Bazarov is a new hero or tragic. Evgeny Bazarov - a new hero or a tragic figure? (Turgenev I
Subject: P Preparation for the essay “Evgeny Bazarov - “ new hero»
or tragic figure? (based on the novel by I.S. Turgenev “Fathers and Sons”)
Goals:
Developing writing skills.
Formation and development of skills in analyzing a literary work.
Development of literary and creative abilities of students.
Introducing students to literature as an art form.
Formation of a personal approach to the problem.
Development of students' speech.
Equipment:
Workbooks on literature;
Cards for team captains.
During the classes.
1. Motivation for educational activities.
Teacher: The ability to speak and write convincingly, brightly, beautifully is necessary for every person. Writing is an opportunity to express beautifully and emotionally what cannot always be said out loud. The purpose of today's lesson is to identify your attitude to the “eternally living novel” by I.S. Turgenev “Fathers and Sons” and teach you to think independently, create, compose, setting out on paper examples of student wisdom. So let's begin.
2. Work on a new topic.
“Top Auction” (homework survey).
Teacher: I would like to understand what excited you, what interested you in Turgenev’s novel, what you would like to reflect on in your essay. The topic formulated and presented by you will help to understand this.
Students present and defend essay topics. (Under the guidance of the teacher, students choose the most interesting topics and justify their choice. One of the themes involves working in the image of the main character of the novel - Bazarov, so it becomes a key theme preparatory work in class.)
3. Work on an essay on the topic “Evgeny Bazarov – a “new hero” or a tragic figure?”
a) Work on selecting an epigraph for an essay.
b) work in groups.
The class is divided into 4 groups. Work begins on drawing up an essay plan. From what is proposed by students, it is necessary to “collect” one, the most complete and acceptable, for example:
Reasons for its appearance in Russian society and literature II half of the 19th century century of the image of the “new” hero.
Is Bazarov a “new” hero or a tragic figure?
“And his whole portrait caused rejection...”
The life program of Bazarov - a nihilist. Weak and strengths his philosophy.
Test of love.
3. "Eternally living image." Pisarev about Bazarov.
4. Work with team captains.
Team captains receive cards - gaps
Dictionary!(in linguistics and literary criticism, lacunae - space, omission, missing place in the text)
Exercise: Words or entire phrases are missing from the proposed text. The volume of the inserted structure is determined by the length of the gap. You can change the text as a whole. Thus, there are several options for introducing an essay. The number of options depends on the quantity creative groups. Then the team captains present entry options, and the “rivals” adjust them. Each student writes down the introduction options they like in their workbooks. For example.
"Fathers and Sons" by I. S.; Turgenev is a work that reflected all aspects of Russian life in the 50s of the 19th century, character traits previous decades. The backstory of any of the heroes of the novel, his portrait adds necessary details to the description of the era. However, not all characters make the same impression on the reader. Main character novel - Bazarov. It was this person who caused the most controversy in society and literary literature. criticism of XIX century. “Bazarov” is also the title of the article by D. I. Pisarev, who was able to understand better than anyone in his time complex nature, created by Turgenev. The definition given by the critic to the hero (“tragic face”) still remains one of the most used in articles about Bazarov. But the content of the tragedy is understood differently.
The first thing we pay attention to when reading a novel is the contrast between the hero and the surrounding society. Bazarov is a nihilist, that is, a person who bursts into the world of everyday life with views that are completely unusual for his interlocutors, for example for the Kirsanov brothers, with the desire to destroy the foundations of the existing world order. The positions of the commoner and the noble landowners are irreconcilable. Their difference is the source of constant disputes between Bazarov and Pavel Petrovich, the reason for Nikolai Petrovich’s unsuccessful attempts to understand young people.
But Evgeny is far from only the Kirsanovs. No less a gulf separates him from Kukshina and Sitnikov, those who shout about their commitment to nihilism. These are people who inevitably vulgarize any ideas preached for the sake of fashion. They are no match for Bazarov either in intelligence, or in spiritual depth, or in moral strength.
The “soft, liberal barich” Arkady did not become like-minded with Evgeniy either. Even at the beginning of the novel, speaking about nihilism, he more often evaluates Bazarov, and less often talks about his beliefs. The fate of young Kirsanov is the best proof that Arkady is just a copy of his father. He “made a nest”, abandoning the “bitter, tart, grassy life.”
Bazarov finds himself completely alone. At first glance, his participation in social conflict era may serve as a sufficient reason to speak of him as a “tragic face”! But the hero himself does not feel unhappy. “There are not as few of us as you think,” he throws at Pavel Petrovich in an argument. In fact, Bazarov is pleased that he did not meet “a person who would not give up” in front of him. Evgeniy is self-confident. He understands the complexity of solving the problem (“to clear the place”), but he also considers his strength sufficient to “break down a lot of things.” He doesn't need understanding or support.
Bazarov's tragedy lies elsewhere. He is truly a strong, extraordinary person. His philosophical views not borrowed from a popular book. Refusing the experience of centuries, Eugene himself built his own theory, which explained the world and gave him a purpose in life. He earned the right to unlimited faith in the universality of his concept. Among other things, Bazarov denied the existence of a “mysterious look,” love, “principles,” or moral standards, human soul, the beauty of nature, the value of art. But life did not fit into the framework proposed to it, and the depth of Bazarov’s personality lies in the fact that he could not help but notice this. Having met Odintsova, Bazarov saw a romantic in himself, noticed “something special” in the expression on Anna Sergeevna’s face, let a “dark, soft night” into the room, finally admitted that he loved her, and did not follow his slogan: “You like a woman ... - try to make sense, but you can’t - well, don’t, turn away - the earth is not a wedge.”
Eugene saw that nihilism could not explain real life. The hero was faced with the problem of revaluation of values, a difficult problem always, and especially when a person believed so much in what he now had to reject, when he had to give up the consciousness of being a “god”, to recognize the entire non-material side of life.
The tragedy of Bazarov’s personality lies in the fact that, being a nihilist and at the same time an extraordinary person, he inevitably had to come to the painful consciousness of the need to break much of what had been built over the years. A thoughtful supporter of any narrow theory sooner or later comes to disappointment in it. Such is the fate of Evgeniy.
This is just one of the hero's problems. Another one is no less tangible for him. Bazarov is ready to accomplish something extraordinary, but it turns out that there is no place for feat in the life around him. Realizing this, Evgeniy turns to practicing medicine on his father’s estate. But he himself did not intend to be a zemstvo doctor; Neither Arkady, nor Odintsova, nor his father saw him in this role. Bazarov languishes without a task that would completely captivate him and require him to use all his talents and knowledge. Having resigned himself to the everyday life, Eugene would not have shown himself, so Turgenev kills his hero. Bazarov wastes his strength only on dying with dignity, unable to find any other use for himself due to his inability to see the great in the small. But Turgenev did not set such a task for the character he created. The writer believed that Bazarov’s energy was unclaimed, since he was born too early.
A senseless death caused yet another tragedy. Shortly before blood poisoning, Bazarov began to listen to people, felt restless, and regretted that he did not have a family. This regret can be heard in his last conversation with Arkady.
The independent Bazarov could not have a wife and children, a “nest,” not only because there was no woman worthy of him, but also because he “was not created” for a family. He was not a husband, just as he was not a son. Evgeny shows love for his parents only before his death, replacing his previous condescension towards them. "After all, people like them in your big world you can’t find them during the day..." - the hero says about them to Odintsova. Bazarov tries to console the old people, agrees to religious ceremonies, in which they believe. Perhaps, if Evgeniy had remained alive, he would have been able to start a family over time and build his relationship with his parents differently. But he was given no time.
Thus, Bazarov’s tragedy lies in the fact that, having entered into a period of painful revaluation of values, he did not see new road; that he wasted his enormous forces only to die with dignity; that, having realized his restlessness, he did not have time to change anything in his own life.
Roman I.S. Turgenev’s “Fathers and Sons” was written in 1860, during the abolition of serfdom, at the junction of two eras: the era of liberal nobles and the era of commoner democrats. These changes led to the emergence of a “new” hero in Russian society and literature in the second half of the 19th century.
In Turgenev's novel, such a hero is Yevgeny Bazarov.
For the first time we meet Bazarov at the Kirsanov estate. “Eugene,” Arkady says about Bazarov, “is a nihilist - a person who does not bow to any authority and does not take a single principle on faith.” Bazarov really believes that only natural sciences can lead to progress, and art and human feelings only hinder the development of society. In my opinion, Bazarov at first glance does not evoke sympathy.
He also speaks contemptuously about art. So, for example, in a dispute with Pavel Petrovich Kirsanov, an aristocratic person, Bazaor says: “A decent chemist is twenty times more useful than any poet.”
As for love, Bazarov says that this is unforgivable nonsense and rubbish. He treats women with cynicism, therefore, meeting Anna Sergeevna Odintsova for the first time, Bazarov says about her: “What a figure! She’s not like other women!” However, gradually, unexpectedly for the hero himself, people not yet familiar to him begin to awaken in his soul. tender feelings towards this woman. Love breaks Bazarov, who is confident in his convictions, but even Odintsovo’s non-reciprocity does not deprive the hero of his pride. “... I won’t ask for alms,” he says to Anna Sergeevna.
As a result of these events, Bazarov develops internal conflict. His life ceases to succumb to his own theory, love contradicts the views of Bazarov, but he does not attach his theory, even feeling the approach of death.
I.S. Turgenev does not accept the concept of his hero, but respects the strength of his spirit and desire for a goal.
Thus, Bazarov is actually a vulnerable and loving nature, which is corroded by realism and cynicism. The author does not show us Bazarov's life, but very vividly describes how he dies, and this is enough to understand what power the hero had. “To die the way Bazarov died is already a feat,” critic Pisarev said about the hero.
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Updated: 2018-06-27
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In the section on the question Please help URGENTLY with literature. given by the author Say a word the best answer is Bazarov as 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 is as if he is persistently trying to eradicate from himself some character traits that make him similar to those very aristocrats “against whom he rebels. There are, however, traits that distinguish him favorably from the Kirsanov family and the like.
Twenty-seventh of December.
Composition.
Bazarov – “ new person».
(based on the novel by I. S. Turgenev “Fathers and Sons”).
I. S. Turgenev’s novel “Fathers and Sons” was created at a time when the question of the abolition of serfdom was raised, when there were contradictions between liberals and democrats. Just at this time - a time of political reforms and social upheavals, a new bourgeois-capitalist layer is emerging in Russia, and the ideology of nihilism is spreading among student youth. The novel reflected the struggle of two socio-political camps that had developed in Russia by the 60s of the 19th century. The writer showed a typical conflict of the era and set a series current problems, in particular, the question of the character and role of the “new man” - a figure during the revolutionary situation of the 60s.
The exponent of the ideas of revolutionary democracy was Yevgeny Bazarov, the hero who is contrasted in the novel with the liberal nobility. He is the main and only exponent of democratic ideology. Bazarov is a new person, a representative of those young leaders who “want to fight,” “nihilists.” He is for new life and remains true to his convictions to the end.
Turgenev wrote: “The main figure, Bazarov, was based on one personality of a young provincial doctor that struck me. In that wonderful person that barely born, still fermenting principle was embodied, which later received the name of nihilism. The impression this personality made on me was very strong and at the same time not entirely clear.” And in Turgenev’s new novel, the main character was a representative of those “new people”. Turgenev’s attitude towards the “new man” was, in his own words, not entirely clear: Bazarov was his “enemy”, to whom he felt an “involuntary attraction”. Explaining his work, Turgenev wrote: “My whole story is directed against the nobility as an advanced class.” "This is the triumph of democracy over aristocracy."
Bazarov is shown by Turgenev as a supporter of the most “complete and merciless denial.” Bazarov denies everything - and first of all autocracy, serfdom and religion. Everything that is generated by the ugly state of society. Turgenev said about Bazarov: “He is honest, truthful and a democrat to the last detail... if he is called a nihilist, then it should be read: revolutionary”
How Bazarov is depicted - the “new man”. A man of the people, the grandson of a sexton who plowed the land, the son of a poor district doctor, a student, Bazarov “possessed a special ability to arouse confidence in himself in lower people, although he never indulged them and treated them carelessly.”
Bazarov's democracy is clearly reflected in his speech, activities, character traits and worldview. Turgenev painted a memorable portrait of the commoner Bazarov: his face, “long and thin, with wide forehead,... big greenish eyes and drooping sand-colored sideburns... enlivened by a calm smile and expressing self-confidence and intelligence.” His gait is “firm and swiftly bold,” his long and thick dark-blond hair “did not hide the large bulges of his spacious skull.” He dresses simply and, unlike the aristocrat Pavel Petrovich, who “fiddled a lot with his toilet,” is pointedly careless about his “clothes.” He comes to the village to the Kirsanovs “in a long robe with tassels”; greeting Arkady’s father, he extends to him a “naked red hand,” which apparently has never seen gloves.
Bazarov speaks clearly and simply: “Evgeny Vasiliev,” he greets Arkady’s father; expresses his thoughts with stern and courageous directness, without any evasiveness, without forcing himself into feigned politeness. This is clearly evident from the assessments that he gives to the people of the hostile camp, the “feudal lords”: Pavel Petrovich is a dandy, an “archaic phenomenon”, an “idiot”; Nikolai Petrovich is a “good man”, but “his song is sung”; He says to Arkady: “You gentle soul, weakling..."; “...you haven’t even reached us yet...”
His interests are generally similar to the interests of the enlightened youth of that time: he is interested in natural sciences, reads the works of German “vulgar materialists” - keeps up with the times. Bazarov is a nihilist, that is, a person who does not take anything for granted and rejects authorities and principles. He denies Pushkin, and unfoundedly. In particular, the romantic worldview gets from him: “nonsense, rottenness, artistry,” “you study the anatomy of the eye: where does this ... mysterious look come from?” According to Bazarov, all human troubles occur due to the unjust structure of society, and he completely denied the role of personality and individual psychology, believing that one human specimen is enough to judge everyone.
Bazarov went through a harsh, difficult school of life, which strengthened him. Bazarov graduated from the university, but he did not take “an extra penny” from his parents for his education. Bazarov owes his knowledge, and he has very extensive knowledge, to himself. That is why he proudly declares: “Every person must educate himself, well, at least like me, for example...”
Bazarov does not pursue comfort or material wealth: “You and him... don’t stand on ceremony. He’s a wonderful guy, so simple...”, says Arkady about him.
Bazarov is the enemy of abstract science, divorced from life. He is for science that would be understandable to the people. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his favorite profession. Labor, constant activity is his “element”. Arriving on vacation at the Kirsanov estate, he immediately gets to work: collecting herbariums, doing physical and chemical experiments. Bazarov treats those who live without doing anything with undisguised contempt.
The plot of the novel is based on Bazarov’s clash with the world of aristocrats. Turgenev immediately shows that Bazarov is a working man, he is alien to aristocratic etiquette and conventions. It is in the clash with various characters opposed to him that Bazarov’s remarkable traits are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relationships with Arkady - the ability to attract young people to one’s side, to be a teacher, educator, honest and irreconcilable in friendship; in relation to Odintsova - the ability to deeply and truly love, integrity of nature, willpower and self-esteem.
Turgenev tests Bazarov first with love, then with death. He observes from the outside how his hero behaves in these situations. Love for Odintsova, an intelligent, proud, strong woman, a match for Bazarov himself, defeats the principles of nihilism (but he called love “garbage”, was contemptuous of romantic feelings, recognized only physiological love, but having fallen in love, he suddenly felt with fear the romance in yourself). In the dying scene, Bazarov is faithful to his ideals to the end, he is not broken, he proudly looks death in the eye - he came only to “clear a place for others.”
Bazarov's death is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss,” so in his intended business he had to remain at the level of not yet realized, nurtured and therefore limitless aspirations. Bazarov had to die in order to remain Bazarov. This is how Turgenev conveys the loneliness of his hero-forerunner. Bazarov's death is his end tragic life. Outwardly, this death seems accidental, but, in essence, it was logical conclusion image of Bazarov. It is prepared by the entire course of the narrative. The hero's fatigue, loneliness and melancholy could not have had any other outcome. Bazarov dies completely alone. And only “two already decrepit old men - a husband and wife” come to the “small rural cemetery.”
The author creates the tragic meaning of the image in Bazarov: his loneliness, rejection of the world around him, mental discord - all this is combined in one hero. This is a heavy burden that not everyone can carry with the self-esteem that is inherent in Bazarov. In the novel, Bazarov does not have a single like-minded person. Only the caricatured figures of Sitnikov and Kukshina, and even Arkady, who was carried away in his youth unusual ideas. Bazarov is lonely in his personal life. His old parents are almost afraid of him; in his relationship with Odintsova, he fails. Bazarov once told Arkady: “When I meet a person who would not give up in front of me, then I will change my opinion about myself.” And such a person was found - this is Odintsova.
How a real artist, creator, Turgenev managed to guess the mood of his time, the emergence of a new type, the type of democrat-commoner, who came to replace noble intelligentsia. With the help of skillfully selected details, Turgenev creates appearance one of the "new people". Bazarov is an independent nature, not bowing to any authority, but subjecting all thoughts to judgment. The revolution in Bazarov's soul occurs under the influence tragic love to Odintsova - he begins to realize the presence of a romantic in his soul, which was previously unthinkable for him. Bazarov is capable of spiritual evolution, which is demonstrated by his feelings for Odintsova, as well as the death scene. In Bazarov's scenes of declaration of love, emotions prevail over reason.
