

19. “I sing my Fatherland, my republic!” (V. Mayakovsky)

20. How does nature appear in S. Yesenin’s lyrics?

21. “It annoys me that the word “honor” has been forgotten...” (V. Vysotsky)

22. Dispute between generations in literature and life

23. To love means to sacrifice oneself (based on the works of A. Kuprin, I. Bunin)

24. Does literature straighten the soul?

25. Are the classics outdated?

26. Search problem life path in literature and in life

27. Man of the Independence Era

28. What should Kazakhstan expect from EXPO 2017?

29. What is the power of mother's love?

30. My dream profession

31. Children's and adult worldviews: common and different

32. My thoughts on the threshold of adulthood

33. What is the purpose of art: to calm a person or to disturb him?

34. Can victory become defeat?

35. Why is work necessary for every person?

36. Is it good or bad to be selfish?

37. My family is my support

38. Does luxury eat away at a person’s soul?

39. How can the beauty of nature affect a person?

40. Is it necessary to destroy in order to build something new?

41. My contemporary... What is he like?

42. To be a Human on Earth

43. The future belongs to professionals

44. The world is boring for boring people

45. Can television replace books?

46. ​​My life principle

47. Do wealth and poverty affect morality?

48. Man in a whirlwind of historical events

49. Is it easy to be young?

50. What are the values ​​of life?

Already the first acquaintance with Bazarov convinces: in his soul there are feelings that the hero hides from others. Turgenev’s self-confident and sharp commoner is very, very difficult to look at. An anxious and vulnerable heart beats in his chest. Extreme sharpness his attacks on poetry, on love, on philosophy make one doubt the complete sincerity of the denial. There is a certain duality in Bazarov’s behavior, which will turn into a breakdown and strain in the second part of the novel. In Bazarov, Dostoevsky’s heroes are anticipated with their typical complexes: anger and bitterness as a form of manifestation of love, as a polemic with the good that latently lives in the soul of a denier. The hero’s soul potentially contains much of what he denies: the ability to love, “romanticism,” and folk origin, and a family feeling, and the ability to appreciate beauty and poetry. It is no coincidence that Dostoevsky highly appreciated Turgenev’s novel and the tragic figure of “the restless and yearning Bazarov (a sign of a great heart), despite all his nihilism.” But Bazarov’s antagonist, Pavel Petrovich, is not entirely sincere with himself. In reality, he is far from being the self-confident aristocrat that he pretends to be in front of Bazarov. Pavel Petrovich's emphatically aristocratic manners are caused by inner weakness, a secret consciousness of his inferiority, which Pavel Petrovich, of course, is afraid to admit even to himself. But we know his secret, his love is not for the mysterious Princess R., but for the sweet simpleton - Fenechka.
Thus, the mutual social hostility that flares up between rivals immeasurably aggravates the destructive aspects of Kirsanov’s conservatism and Bazarov’s nihilism.
At the same time, Turgenev shows that Bazarov’s denial has democratic origins and is fueled by the spirit of popular discontent. It is no coincidence that in a letter to Sluchevsky the author indicated that in the person of Bazarov he “dreamed of some strange person with Pugachev.” The character of Bazarov in the novel is clarified by the wide panorama of provincial life unfolded in the first chapters: strained relations between masters and servants; the “farm” of the Kirsanov brothers, popularly nicknamed “Vobylyi Khutor”; rollicking men in wide open sheepskin coats; a symbolic picture of centuries-old pre-post-postal desolation: “small forests, rivers with dug-out banks, tiny ponds with thin dams, villages with low huts under dark, half-scattered roofs, crooked threshing sheds with yawning gates near empty barns,” “churches, sometimes brick, with plaster falling off here and there, then wooden ones, with leaning crosses and devastated cemeteries...” It was as if an elemental force swept like a tornado over this god-forsaken land, sparing nothing, even churches and graves, leaving behind only dull grief, desolation and destruction.
The reader is presented with a world on the verge of social catastrophe; against the background of a restless sea folk life and the figure of Yevgeny Bazarov appears in the novel. This democratic, peasant background enlarges the character of the hero, gives him an epic monumentality, and connects his nihilism with popular discontent, with the social ill-being of all of Russia. Bazarov's mentality reveals typical aspects of the Russian folk character: for example, a tendency to sharply critical self-evaluation. Bazarov holds in his strong hands and the “heroic club” - the natural science knowledge that he idolizes - a reliable weapon in the fight against idealistic philosophy, religion and the official ideology of the Russian autocracy based on them, a healthy antidote to both lordly daydreaming and peasant superstition. In his impatience, it seems to him that with the help of natural sciences all questions relating to complex problems can be easily resolved public life, art, philosophy.
But Turgenev, who knew the works of German naturalists, the idols of the revolutionary sixties, first-hand, and was personally acquainted with Karl Vogt, pays attention not only to the strong, but also to weak sides vulgar materialism of Vogt, Buchner and Moleschott. He feels that an uncritical attitude towards them can lead to far-reaching negative results. The gross mistake of vulgar materialists was a simplified view of nature human consciousness, about the essence mental processes, which were reduced to elementary, physiological. Let us note that art, from Bazarov’s point of view, is a painful perversion, nonsense, romanticism, rottenness, that the hero despises the Kirsanovs not only because they are “barchuks”, but also because they are “old men”, “retired people” ", "their song is finished." He approaches his parents with the same standards. All this is the result of a narrow anthropological view of human nature, a consequence of the biologization of social and spiritual phenomena, which led to the erasure of qualitative differences between physiology and social psychology. Following Vogt, Russian democrats argued that as a person ages, his brain depletes and his mental abilities become defective. Respect for life experience and the wisdom of the “fathers”, the sense of fatherhood that had been formed over centuries was thus put into doubt.
Bazarov also considers spiritual sophistication to be romantic nonsense love feeling: “No, brother, all this is promiscuity and emptiness!.. We, physiologists, know what kind of relationship this is. Study the anatomy of the eye: where does that mysterious look come from, as you say? This is all romanticism, nonsense, rot, art.” The story about Pavel Petrovich's love for Princess R. is not introduced into the novel as an inserted episode. He appears in the novel as a warning to the arrogant Bazarov.
A big flaw is also noticeable in Bazarov’s aphorism “nature is not a temple, but a workshop.” The truth of an active, master's attitude towards nature turns into blatant one-sidedness, when the laws operating at lower natural levels are absolutized and turned into a universal master key, with the help of which Bazarov can easily deal with all the mysteries of existence. There is no love, but there is only physiological attraction, there is no beauty in nature, but there is only the eternal cycle of chemical processes of a single substance. Denying romantic relationship to nature as a temple, Bazarov falls into slavery to the lower elemental forces of the natural “workshop”. He envies the ant, which, as an insect, has the right “not to recognize the feeling of compassion, not like our self-destructive brother.” In a bitter moment of life, Bazarov is inclined to consider even a feeling of compassion as a weakness, denied by the natural laws of nature.
But besides the truth of physiological laws, there is the truth of human, spiritualized nature. And if a person wants to be a “worker,” he must take into account the fact that nature higher levels- “temple”, and not just “workshop”. And Nikolai Petrovich’s penchant for daydreaming is not rotten or nonsense. Dreams are not simple fun, but a natural human need, one of the most powerful manifestations creative power his spirit. Isn’t the natural power of Nikolai Petrovich’s memory amazing when he resurrects the past in his hours of solitude?

Isn’t the amazingly beautiful picture of a summer evening that this hero admires worthy of admiration?
This is how the mighty forces of beauty and harmony, artistic imagination, love, and art stand in Bazarov’s path. Against Buchner’s “Stoff und Kraft” are Pushkin’s “Gypsies” with their warning aphorism: “And fatal passions are everywhere. And there is no protection from fate”; against a down-to-earth view of love - the romantic feelings of Pavel Petrovich; against the neglect of art, daydreaming, the beauty of nature - the thoughts and dreams of Nikolai Petrovich. Bazarov laughs at everything ethically. But “what you laugh at is what you will serve” - the bitter cup of this life wisdom Bazarov is destined to drink to the bottom.
From the thirteenth chapter, a turn is brewing in the novel: irreconcilable contradictions will be revealed with all their severity in the character of the hero. The conflict of the work from the external (Bazarov and Pavel Petrovich) is translated into the internal plane (“the fatal duel” in Bazarov’s soul). These changes in the plot of the novel are preceded by parody-satirical chapters, which depict vulgar provincial “aristocrats” and provincial “nihilists.” Comic decline is a constant companion of the tragic genre, starting with Shakespeare. Parody characters, highlighting with their baseness the significance of the characters of the two antagonists, grotesquely sharpen and bring to the limit those contradictions that are inherent in a hidden form. central characters. From the comedic “bottom” the reader becomes more aware of both the tragic heights and the internal inconsistency of the phenomenon being parodied.
It is no coincidence that it was after meeting Sitnikov and Kukshina that traits of self-delusion rarely begin to appear in Bazarov himself. The culprit of these changes turns out to be Anna Sergeevna Odintsova. “Here you go! the women were scared! - thought Bazarov and, lounging in a chair no worse than Sitnikov, spoke with exaggerated cheekiness. Love for Odintsova is the beginning of tragic retribution for the arrogant Bazarov: it splits his soul into two halves. From now on, two people live and act in it. One of them is a convinced opponent of romantic feelings, a denier of the spiritual nature of love. Another - passionately and spiritually loving person, faced with the true mystery of this lofty feeling: “He could easily cope with his blood, but something else took possession of him, which he never allowed, which he always mocked, which outraged all his pride.” The “natural scientific” beliefs dear to his mind turn into a principle, which he, a denier of all kinds of principles, now serves, secretly feeling that this service is blind, that life has turned out to be more difficult than that what “physiologists” know about it.

In “Fathers and Sons,” Turgenev applied the method of revealing the character of the main character, already worked out in previous stories (“Faust” 1856, “Asya” 1857) and novels. First, the author depicts the ideological beliefs and complex spiritual and mental life of the hero, for which he includes conversations or disputes in the work ideological opponents, then creates a love situation, and the hero undergoes a “test of love,” which N.G. Chernyshevsky called “a Russian man on a rendez-vous.” That is, Turgenev places the hero, who has already demonstrated the significance of his character and ideas, in life circumstances that require character and the application of ideas in practice - to overcome specific life obstacles. At the same time, in none of Turgenev’s works are the circumstances of the “test of love” repeated. So, Dmitry Rudin in novel of the same name(1855) fell in love with a wonderful girl, Natalya Lasunskaya. She is the first to confess her love, and then Rudin, who is in love himself, retreats. He's not sure he can arrange it decent life for Natalya, he is afraid to take responsibility for her fate, so he advises her to submit to the will of her aristocratic mother, who will never agree to the marriage of her daughter and the beggar philosopher Rudin. “Submit!

So this is how you apply in practice your interpretations about freedom, about sacrifices...” (IX), Natalya sums up Rudin’s lofty calls. Scene last explanation near an abandoned pond proves the failure in life of Rudin, an excellent speaker and an insecure person, helpless in real circumstances. Fyodor Lavretsky in the novel “ Noble Nest"(1858) is depicted as a mature man who has seen a lot (Russia and France, capitals and provinces), changed his mind a lot (ideas of Westerners and Slavophiles, relations between the nobility and the people), experienced a lot (love for his wife and her betrayal). Lavretsky meets Lisa Kalitina, who is distinguished by her extraordinary spiritual and moral sensitivity. At first he falls hopelessly in love with Lisa, and after the news of his wife’s death he begins to dream of personal happiness.

But the sudden arrival of his wife (the news of her death turned out to be false) shatters all his hopes. The hero does not try to do anything in the current situation, he immediately comes to terms with his tragic fate, as evidenced by the last farewell date of the main characters (ХLII). Lisa goes to a monastery, and Lavretsky remains a lonely, restless person. The main character of the novel “On the Eve” (1859) is a poor student at Moscow University, a Bulgarian by nationality, Dmitry Insarov, a man with strong character, purposeful, inspired by the great idea of ​​​​the fight for the freedom of the homeland. This hero opposes “rodents, Hamletics, Samoyeds” - Russian noble intellectuals, heroes of Turgenev’s first novels. A young noblewoman, Elena Stakhova, falls in love with Insarov, conquered heroic personality Bulgarian, his passionate love and at the same time proud modesty, self-confidence (which Lavretsky did not have), and lack of posturing (which Rudin was guilty of). In the scene of the declaration of love, Insarov declares that he cannot give up the main goal of his life - the fight for the liberation of Bulgaria from the Turkish yoke, but Elena, approving of this high and noble goal, is ready to share with him all the difficulties of the dangerous heroic struggle (XVIII). This is how Insarov and Elena find happiness without opposing their love to another important goal - the fight for the freedom of Bulgaria.

Bazarov as a tragic hero (based on the novel by I. S. Turgenev “Fathers and Sons”)

The hero of the era of the 60s of the 19th century was a democrat commoner, a staunch opponent of the noble-serf system, a materialist, a person who went through the school of labor and hardship, independently thinking and independent. This is Evgeny Bazarov. The writer is very serious in assessing his hero. He presented the fate and character of Bazarov in truly dramatic tones. Turgenev understood that the fate of his hero could not have turned out differently.

I think Evgeny Bazarov is the most romantic of all literary heroes. His personal tragedy lies within himself, since a person cannot exist while in constant conflict with himself. Throughout the novel, he argues with Pavel Petrovich Kirsanov on a variety of topics. But no matter what they talk about - whether about art or about Slavophilism - for some reason it seems to me that he is arguing not with Kirsanov, but with himself. It’s as if he’s trying hard to eradicate from himself some character traits that make him resemble those very aristocrats “against whom he rebels.”

There are, however, features that distinguish him favorably from the Kirsanov family and the like. Bazarov is a hard worker, and he counts his work a necessary condition to gain independence, which he values ​​above all else. He does not recognize authorities and subjects everything to the strict judgment of his own thoughts.

However, many of his statements sound wild, I mean his thoughts about poetry, art, nature and love. He declares: “A decent chemist is twenty times more useful than any poet.” Raphael, from his point of view, “is not worth a penny.” He is not inclined to admire the beauty of nature: “Nature is not a temple, but a workshop, and man is a worker in it.” What does he say about love? “Still, I will say that a man who put his whole life on the card of female love and when this card was killed for him, became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male.” His other statement is equally surprising: “And what is this mysterious relationship between a man and a woman? We physiologists know what this relationship is. Study the anatomy of the eye: where does that mysterious look come from, as you say? This is all romanticism, nonsense, rot, art.” He puts the words “romanticism” and “rotten” on the same level; for him they are like synonyms. Kindest soul a person, subtle and sensitive, wants to appear cynical and insensitive at all costs. Meanwhile, Fenechka’s six-month-old child easily comes into his arms, and Bazarov is not at all surprised: he says that all the children come to him because he knows such a “thing.” I must say, such a “thing” is known only exceptional people, and Bazarov is one of them. He could have been a gentle husband and father, if fate had decided differently. After all, what loving son he was, although he tried to hide this love behind the same carelessness in treatment, behind which he hid all his sincere feelings, for example, affection for Arkady. There was only one feeling he could not cope with. It turned out to be no less an element than the nihilism that distorted his whole life. Love consumed him so much that there was no trace left of his cynicism and calm confidence of a materialist and physiologist. He no longer “dissects the eye,” although he tries to fight his passion - a clear refutation of all his artificial theories. Only a desperate person can confess his love to a woman like Anna Sergeevna Odintsova. romantic. Knowing the character of this lady, understanding that peace is more important to her strong feelings, he still opens his heart to her. He receives a refusal, and this grief, as well as love, remains with him until his last breath.

Before his death, he wants to say goodbye to his beloved woman, and his farewell words are filled with such tenderness and sadness that you can’t help but wonder if this is the person who tried with all his might to convince himself and those around him that love does not exist. He asks Odintsova to console her parents: “After all, there are people like them in your big world You can’t find it during the day with fire...”

Turgenev describes the departure of the main character from life in truly tragic tones. Bazarov - rebellious, passionate and strong personality. Even on the edge of the grave, he does not stop for a minute the hard work of his mind and heart. Last words Bazarov are filled with true drama: “Russia needs me... No, apparently I don’t. And who is needed? The tragic fate of Bazarov can be explained not only by his personal qualities, but also by the fact that he is one of the first, one of those who pave the way for others. Turgenev wrote that this is “a figure doomed to death, but despite his aspirations, she still stands on the threshold of the future.” And I want to believe that someday Russia will need all the people and they will not have to break their souls and minds in order to become useful to it.