Essay: “Evgeny Bazarov and Pavel Petrovich Kirsanov” based on the novel by I.S. Turgenev “fathers and sons”

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: nobles and 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 the peaceful existence of 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. 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 appearance 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 beautiful hand with long pink nails out of his pants pocket.

Important for revealing the images of the characters in the novel is their speech characteristics. 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 contemptuously. Evgeniy doesn’t have the best opinion of Pavel Petrovich. 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 was not only 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 loves literature.

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 staked his entire life on a woman’s 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,” he notes, after hearing the life story of Pavel Petrovich . Bazarov does not agree to explain his behavior by his upbringing.

“Every person must educate himself,” he says confidently. “For Pavel Petrovich, a love drama can become a source of self-esteem: memories of it 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.

Despite despising the people, Evgeniy nevertheless communicates with them freely and with pleasure. As the critic D.I. Pisarev emphasized, “in Bazarov’s relations with 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, 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 to understand you,” says 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 a 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 in their very passions fresh strength and an incorruptible mind are reflected; this strength and this mind, without any extraneous aids or influences, will lead young people onto a straight path and support them in life.”

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

An important place in Turgenev’s novel “Fathers and Sons” is given to ideological disputes, which become its important structural element. The dispute is between two ideologies, two life positions. And it is most clearly expressed in the controversy between Evgeny Bazarov and Pavel Petrovich Kirsanov.

Attention should be paid to the special philosophical and moral nature of this dispute. Both heroes can be accused of an addiction to the use of “opposite commonplaces,” for which Bazarov himself reproached Arkady. Explaining the meaning of this expression, Evgeniy said: “...

to say, for example, that enlightenment is useful is a commonplace; and to say that enlightenment is harmful is the opposite commonplace. It seems more dapper, but in essence it’s the same thing.” So Kirsanov talks about the need to follow authorities and believe in them, but Bazarov, in turn, denies the rationality of both.

Pavel Petrovich claims that it is impossible to live without principles, that those who deny principles are immoral and empty people. Bazarov calls “principle” an empty and useless concept. To the reproach of contempt for the people, Evgeny replies: “...

well, if he deserves contempt!”, and when mentioning great poets, he declares: “A decent chemist is twenty times more useful than any poet!”

While depicting the opposing positions of his characters, the writer at the same time does not give clear preference to one or the other. He agrees with Bazarov that any truths and authorities should be questioned.

However, at the same time, he makes it clear that it is still necessary to respect the culture of the past, to historical values, which his hero completely denies. Turgenev, together with Evgeny, criticizes the conservatism of Pavel Petrovich, lordly effeminacy, denies the aesthetic admiration of the “barchuks” for art, and denounces the idle talk of Russian liberals.

However, by breaking with the “barchuks”, Bazarov challenges the enduring values of culture, which the author cannot share in any way.

Eugene’s denial of “your” art turns into a denial of art in general, the denial of “your” love into the assertion that love is a feigned feeling, the denial of “your” class principles into the destruction of any authority, the denial of sentimental-noble love for the people into disdain for men in general.

The author also finds truth in the words of Pavel Petrovich, in his statement that life with its historically nurtured forms can be smarter than an individual. But the writer emphasizes that this is only true with careful attention to new social phenomena.

Trust in the past, in his opinion, involves checking its viability, its correspondence to an ever-renewing life. In Pavel Kirsanov's reverence for the old authorities, in his obsession with class arrogance, noble egoism is manifested. Very important in understanding the characters and positions of both heroes is also their attitude towards the people.

Thus, Pavel Petrovich, with all his aristocracy and Anglomanism, perceives the people from a Slavophile position: “He sacredly honors traditions, he is patriarchal, he cannot live without faith...”.

For Bazarov, despite his disparaging statements, the people are a concrete concept, possessing certain socio-historical characteristics and requiring appropriate political qualifications. It is not contempt for the people that is actually heard in the speeches of the “nihilist,” but criticism of darkness, downtroddenness and backwardness.

Turgenev shows that in their dispute the opponents come to two extremes: Bazarov - to assert the individual, but at the cost of destroying all authorities; Kirsanov - to the denial of human personality in front of principles taken for granted. This is how intolerance and arrogance appear in one, and selfishness and ossification in the other.

In such a dispute it is impossible to see the truth - Pavel Petrovich lacks fatherly love for this, Eugene lacks filial respect. The participants in the dispute are driven not by the desire for truth, but by mutual social intolerance. Kirsanov’s class arrogance provokes the harshness of the enemy’s judgments and awakens painful pride in the commoner.

Therefore, they are both unfair to each other. The author makes it clear to us that in Bazarov’s soul there is much that he denies: romanticism, folk spirit, the ability to love, and the ability to appreciate beauty and poetry. But Pavel Petrovich is not really the self-confident aristocrat that he pretends to be in front of Bazarov.

But the mutual social hostility that flares up between rivals immeasurably aggravates the destructive aspects of Kirsanov’s conservatism and Bazarov’s nihilism.

Thus, the ideological clash between Evgeny Bazarov and Pavel Petrovich Kirsanov reflected the struggle between materialism and idealism that unfolded in society in the 60s of the 19th century. Kirsanov appears here as a convinced opponent of materialism, which, in his opinion, “has always turned out to be untenable.” Hence his contemptuous attitude towards “chemists” and his passion for natural science. And yet, in these disputes the nihilist wins. The author clearly makes it clear to us that this is not accidental. After all, in essence, Bazarov’s negation has democratic origins, is nourished by the spirit of popular discontent, which, ultimately, determines the advent of a new time, the victory of revolutionary aspirations and views. In the image of Pavel Petrovich, Turgenev, on the contrary, reveals all the limitations of noble-aristocratic liberalism, its hatred of the democratic movement.

Published in 1862, I. S. Turgenev’s novel “Fathers and Sons” immediately attracted the attention of various segments of Russian society due to its description of the life of Russia in the 60s of the 19th century. This was a period of extreme aggravation of the social ideological struggle of revolutionary democrats against liberalism.

Active propaganda of revolutionary ideas began, mainly among young people of all ranks. Strong student unrest broke out.

Turgenev tried to understand the views of the younger generation, representing a new type of progressive figure - a fighter against the obsolete liberal principles, to which he, by his own admission, took off his cap, because he felt in him “the real presence of strength, and talent, and intelligence.”

Therefore, in his work, Ivan Sergeevich highlighted the most typical features of the new generation that appeared during the revolutionary situation. The entire novel is built on the conflict of two generations with opposing points of view on various important issues of public life. The title of the work itself speaks to this.

The representative of the generation of “children” and the main character, sharply contrasted with the other characters who group around him, in the novel is Evgeny Bazarov. In the image of this hero, the author embodied the authentic features of a typical sixties man.

His way of thinking, ideals, aspirations, way of life - everything distinguishes this materialist educator from the “county aristocrats” such as Pavel Petrovich and Nikolai Petrovich Kirsanov. Naturally, differences in views will lead to heated disputes and conflict situations between the young and old generations.

Many critics talk about the vital importance and social significance of bazaars for the development of society. Turgenev calls him a “nihilist,” that is, a person who “approaches everything from a critical point of view.” After graduating from university, he becomes very interested in the natural sciences: chemistry, physics, botany, zoology, medicine.

Bazarov even “wants to rely on the doctor.” Passion for these sciences is a typical feature of the cultural life of Russia in the sixties. This is what taught the main character “not to take a single principle for granted,” he “does not bow to any authority.”

We can say that Evgeny Bazarov is a strong personality, a man of enormous intelligence and will: he relentlessly defends his views and beliefs and firmly stands his ground. Believing that a new time has come, a time of science and knowledge, he constantly emphasizes that the Kirsanovs are “old men”, or “old romantics”, “people who are lagging behind” and “their song is over.”

Bazarov is used to relying on himself and his own strength. The conviction that “every person must educate himself” puts the hero one step higher and confirms his strong will. He would probably even be able to give his life in the name of his cause. Attaching great importance to science, the young “nihilist” completely denies painting and poetry. Art for him is perversion, rot, nonsense; he believes that “a decent chemist is twenty times more useful than any poet.” At first it may even seem that such a bright and pure feeling as love is alien to him. Bazarov does not humiliate himself in front of the woman he loves, unlike Pavel Petrovich Kirsanov, the most prominent representative of the generation of “fathers”, who is one of the main antipodes of Evgeny Bazarov.

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Evgeny Bazarov and Pavel Petrovich Kirsanov essay

Pavel Kirsanov is a typical aristocrat with a sleek appearance and liberal views. In Pavel's family there is a cult of veneration of beauty. Evgeny Bazarov’s appearance is “plebeian.” He is simple, his facial features reveal a man of deep mental work. Evgeniy is interested in natural science, since it can be seen and verified, unlike spiritual “nonsense.” He is one of the nihilists. The views of both heroes differ. Through their beliefs and conversations, Turgenev shows this confrontation: a dispute between the old, entrenched, and the new, which does not know what to do except deny the opposite.

Despite all their differences, both heroes are similar in many ways. Both Pavel and Evgeniy are strong-willed and strong personalities. And, both of them are susceptible to reasoning on abstract topics. This was the problem. Bazarov, wanting global changes and actions leading to this, does not go beyond the limits of reasoning, just like Kirsanov.

But, in the end, Evgeniy is faced with what previously seemed empty to him. No matter how Bazarov denies love, considering it complete nonsense, he falls in love. And, dying, he rethinks his views. What he denied all his life turns out to be an integral part of human existence.

But the situation prevailing in liberal societies, a striking example of which is the Kirsanov family, cannot contribute to its full development. The problem of discord, based on these trends, is shown by Turgenev in the novel with all its principles and problems. And the main thing is that the one-sided views of both sides only lead to inaction or thoughtless actions.

Turgenev's novel is dedicated to the problem of confrontation between two ideological social trends of that time. At first glance, it seems that this is an eternal problem of the older and younger generations, their misunderstanding of each other. But it turns out to be a little different. On the one hand, there are liberals, ardent defenders of established ways of life, on the other, nihilists who deny all these orders. This work is built on the opposition of some views to others. This is shown by the example of two heroes of the novel - Pavel Kirsanov and Evgeny Bazarov.

The actions described in the novel take place in the mid-19th century. At this time, the emergence of new ideals and principles of life was just beginning to develop. The people who followed them did not fully and fully realize the significance of this social phenomenon. And they followed it, for the most part, because it was fashionable.

Nihilists denied everything that had been established for centuries: the existing social and state order and much more. And their task at that time was to undermine these structures, to destroy them. But they could not build something new on the ruins of the old. Yes, and few people thought about it. This very clearly conveys one of Pavel’s conversations with Bazarov. To Kirsanov’s words that someone needs to build it, Evgeniy replied that it was no longer their concern

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I.S. Turgenev... Beautiful works are associated with his name: “On the Eve”, “Rudin”, “Asya”. From early childhood, Ivan Sergeevich was present in our lives. His work “Bezhin Meadow” made me fall in love and helped me better understand the nature of central Russia. About the work of I.S. Turgenev, as well as about the poems of S. Yesenin, one can say: “It’s all about Russia” (A. Blok).

Vast fields, forests, old villages forgotten somewhere in the wilderness, in which people, inextricably linked with nature, personify the truly Russian, bright and pure communication of man with nature... You see all this when you read Turgenev.

I also saw this while reading the novel “Fathers and Sons.” Fathers and sons... These two words: in a dispute - often mutually exclusive, in life - they are inextricably linked. This topic is close to any generation, just as the theme of old and new, obsolete and emerging is close.

Bibliography

To prepare this work, materials from the site https://ilib.ru/ were used

The system of images in Turgenev’s novel “Fathers and Sons”: Evgeny Bazarov and Pavel Kirsanov

I. S. Turgenev’s novel “Fathers and Sons” was written in the late fifties of the 19th century.

At this time, Russia stood on the threshold of great reforms, so there was an increased interest in society in social problems in the life of the country, and the liberal direction of thought in Russia intensified.

The beginning “era of liberation” created new types of people and their relationships, which often diverged from the rules and “principles” of life already rooted in the consciousness of the conservative part of society. It was this problem that became one of the main ones in Turgenev’s novel “Fathers and Sons.”

Representatives of the opposing camps of Russian society in the work are Evgeny Bazarov and Pavel Petrovich Kirsanov.

Bazarov is a nihilist, a commoner, expressing the most modern idea of that time about the utilitarian-materialistic structure of society. "Nihilist. It is from the Latin Nihil, nothing as far as I can tell; therefore, this word means a person who... who does not recognize anything,” this is how Nikolai Petrovich described Evgeniy.

Bazarov’s opponent, Pavel Petrovich, represents “the past century of Nicholas’ rule. Even in the village he wears a fashionable tie and patent leather ankle boots, which would seem impractical in such a place. His whole life is woven from various “principles” that are fundamentally at odds with Bazarov’s worldview views.

Both characters embody two irreconcilable extremes in the social life of the 19th century. That is why Turgenev brings them together in the novel, showing how differences in views on life develop into a dispute, and in a dispute, as we know, the truth is born, the golden mean is revealed, which Turgenev wanted to convey to readers.

The first skirmish occurs on the first day of Bazarov’s stay in Maryino. “Pavel Petrovich’s aristocratic nature was outraged by Bazarov’s complete swagger.

This doctor’s son was not only not timid, he even answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.” Prejudice against Bazarov grew in Pavel Petrovich’s soul. It could not stay in Kirsanov for long and eventually resulted in a dispute with Evgeniy.

Their first encounter was short-lived and superficial: the conversation was about German and Russian sciences, and here Bazarov uttered a phrase that encapsulated his concept of human life (“A decent chemist is twenty times more useful than any poet.”

) However, the dispute was short-lived, and therefore did not resolve the problems of the parties. “We will still have a fight with this doctor,” Pavel Petrovich anticipates.

The eye-to-word battle took place two weeks later over evening tea. This particular scene is one of the main ones in the novel, as it helps to better understand the logic and life principles of the characters. The main topic of the dispute was nihilism and its impact on society.

This is where Bazarov’s merciless radicalism manifests itself in relation to everything that does not fit his life standards. “First we need to clear the place,” says Evgeniy about his appointment. He puts the ideas of materialism and the usefulness of things in first place in his life.

Despite such a rather utopian than a real dream of transforming humanity, Turgenev is distinguished in Bazarov by his practicality, real knowledge of the life of the common people, in contrast to representatives of aristocratic Russia.

Pavel Petrovich, contrary to the opinion of the “doctor’s son,” proves that in life one must always be guided by clear rules and principles, even if they have already become obsolete. Aristocratism, liberalism, progress, principle - all these words are used by Pavel Petrovich in a dispute with Bazarov, but at the same time, according to Evgeniy’s fair remark, he continues to sit with his hands folded.

The fundamental issue in the dispute was the issue of the Russian people. Bazarov despises the peasant because of his ignorance, but in no way wants to admit his departure from the land, from the people; proudly says that his grandfather “ploughed the land.”

the state of Nikolai Petrovich's estate gives reason to believe that Pavel Petrovich, like his brother, was very far from understanding the true needs of the people. Meanwhile, at the end of the novel, Turgenev says that the men considered Bazarov to be a fool, unable to understand their life.

Thus, the writer shows that the opinions of both heroes are far from a true understanding of people's life.

As the dispute develops, we understand the reasons for Eugene’s general denial. There really is some logic to them. Bazarov’s tragedy lies in the fact that he was unable to organically combine “daily bread” and “unconscious art” in his soul.

Turgenev confronts two extremes, the nihilist and the aristocrat, to show the need to recognize the golden mean.

Unfortunately, it is not possible to resolve the contradictions peacefully, and the writer shows an already open struggle, a fight - a duel. Kirsanov feels some truth in his opponent’s statements, but his aristocratic habits prevent him from agreeing with him.

The ending of the novel emphasizes the utopian ideas of both heroes. Bazarov dies, recognizing the inconsistency and lifelessness of his views, and Pavel Petrovich leaves for Dresden, where he continues to lead an aristocratic lifestyle, realizing that a completely different time is coming in Russia.

According to Turgenev, the unions of Arkady and Katenka, Nikolai Petrovich and Fenechka, in which practicality and love of high art, utilitarianism and the desire for nature, poetry, and happiness, organically coexist, are almost ideal.

In the novel “Fathers and Sons,” I. S. Turgenev vividly and ambiguously embodied the social conflicts of the mid-19th century. The writer subtly and expressively showed both the weak and strong sides of this phenomenon.

The ability to sensitively guess the problems and contradictions that have arisen in Russian society is an important distinguishing feature of Turgenev the writer. The novel "Fathers and Sons" recreates the era before the abolition of serfdom - the action begins on May 20, 1859.

In a situation of social crisis, disputes between different generations about the people, about the social system, about ways to reorganize the world, about art, about religion have sharply intensified...

However, the open clash between Bazarov and Pavel Petrovich Kirsanov is predetermined by the fact that the heroes differ not only in age, but also in social status - the aristocrat Kirsanov and the commoner Bazarov.

Pavel Petrovich Kirsanov, the son of a military general who took part in the Patriotic War of 1812, was formed as a person in the era of government reaction. Hence - idealism, the cult of feeling. A meeting at a ball with Princess R. changes Kirsanov’s whole life; the “mysterious look” of the young coquette penetrates into the very heart.

He “met her at a ball, danced a mazurka with her, during which she did not say a single good word, and fell passionately in love with her.” The hero is unable to resist his feeling, and the news of the death of Princess R. forces him to abandon the “worldly vanity”: “having lost his past, he has lost everything.”

The description of Pavel Petrovich’s life is highlighted in a separate chapter precisely because this life is internally exhausted, spiritual development is completed.

The son of a poor district doctor, Evgeny Bazarov, belongs to the generation of “children”. The very appearance of the hero - “naked red arm”, “robe” - contrasts with the aristocratic appearance of Pavel Petrovich - “dark English suite, fashionable low tie and patent leather ankle boots”, “elegant and thoroughbred” appearance.

Bazarov’s life path is typical for a commoner: study at the medical-surgical academy, passion for natural sciences and vulgar materialism and, as he himself puts it, “self-delusion.” All this had a decisive influence on the hero.

Atheism in Bazarov is combined with faith in the possibility of knowing the world through the power of the human mind.

Love plays an important role in Bazarov’s fate, although he considers it “nonsense,” “unforgivable nonsense.” Of course, a young nihilist cannot be called an ascetic. So, Fenechka charms him with her youth, purity, and spontaneity. We are not talking about the hero’s true love for the pretty, but rather empty (from my point of view) Fenechka.

The relationship with Odintsova is a different matter. The duel with Pavel Petrovich, the subject of which seems to be Fenechka, occurs at the moment when Bazarov is thrown out of his emotional balance by his passion for Odintsova. Bazarov’s feeling for her is no longer just physical passion, it is love.

“He could easily cope with his blood, but something else took possession of him, which he did not allow, which he always mocked, which outraged all his pride.” Bazarov's love differs from Pavel Petrovich's love for Princess R. In Anna Sergeevna, the hero is attracted by a deep mind (“a woman with a brain”), independence of judgment, and a certain inner freedom.

Bazarov's struggle with his feelings is initially doomed to failure. The decision to part with Odintsova leaves a heavy mark on the hero’s soul.

With his novel, Turgenev affirms the eternal value for a person of love and beauty. Before great and mysterious love, Pavel Petrovich Kirsanov and Evgeny Bazarov are equal.

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Essay on the topic: Bazarov and Kirsanov in Turgenev’s novel “Fathers and Sons”

_________________________________________________________________________________________________ Composition. Evgeny Bazarov and Pavel Kirsanov in I. S. Turgenev’s novel “Fathers and Sons”

The great Russian writer I. S. Turgenev subtly felt everything that was happening in the public life of Russia. In the novel “Fathers and Sons” he touches on the burning problem of “fathers” and “children” in the sixties of the last century. The two generations compared by Turgenev in this work diverge not so much because some were “fathers” and others “children,” but because “fathers” and “children” became exponents of the ideas of different eras and represented the interests of different social strata of society : the old nobility and aristocracy, on the one hand, and the young revolutionary-democratic intelligentsia, on the other. But not every person who belongs to the younger generation in age and sympathizes with new ideas was up to the thorny path of a nihilist, that is, a revolutionary. The author clearly shows this by comparing two young people, representatives of the new generation: Arkady Kirsanov and Evgeny Bazarov. Arkady is the grandson of the general of 1812, the son of a local nobleman, a man with a number of undoubted merits, one of the best representatives of his class. Evgeny Bazarov was born into the family of a county doctor and a poor “noblewoman”, simple people, but infinitely kind and generous, tireless workers, not alien to progressive initiatives for that time. So, Bazarov’s father “put the peasants on quitrent and gave them their land for share.” Arkady's father did the same. As we can see, the influence of the family on both young people was beneficial. The first meeting with the heroes of the novel is interesting, when they come to Maryino, the village of the Kirsanovs, during the holidays. Turgenev only briefly noticed that his father’s lips “clung to the beardless, dusty and tanned cheek of the young candidate,” and without giving any more, even the most modest description of Arkady, vividly, to the smallest detail, presents us with Bazarov’s appearance, using a psychological portrait to emphasize the personal traits of your hero: calmness, self-confidence, masculinity and intelligence. Clothes, manners, “naked red hand,” Bazarov’s entire behavior spoke of his belonging to the common people and that he was proud of this and did not intend to comply with the rules of etiquette of the aristocratic nobility. On the pages of the novel, Turgenev repeatedly emphasizes Bazarov’s extraordinary mind and broad scientific horizons in the field of natural sciences: medicine, chemistry, physics, botany, zoology. The writer is silent about the depth of Arkady's scientific knowledge. It is only obvious that he does not feel the need for constant scientific research, like his friend Bazarov, who, even when visiting, does not miss the opportunity to engage in experiments. Arkady met and became close to Bazarov at the university. The young man, who had not yet decided on his beliefs, liked the freedom-loving thoughts of the nihilist, his bold speeches and the calmness and imperturbable composure with which Bazarov proposed to destroy everything created over centuries and generations. Arkady succumbed to the charm of this strong and independent personality and, like his idol, decided to devote himself to the revolution. But is Arkady ready for the life that Base-rose has prepared for himself, how fully does he share the thoughts and views of his friend and idol? From the very first pages of the novel, from the very first remarks, Turgenev makes us feel that Arkady is “singing from someone else’s voice.” We see his spiritual lack of independence, sincere, but only external adherence to Bazarov’s views. Arkady starts a conversation with his father about his native places, dear and close to his heart, but, remembering that he is a nihilist and it is not proper for him to give in to his feelings, he breaks off mid-sentence and casts an “indirect glance” back, wanting to make sure that the enthusiastic words did not reach to the ears of his critical and mocking mentor. Arkady, according to Pisarev, “wants to be the son of his century and puts on himself the ideas of Bazarov, which absolutely cannot merge with him.” In the presence of Bazarov, Arkady behaves awkwardly and unnaturally, constantly feeling internal tension and self-control: so as not to say something that a friend will not like. Bazarov is completely free and independent in behavior. He, according to Pisarev, “is so full of himself and stands so unshakably high in his own eyes that he becomes completely indifferent to the opinions of other people.” In disputes with Pavel Petrovich, Bazarov admits that the main task of the nihilists is to destroy everything old in order to “clear the place,” and building is not their business. Not recognizing principles, he elevates universal negation to a principle, trying to deny everything: friendship, love, literature, art. Arkady’s subtle, romantic nature could not come to terms with the merciless, indiscriminate denial, even, in Dobrolyubov’s words, “to find the pure truth,” of all spiritual riches and enduring universal human values. Arkady could not, like Bazarov, renounce Pushkin and Raphael, his love for music, nature, and women. Pure and tender love for Katya alienates him more and more from Bazarov. He begins to understand that Bazarov does not respect not only authorities, but also those around him, that his idol does not love anyone. This leads to Arkady parting with the camp of the “children” and going over to the side of the “fathers”. Bazarov is not surprised by this. “You are a gentle soul, a weakling, where can you hate!..” - he bitterly reproaches his friend. Saying goodbye to Arkady, Bazarov says: “You were not created for our bitter, tart, boggy life. You have neither insolence nor anger, but only youthful courage and youthful enthusiasm; This is not suitable for our business.” But for Bazarov himself, love for Odintsova was a severe test of his loyalty to nihilistic ideals. He experiences in the deepest way what he himself rejected: “In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before, and when left alone, he was indignantly aware of the romanticism in himself.” Unhappy love leads Bazarov to a severe mental crisis. The beliefs of a nihilist conflict with his human essence. Only death could resolve this contradiction. Bazarov dies, leaving no followers behind. The best of his students, Arkady, turned out to be only a temporary fellow traveler, unable to bring himself to the chopping block in the name of serving revolutionary ideals. Of all the representatives of the younger generation depicted by Turgenev in the novel, only Bazarov would be able to give his life in the name of his cause. Without sharing the nihilistic doctrine of his hero, Turgenev recognizes his enormous moral strength and great social significance. Noting that Arkady, his father and uncle are the best of the nobles, the “cream,” Turgenev nevertheless evaluates them as follows: “Weakness and lethargy or limitation.” About Bazarov, he writes: “If the reader does not love Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness, if he does not love him, I repeat, I am guilty and have not achieved my goal.”