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- Turgenev
- Duel of Bazarov and Pavel Petrovich Kirsanov
The episode of the duel between the two main characters, Evgeny Vasilyevich Bazarov and Pavel Petrovich Kirsanov, is a key moment in the novel “Fathers and Sons,” since this scene represents the culmination of the main conflict of the work: the confrontation between the “fathers” represented by the old generation and the “children” representing the young people who are progressive and deny all the values of the “fathers”. This is the culmination of not only a generational conflict, but also a conflict between new and old values, principles and fundamentals of worldview.
The prerequisite for the conflict was not only ideological confrontation and personal hostility between Bazarov and Kirsanov, but also a very specific reason. The fact is that Evgeny, who does not consider it his duty to respect Pavel just because he is older than him and belongs to a noble aristocratic class, is courting Fenechka, with whom Kirsanov is secretly in love. Having accidentally witnessed a kiss between them, Pavel Petrovich becomes furious and challenges the hated nihilist to a duel. Bazarov calmly agrees to the duel, behaves relaxed and even finds room for jokes and irony in the conversation.
Despite the fact that outwardly the young man looks confident, deep down in his soul he is very worried and, moreover, succumbing to fear, he begins to write a letter to his father, which would be his farewell to his family before his death. However, reason takes precedence over all worries, Bazarov tears up the letter and decides that he will “loom” in the world for a long time. It is worth noting here that Turgenev chose “loom” and not “live.” This makes us wonder whether the existence of the nihilist Bazarov, who has renounced feelings and emotions, is real life.
Finally, the day of the duel arrives. Both opponents appear at the pre-agreed place. Pavel Petrovich hides his excitement under the guise of confidence and seriousness, while the young man hides his fear behind jokes and irony. However, Kirsanov’s mask falls off as soon as Evgeniy’s pistol fires. Pavel Petrovich faints from a rather minor wound, but Bazarov abruptly forgets about his former hostility and runs to the aid of his enemy.
After the duel, the relationship between them outwardly becomes a little better. Kirsanov, holding a deep grudge against the young man, is embarrassed by his former arrogance, so he decides to hide his hostility and communicates and jokes with Bazarov unusually a lot. When Eugene leaves their estate, they coldly shake each other’s hands goodbye.
Analysis of this key episode makes us understand that it is the denouement of the conflict of the entire work and at the same time serves as a prelude to further events that will give an unambiguous answer to what is the opinion of Ivan Sergeevich Turgenev himself on the main question of his novel “Fathers and Sons”: Can a person live? minds, forever rejecting all human feelings, emotions and experiences?
Option 2
The novel by Ivan Sergeevich Turgenev is a world classic in literature. The novel describes the conflict of generations and life principles.
Young and purposeful student Evgeniy, when meeting the aristocrat and conservative Pavel Petrovich, already showed some hostility towards each other. They didn’t even shake each other’s hand, because Kirsanov considered it beneath his dignity to extend his hand to a man who was dressed like a simpleton.
Bazarov was invited to visit by his friend Arkady, only he could understand the ambitious and arrogant young man. The guy immediately entered into an argument with the elder Kirsanov; he did not like that Pavel Petrovich was trying to impose his idea.
Kirsanov Sr. even treated Bazarov with some disdain. He didn't like nihilists, and Bazarov didn't like aristocrats. Being in the same room, they always found a reason to quarrel with each other. Each of them expressed their opinion harshly towards the other.
Pavel Petrovich Kirsanov was a sophisticated man, and he liked to surround himself with spiritual things. Bazarov, on the contrary, rude and withdrawn, placed his hopes more on science. Bazarov liked to offend the rich Kirsanov, who kept inserting English words into his speech.
These two characters directly hated each other and never hid their dislike. They always found a reason to argue. After some time, their ardor subsided, but the tension between Kirsanov Sr. and Bazarov still remained. At one point it had to find a way out and it did.
Pavel Petrovich was deeply in love with Fenechka, but was embarrassed to talk publicly about his feelings for her. One day, Kirsanov Sr. sees the kiss of his inveterate enemy Bazarov and his beloved Fenechka. Then for Kirsanov the peak of their conflict came. He was indignant with anger and therefore, grabbing a stick, told Bazarov that he would beat him severely if he did not agree to a duel with him.
Bazarov tried to calm the jealous man, telling him that the duel was nonsense and there was no point in carrying it out at all. Kirsanov did not retreat, and Bazarov, still afraid that he would be beaten, agreed to a duel.
They didn't tell anyone that they were going to duel early in the morning. They took only Peter with them, and when the duel took place, Bazarov wounded Kirsanov. Pavel Petrovich was wounded in the leg, and Bazarov showed his disrespect here too, coming to the aid of Kirsanov, he regarded this as helping the old man. Bazarov asked to call for help, and when help was provided, the two decided not to say the main reason for their duel. They told everyone that their views differed in politics, because it was hard for Pavel Petrovich to admit that this was because of jealousy and love for Fenechka.
Their stupidity did not reduce the hostility among themselves, but calmed them down a little. The chosen tactic was either a good relationship or complete disregard for each other. It is impossible to say that Bazarov was the absolute winner in this duel; most likely, luck smiled on him.
After all these events, they began to behave better towards each other, but each remained with his own opinion and his own principles.
Duel of Bazarov and Pavel Petrovich
Analysis of the novel by I.S. Turgenev "Fathers and Sons"
Duel test. Bazarov and his friend again drive along the same circle: Maryino - Nikolskoye - parental home. The situation outwardly almost literally reproduces that on the first visit. Arkady enjoys his summer vacation and, barely finding an excuse, returns to Nikolskoye, to Katya. Bazarov continues his natural science experiments. True, this time the author expresses himself differently: “the fever of work came over him.” The new Bazarov abandoned intense ideological disputes with Pavel Petrovich. Only occasionally does he throw out a rather flat witticism that bears little resemblance to the former mental fireworks. He is confronted by the familiar “cold politeness” of his uncle.
Both opponents, without admitting to each other and to themselves, were a little tired. Hostility gave way to mutual interest. Pavel Petrovich “...once he even brought his perfumed <...> face closer to the microscope in order to see how a transparent ciliate swallowed a green speck of dust...”. The word “even” is quite appropriate here. For the first time, he decided to be curious about what his opponent was basing his arguments on. And yet, this time, Bazarov’s stay in the Kirsanovs’ house ends in a duel. “I believe that you could not avoid this duel, which ... to some extent can be explained only by the constant antagonism of your mutual views,” Nikolai Petrovich says, confused in his words, at the end of the duel. Involuntarily pronounces the most important things. “Antagonism of views” was involved “to some extent” and was unlikely to lead to a duel. If not... Fenechka.
“Fenechka liked Bazarov,” but he also liked her. He behaved with her “more freely and freely,” they were brought together by “the absence of everything noble.” The visits, conversations, and medical care described at the beginning of the chapter are evidence of an ever-increasing mutual sympathy. Sympathy, which would inevitably develop into feeling. If it were explained by objective reasons, and did not fall, sometimes to spite us, from the sky; a “disease” from which there is no escape. So Fenechka sincerely fell in love with the middle-aged Nikolai Petrovich. And it was completely by chance that I found myself at the meeting place in the garden, in the very gazebo where I once met a courteous, delicate guest. As a result of this meeting, Bazarov has reason to ironically congratulate himself “on formally entering the Celadons.” Now the hero is simply behaving dishonestly, rudely, flirting like a lackey. In the magazine version of the novel, the restrained Turgenev said directly: “It never occurred to him (Bazarov) that in this very house he had violated all the rules of hospitality.” Literary scholars have revealed the psychological background here - having lost with the aristocrat Odintsova, he wants to check whether it is easier to win the feelings of poor, simple-minded Fenechka. It turns out that love just doesn't happen. “It’s a sin for you, Evgeny Vasilich,” the woman says with “genuine reproach.”
Pavel Petrovich demanded a duel. He even grabbed a stick to make the duel inevitable by any means possible. By the very fact of the call, the elder Kirsanov had already moved away from his aristocratic “principles.” Turgenev conveys a remark from an old servant who was “in his own way an aristocrat, no worse than Pavel Petrovich.” It was not the bloody duel that struck Prokofich: he “interpreted that in his time noble gentlemen fought.” The scrupulous guardian of the foundations did not like the choice of his opponent: “only noble gentlemen fought among themselves.” A real aristocrat should not have condescended to be a commoner: “and they ordered such rogues to be torn off at the stables for rudeness <...>.”
“How beautiful and how stupid! What a comedy we have pulled off!” - Bazarov is indignant after the door slams behind his opponent. “...This is what it means to live with feudal lords. You yourself will become a feudal lord and will participate in knightly tournaments,” he tries to explain himself in a conversation with Arkady. Irritation, as usual with the hero, masks internal bewilderment and confusion. He, in turn, had to become convinced of the limitations of his own “principles.” It turns out that there are situations when only a duel can defend one’s dignity: “It was impossible to refuse; After all, he would have hit me even then (Bazarov turned pale at this very thought; all his pride reared up) ... "
In the middle of the century, the duel was already moving into the category of anachronisms, partly even funny. Turgenev's pen paints many humorous details. The duel begins with the invitation to Peter the valet as a second, who “is certainly an honest fellow,” but has become a coward to the extreme. And it ends with a tragicomic wound “in the thigh” of Pavel Petrovich, who put on, as if on purpose, “white trousers.” Meanwhile, the episode of the duel is the most important in the ideological development of the novel. The important thing is not that Bazarov “wasn’t a coward,” just like Pavel Petrovich. Turgenev noted earlier the strength of spirit inherent in both heroes. A duel helps to overcome internal limitations. During the duel, when mutual rejection seemed to have reached its limit, simple human relationships arise between the duelists. Bazarov addresses Pavel Petrovich as a good friend: “And you must agree, Pavel Petrovich, that our fight is unusual to the point of ridiculous. Just look at the face of our second.” Kirsanov suddenly agrees: “You’re right... What a stupid face.”
We remember how heatedly they discussed the peasant question. Each of them was convinced that only he knew thoroughly what the Russian peasant needed and thought about. Before the duel begins, Bazarov notices a man walking past him and Peter without bowing. A moment after the duel he returns. This time the peasant takes off his hat with an outwardly submissive look, confirming the idea of his “patriarchy.” Previously, Pavel Petrovich would have been satisfied with this. But now he suddenly asks his eternal opponent an interested question: “What do you think this man thinks about us now?” Bazarov’s answer sounds completely sincere bewilderment: “Who knows!” The young nihilist gives up his monopoly on truth not only for himself. He is ready to admit that the “dark” man also has a complex spiritual world: “Who will understand him? He doesn't understand himself." “Understanding” is generally the key word of this episode: “Each of them was aware that the other understood him.”
After the duel, the heroes seem to change places. Bazarov no longer wants to think about Fenechka’s fate. Seeing her upset face in the window, “she’ll probably disappear,” he said to himself <...>, “Well, she’ll pull through somehow!” On the contrary, Pavel Petrovich shows democracy that was previously alien to him. “I’m starting to think that Bazarov was right when he reproached me for aristocracy,” he declares to his brother, demanding that he finally legitimize his relationship with Fenechka. “Are you saying this, Pavel? you, whom I considered <…> an adamant opponent of such marriages! - Nikolai Petrovich is amazed. He does not know that this request was preceded by a heartfelt scene between his brother and Fenechka, reminiscent of a chapter of a chivalric novel. “This is overcoming one’s late love and abandoning it: a refusal devoid of egoism, raising the simple Fenechka to the heights of a Beautiful Lady, whom they believe without doubt, whom they serve without hoping for reciprocity.”
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Analysis of the duel scene between Evgeny Bazarov and Pavel Petrovich Kirsanov
“Fathers and Sons” is one of the most significant works of Russian literature. Each page of this novel is filled to the brim with various philosophical questions and moral instructions. But what stands out in the novel is the theme of relationships between people from different generations. Theme of Fathers and Sons.
Ivan Sergeevich Turgenev reveals this topic by confronting two people with completely different worldviews - Pavel Petrovich Kirsanov and Evgeny Bazarov. They disliked each other from the very first meeting. The reason for this was Bazarov’s pronounced nihilism, about which Pavel Petrovich did not have the best opinion. After all, Pavel Petrovich was a conservative aristocrat and was faithful to the old order. Throughout the novel, conflicts constantly flared up between the characters. And this is natural, because their conflict is a struggle of ideologies. These characters represented completely different points of view on the world, and such differences are not so easily resolved.
The culmination of this struggle was their duel. The incident belli which was the kiss between Bazarov and Fenechka that Pavel Kirsanov saw. The real reason for the duel was their mutual hostility and political differences. The result of this duel was the wounding of Pavel Petrovich - a bullet entered his thigh. It must be said that Bazarov immediately bandaged Pavel Petrovich’s leg and called others for help. Strictly speaking, there was no winner in this duel - after all, their dispute was mental, and it could not be resolved physically. When the heroes realize how stupid their duel was, and what consequences their childish undertaking could lead to, they become more restrained towards each other, and a note of mutual respect appears in their conversations. But, ultimately, everyone remained unconvinced.
The denouement of the conflict between Fathers and Sons was the forced departure of Yevgeny Bazarov.
In conclusion, it is worth noting that the conflict described by Turgenev has existed for more than one millennium, and that it will never exhaust itself. After all, always, from century to century, people of the older generation will argue with people of the younger generation. And this conflict will be relevant at all times.
Ideological disputes between Bazarov and Kirsanov
Two people hated each other from the first minutes of their acquaintance, not because of their age differences, but because of their life priorities.
Pavel Petrovich - a wealthy representative of the nobility
, a believer, tries not to commit sins and goes to church every weekend. He believes that aristocracy comes first, and that the most important subject in the world is art.
His striking opposite is Evgeny Bazarov. A young man of 25 is an ardent nihilist
, does not believe in love and in God, believes that parties and balls are a waste of time, and with the help of science, humanity will develop, and not stand still.
It was these differences in the thinking of the main characters that led them to a duel.
Essay 4
The duel between the heroes prepares the development of the conflict between generations of “fathers” and “children”, which is described in the novel. It is significant that the duel takes place between characters standing on extreme positions, each in their own camp.
The nihilist Bazarov, who devoted his entire life without reserve to building a new society, retains his external equanimity in this episode of the novel. Even in the face of possible death, he still maintains his posture and destroys a letter to his father in which he expresses normal human feelings.
Pavel Petrovich Kirsanov is possessed by hatred of the worst enemy of his world. The kiss of Bazarov and Fenechka is just an excuse that the retired guards officer decided to use to destroy the virus that is corrupting society.
During the duel, both opponents show their inner weakness. The bravado of a nihilist does not help him completely hide his inner tension from those around him. On the other hand, the guardsman, having received a wound from Bazarov, loses consciousness, although the wound is not dangerous and should not cause such an effect.
Turgenev emphasizes that neither ideological fanaticism, nor the aristocratic code of honor and military background turned duelists into machines ready to go to the end. Evgeny Bazarov, obeying his medical duty, rushes to the aid of a wounded enemy (although he refuses). Kirsanov's pride takes over and he does not want reconciliation in the future, although he is somewhat ashamed of the harshness of his behavior.
It is significant that, despite the personal hostility and deep antagonism of Pavel Petrovich and Bazarov, the matter ends in nothing. Of course, both were exposed to mortal risk, reconciliation did not take place, but they simply coldly shake hands with each other as they say goodbye.
The writer here figuratively shows that the tension between the old and the new at that time had not yet reached its extreme point and everything was limited to attacks tolerated in the noble environment from which both came. It is clear why Kirsanov is not ready to break accepted norms of behavior; it was in defending them that he clashed with Bazarov. However, his opponent, who personifies nihilism, has not completely renounced the values of the old world, and does not believe that the enemy must necessarily be destroyed by provoking the duel again.
The role of the duel episode in the novel by I.S. Turgenev
"Fathers and Sons"
Duels as a way of resolving conflicts that arose between people of the same circle were adopted by the nobles. The duel entered literature, on the one hand, as part of the noble life of that era, on the other, as a technique that helps the writer to aggravate the conflict, bring it to a climax or denouement. In the novel “Fathers and Sons,” by the time of the duel, the climax in the relationship between the heroes Bazarov and Pavel Petrovich is already over (Chapter 10, argument over tea). The role of the duel episode in this work is to show the noble custom as a relic. The duel, like the entire work, is directed “against the nobility as an advanced class.”
The episode is imbued with the author's irony from beginning to end. The very reason for the duel is curious, because it was generally accepted either to fight over a “beautiful lady” or to wash away the insult with blood. Here Pavel Petrovich calls Bazarov because he spied an innocent kiss between his enemy and Fenechka, to whom, by the way, Pavel Petrovich was not indifferent. For some unknown reason, she reminded him of the woman he had previously loved. This undoubtedly reduces the image of Pavel Petrovich and gives it a comical tone, because the commoner Fenichka is no match for the mysterious princess R.
Why does Bazarov accept the challenge? He believes that “from a theoretical point of view, a duel is absurd, but from a practical point of view, it’s a different matter.” By agreeing to follow the outdated aristocratic custom, he thereby destroys the nihilistic idea. Throughout the entire novel, the author forces Bazarov to violate the commandments of nihilism.
At the beginning of the episode, Bazarov is in a hopeless situation, because the enemy made a challenge with a heavy cane in his hands. At the thought of a possible insult, “all his pride reared up.” The absurdity and comedy of this scene is emphasized by Bazarov’s words: “How beautiful and how stupid! What a comedy they broke! Smart dogs dance like that on their hind legs.”
Having accepted the challenge, Bazarov may feel close to death. The evening before the fight, he even begins a letter to his father, but abandons it with the thought: “I will loom in this world for a long time.” The word “loom” reflects the mental state of the hero, who is going through a crisis after breaking up with Odintsova.
Turgenev again departs from the image of a duel accepted in Russian literature. The duel participants traditionally summed up their lives (Onegin, Pechorin). For Bazarov, the time to comprehend the life he has lived will be a near-death illness, and not a duel.
So, the “glorious, fresh morning” came. Turgenev paints nature with great skill before the fight. She does not depend on the events happening around her, but remains invariably beautiful. With this picture, the writer once again emphasizes the idea that everything acutely political and momentary fades into the background before the eternal. “No matter what passionate, sinful, rebellious heart hides in the grave, flowers... speak of eternal reconciliation and endless life,” it will be written at the end of the novel.
And on this beautiful morning, Bazarov, together with Peter, goes to the appointed place. On the way, they meet a man, whose appearance once again highlights the meaninglessness of the duel: “This one also got up early, but at least he got to work, what about us?”
Pavel Petrovich is trying to fulfill all the rules and formalities of the fight. On the contrary, in every action of Bazarov. there is irony about these formalities (“I will measure my steps” because “my legs are longer”). He mocks all the actions and words of Pavel Petrovich. When he offers to “deign to choose” pistols, he replies: “I deign!” Even the appointment of Peter as a second is another way to make fun of Pavel Petrovich.
The culmination of this episode is the wounding of Pavel Petrovich. Even at this “tragic” moment, the author does not abandon the ironic tone with which he reports the appearance of a trickle of blood on the white dandy trousers - how “beautiful”! Although the injury is not serious, Pavel Petrovich loses consciousness. By this the writer emphasizes his weakness. The second’s escape looks comical: “Peter! come here; Peter! Where did you hide?
After being wounded, Bazarov shows his best qualities by helping his former enemy. “Now I’m no longer a duelist, but a doctor,” says Bazarov, and in his words one can feel the relief that he has finally gotten rid of the role of “duelist” imposed on him.
The duel scene is framed by the appearance of a man with a horse, which is important not only in a compositional but also in an ideological sense, emphasizing the contrast between the people and both heroes.
The duel episode ends with the departure of the main character. It becomes clear that the duel did not resolve the conflict between Pavel Petrovich and Bazarov, between “fathers and sons,” but only formally reconciled them. “Pavel Petrovich shook his hand,” “but Bazarov remained cold as ice. He understood that Pavel Petrovich wanted to “be generous.”
The central characters of the novel “Fathers and Sons” Bazarov and Pavel Petrovich Kirsanov are antipodean heroes, although they have something in common: both are proud, categorical, at the same time they are decent, sincere and attractive in their own way. We see all this, as well as the abyss that separates them, both in the duel episode and in other episodes.
