What do we learn about the bazaar. Bazarov's characteristic

Evgeny Bazarov is the protagonist of Ivan Turgenev's novel "Fathers and Sons", "Russian Hamlet", the exponent of the new and very strong convictions of the Russian intelligentsia in the middle of the 19th century - a nihilist. He denies the high spiritual principle, and with it - poetry, music, love, but preaches knowledge and on its basis - the reorganization of the world. Bazarov is a commoner, a medical student, although he is already about 30 years old. He is so-called. An “eternal student” who studies for years, getting ready for real activity, but will never get down to it.

Eugene came on vacation with his friend Arkady Kirsanov to his estate. The first meeting with Eugene takes place at the station, where Arkady's father meets the young men. The portrait of Bazarov at this moment is eloquent and immediately gives the attentive reader some idea of \u200b\u200bthe hero: red hands - he conducts a lot of biological experiments, is intensively engaged in practice; a hoodie with tassels - everyday freedom and neglect of the outside, besides, poverty, alas. Bazarov speaks a little arrogantly ("lazily"), on his face there is an ironic smile of superiority and condescension to everyone.

The first impression does not deceive: Bazarov really considers everyone he meets with us on the pages of the novel below himself. They are sentimental - he is a practitioner and a rationalist, they love beautiful words and grandiloquent statements, they give highness to everything - he speaks the truth and everywhere sees the true reason, often low and "physiological".

All this is especially evident in the disputes with Pavel Petrovich Kirsanov - the "Russian Englishman", the uncle of Arkady. Pavel Petrovich speaks of the high spirit of the Russian people, Eugene retorts with a reminder of sleepwalking, drunkenness, and laziness. For Kirsanov, art is divine, but for Bazarov “Raphael is not worth a dime”, because he is useless in a world where some people have hunger and infection, others have snow-white cuffs and morning coffee. His resume to art: "A decent chemist is twenty times more useful than any poet."

But the hero's beliefs are literally ruined by life itself. At the provincial ball, Bazarov meets Anna Odintsova, a rich and beautiful widow, whom he first characterizes in her own manner: "She does not look like other women." It seems to him (Eugene wants it to be so) that he has an exclusively carnal attraction to Madame Odintsova, "the call of nature." But it turns out that an intelligent and beautiful woman has become a necessity for Bazarov: one wants to not only kiss her, but talk to her, look at her ...

Bazarov turns out to be "infected" with romanticism - something that he vehemently denied. Alas, for Madame Odintsova, Evgeny became something like those frogs that he himself cut for experiments.

Running away from feelings, from himself, Bazarov leaves for his parents in the village, where he treats the peasants. Opening a typhoid corpse, he wounds himself with a scalpel, but does not cauterize the cut and becomes infected. Soon Bazarov dies.

Characteristics of the hero

The death of a hero is the death of his ideas, convictions, the death of everything that gave him superiority over others, in which he so believed. Life gave Eugene, as if in a fairy tale, three tests to increase the complexity - duel, love, death ... He - more precisely, his convictions (and this is he, because he "made himself") - do not stand a single one.

What is a duel if not a product of romanticism, and certainly not a healthy life? And yet Bazarov agrees to her - why? After all, this is utter nonsense. But something prevents Eugene from refusing to challenge Pavel Petrovich. Probably an honor, which he scoffs at as much as art.

("Bazarov and Odintsova", artist Ratnikov)

The second defeat is love. She rules over Bazarov, and the chemist, biologist and nihilist cannot do anything with her: "His blood caught fire as soon as he remembered her ... something else got into him, which he never allowed ..."

The third defeat is death. After all, she did not come by the will of old age, of chance, but almost intentionally: Bazarov knew perfectly well what the threat of a cut on a typhoid corpse was. But he didn’t burn the wound. Why? Because at that moment he was driven by the lowest of the "romantic" desires - to end it all at once, to surrender, to admit defeat. Eugene suffered so much from mental anguish that reason and critical calculation were powerless.

Bazarov's victory is that he has enough intelligence and strength to admit the collapse of his convictions. This is the greatness of the hero, the tragedy of the image.

The image of the hero in the work

At the end of the novel, we see all the heroes somehow arranged: Odintsova got married according to calculation, Arkady is happy in a philistine, Pavel Petrovich leaves for Dresden. And only Bazarov's "passionate, sinful, rebellious heart" disappeared under the cold ground, in a rural cemetery overgrown with grass ...

But he was the most honest of them, the most sincere and strong. Its "scale" is many times larger, its capabilities are greater, and its strengths are immeasurable. But such people live a little. Or a lot, if they shrink to the size of Arcadia.

(V. Perov illustration for Turgenev's novel "Fathers and Sons")

The death of Bazarov is also a consequence of his false beliefs: he was simply not ready for the "blow" by love and romance. He did not have the strength to resist what he considered to be fiction.

Turgenev creates a portrait of another "hero of the time", over whose death many readers are crying. But the “heroes of the time” - Onegin, Pechorin, others - are always superfluous and heroes only because they express the imperfection of this time. Bazarov, according to Turgenev, "stands on the threshold of the future", his time has not come. But it seems that it did not come for such people, and now it is not known whether it will be ...

I.S. Turgenev had an amazing intuition. The genius of the writer lies in the fact that he knew how to sensitively listen to Russian life and find in it the shoots of the new, the most relevant. So in the late 50s and early 60s, he saw in Russia a new type of hero, who was replacing the noble hero.

The image of Bazarov as a new hero of Russian literature

The first hero in the gallery of such images in the writer's work was Yevgeny Bazarov.

The hero-nobleman is replaced by the hero-commoner

I.S. Turgenev wrote in his article “About“ Fathers and Sons ”:

In this remarkable man (the prototype of Bazarov) was embodied ... a barely born, still fermenting beginning, which later received the name of nihilism. The impression made on me by this person was very strong and at the same time not entirely clear.

Bazarov's childhood

We know very little about the hero's childhood. We learn that his grandfather was a serf

"My grandfather plowed the land",

proudly declares the hero.

His parents' marriage was not based on love. But, reading into the portraits of Arina Vlasyevna and Vasily Ivanovich, we understand that they respect each other, madly love their Evgeny, therefore it can be assumed that everything that was necessary to give their son an education, to raise him, Bazarov's parents did.

The hero's father is a former regimental doctor. Eugene is engaged in medicine at the university, which means that Vasily Ivanovich also had some influence on this. In general, Turgenev talks a lot and willingly about the past of other heroes, but we know little about the past of this character. Maybe because it is not the past that determines the essence of the hero, but the present. We know that he is studying at the university, but all the characters in the novel, even the hero's opponents, realize that it is not medicine that will become the subject of his future outstanding work.

Bazarov is a commoner

And that, perhaps, says it all. He is a man who made himself. He is a man of action. It is not for nothing that Turgenev writes about his pastime in Maryino:

"Arkady sybaritized, Bazarov worked."

First of all, Eugene is a very strong person. This new power is felt by all the heroes of the novel. His strength is manifested in all his actions: in unhappy love, in the categorical nature of statements, in relation to other people and, of course, in death. No wonder he wrote:

"To die like Bazarov died means to accomplish a great feat."

The image of Evgeny Bazarov as a man of action

He is kind in his own way. Let us recall at least the scene of the first meeting of the hero and Arkady with Fenechka. She, the mother, first of all notes how calmly the child went into Yevgeny's arms. Children, after all, very much feel the essence of a person. He is a doctor. And this essence of the doctor is manifested in his image to everyone:

• in relation to the inhabitants of Maryino,
• in how he helps Pavel Petrovich, wounded in a duel,
• in the fact that he dies, having become infected during the autopsy of a typhoid corpse.

Eugene is proud. After the explanation, his relationship with Madame Odintsova evokes respect for him. He can be touching with his parents, it is about them that he thinks before death (respecting their attitude to religion, he asks Odintsova to console Arina Vlasyevna). He, rejecting all feelings, is capable of great love. He, who rejects all moral standards, in essence, lives according to high moral laws. But in everything where and how the hero manifests himself, his adherence to the theory of nihilism is reflected.

Bazarov is a nihilist

Therefore, Turgenev is extremely interested in the ideas that his character preaches. Bazarov calls himself a nihilist, that is, a person who does not recognize anything. In the novel, he preaches the ideas of the mid-19th century positivists, who proclaimed the primacy of practice over speculation. Felt in Eugene's attitude to art and the influence of the aesthetic concept

(“That which is useful is wonderful”).

The hero rejects first of all that which does not lend itself to experimental research.

There are no feelings, there is physiology. There is no love, but there is a physical attraction. There is no "mysterious look", there is a lens, cornea, refraction of light ... and nothing more.

For Bazarov, practice is the criterion of truth

Practice is for him the criterion of truth. Experiment is the only way to study nature. At the same time, art and beauty turn out to be unnecessary concepts. The practicality of the position in the image of Bazarov is expressed in his words:

"Nature is not a temple, but a workshop, and man is a worker in it."

Evgeny Bazarov as a man of ideas

This makes it interesting for both the writer and the reader. But his ideas are fruitless, at the core of their destruction, it is in this that the hero sees his purpose ("to clear the place", which reminds the words of the Russian translation of the "Internationale" - "to the ground"). The position of the main character in the novel is unacceptable for Turgenev.

Bazarov's strength of character is manifested in the death scenes

The strength of character Bazarov-man is manifested in the scenes of death. First, death is something that cannot be denied. This is how eternal nature argues with human theories. Secondly, in death, Eugene becomes a person, sensitive, gentle, poetic, courageous. Remarkable is the phrase he said before his death:

"Russia needs me ... No, it is evident, not needed."

This is how the hero himself answers the eternal question of Russian reality and Russian literature - the question of the hero of the time. In the epilogue of the novel, Turgenev, describing Bazarov's grave, speaks of the eternity of nature and the vanity of human life.

Our presentation

"Fathers and Sons". A nihilist, a young commoner, a student whose future profession is a doctor. Nihilism is a philosophical movement whose representatives questioned the values \u200b\u200baccepted in society. In the second half of the 19th century in Russia, this was the name for young people with atheistic and materialistic views, who wanted changes in the existing state system and social order and had a negative attitude towards religion.

This term was found in critical literature even before Turgenev, but after the release of Fathers and Sons, it was dispersed and began to be used in everyday speech. The word "nihilist" has become a characterization of young men and women, of which Yevgeny Bazarov became a composite image in literature. The hero remains in the consciousness of the present person the embodiment of nihilism as a denial of the old, including the "old" ideas about love and human relationships.

History of creation

The idea of \u200b\u200b"Fathers and Sons" began to form in Turgenev in 1860, when he was in England on the Isle of Wight. The prototype of Yevgeny Bazarov was a young doctor from the provinces, an accidental companion of Turgenev, with whom the writer was traveling on the train. The trip turned out to be difficult - the track was covered with snow, the train stopped for a day at some tiny station. Turgenev managed to communicate closely with a new acquaintance, they talked through the night, and the writer turned out to be very interested in the interlocutor. A casual acquaintance of the writer turned out to be a nihilist. The views of this man and even his profession formed the basis of the image of Bazarov.

The novel itself was created quickly, in comparison with the speed with which Turgenev worked on other works. Less than two years passed from the idea to the first publication. The writer drew up a plan for the book in Paris, where he arrived in the fall of 1860. There, Turgenev began to work on the text. The author planned to finish the work by the spring of the same year in order to bring the text ready for publication to Russia, but the creative process stalled. It took winter to write the first chapters, and by the spring of 1861 the novel was only half finished. Turgenev wrote in a letter:

"It doesn't work in Paris, and the whole thing is stuck in half."

The author finishes his work in the summer of 1861, already at home, in the village of Spasskoye. By September, corrections were made, and Turgenev returned with the novel to Paris to read the text to friends there, to correct and supplement something. In the spring of 1982, Fathers and Children were first published in the Russian Bulletin magazine, and in the fall they were published as a separate book.

In this final version, the image of Bazarov is made less repulsive, the author relieves the hero of some unsightly features, and this is where the character's evolution ends. Turgenev himself described Bazarov in the list of characters when he made a preliminary portrait of the hero:

"Nihilist. Self-confident, speaks abruptly and a little, hardworking. Lives small; he does not want to be a doctor, he is waiting for a chance. He knows how to talk with the people, although in his heart he despises him. He does not have an artistic element and does not recognize ... Knows quite a lot - he is energetic, he may like his swagger. In essence, the most sterile subject is the antipode of Rudin - for without any enthusiasm and faith ... An independent soul and a proud man of the first hand. "

Biography

The time of action of the novel "Fathers and Sons" is the years immediately before the abolition of serfdom (which took place in 1861), when progressive ideas were already beginning to manifest themselves in society, especially among young people. Evgeny Bazarov is of half noble origin. His father, a poor retired army surgeon, spent his life in the countryside, managing the estate of his noble wife. Educated, but modern progressive ideas bypassed him. Eugene's parents are people of conservative views, religious, but they love their son and tried to give him the best upbringing and education.

Eugene, like his father, chose a career as a doctor and entered the university, where he became friends with Arkady Kirsanov. Bazarov "instructs" his friend in nihilism, infecting him with his own views. Together with Arkady, the main character arrives at the Kirsanovs' estate, where he meets his friend's father Nikolai and his father's older brother Pavel Petrovich. Opposing views on life and character traits of both heroes in a collision lead to conflict.

Pavel Kirsanov is a proud aristocrat, an adherent of liberal ideas, a retired officer. The hero has tragic love behind him, which happened to him in his youth. In Fenechka, the daughter of the housekeeper and the mistress of his brother Nikolai, he sees a certain princess R., a former lover. The unpleasant situation with Fenechka becomes a pretext for a duel between Pavel Petrovich and Bazarov. The latter, left alone with Fenichka, kisses the girl, to which Pavel Kirsanov turns out to be an indignant witness.

Yevgeny Bazarov adheres to revolutionary and democratic views, the environment of the liberals-Kirsanovs is ideologically alien to the hero. With Pavel Petrovich, the hero constantly argues about art, nature, human relations, nobility - the characters do not find a common language in anything. When Bazarov falls in love with Anna Odintsova, a rich widow, he has to reconsider some views on the nature of human feelings.

But Eugene does not find mutual understanding. Anna believes that serenity is the main thing in life. The heroine does not need worries, Anna treats Bazarov with some sympathy, but does not respond to recognition so as not to worry.

Having visited Odintsova's estate, Bazarov, together with Arkady, goes to his parents for three days, and from there back to the Kirsanovs' estate. Just at this time, a scene of flirting with Fenechka takes place, after which Pavel Petrovich and Bazarov shoot themselves in a duel.

After these events, the hero decides to devote his life to medical practice. Eugene's attitude to work was such that he could not sit idle. Only labor justified existence. Bazarov returns to his mother's estate, where he begins to treat everyone who needs medical help.

Carrying out an autopsy of a person who died of typhoid, the hero accidentally injures himself and dies after a while due to blood poisoning. After the death of the hero, a religious ceremony is carried out over the fact, as if in a mockery of the views of Bazarov, - a stroke that completes the tragic fate of the hero.

Turgenev describes the hero's appearance as follows: Bazarov has a long and thin face, a wide forehead, a pointed nose, large greenish eyes, hanging sand-colored sideburns.

The hero sees the meaning of life in clearing a place in society for the new sprouts, however, he slips into complete denial of the cultural and historical past of mankind, declaring that art is not worth a penny, and society needs only butchers and shoemakers.

Image and film adaptations

In Russian cinema, Evgeny Bazarov appeared three times. All three film adaptations bear the same title - "Fathers and Sons", as well as the novel itself. The first tape was filmed in 1958 by the Lenfilm film studio. The role of Bazarov was performed by the Soviet actor Viktor Avdyushko. The next film adaptation was released in 1984. Bazarov performed by Vladimir Bogin looks like a very self-confident young man.

The latest film adaptation was released in 2008. It is a four-part miniseries directed by who also co-wrote the script. He played the role of Bazarov. From ideological strife, here the emphasis has been shifted to love relationships and the possibility of the heroes gaining happiness. The writers interpreted this Turgenev work as a family romance.

• The scriptwriters added some expressive moments to the film "on their own," Turgenev did not have. The famous scene where Bazarov confesses his love to Anna takes place among the glass and crystal that fill the room. These decorations are intended to emphasize the fragility and beauty of the noble world, into which Bazarov invades, like an “elephant in a china shop,” and the fragility of the heroes' relations.
• The script also included a scene in which Anna gives Bazarov a ring. This moment is absent in the text, but it was introduced to emphasize the inner similarity between Bazarov and Pavel Petrovich (the latter's beloved once did the same for him).
• Director Avdotya Smirnova was originally going to give the role of Pavel Kirsanov to her own father, actor and director.

• The scenes in the estates were filmed in real "Turgenev" locations. For filming the Kirsanov estate, the film crew was allowed to use the outbuilding in Turgenev's estate "Spasskoye-Lutovinovo". The estate itself is a museum, where many originals are kept, so they are not allowed to take pictures there. Restoration was planned in the wing. In another Turgenev estate, Ovstyug, near Bryansk, they rented the estate of Anna Odintsova. But the house of Yevgeny Bazarov's parents had to be built specifically for filming. For this purpose, old buildings were searched in the villages.
• The ten-month-old child of one of the museum employees in the Turgenev estate played the role of Fenichka's little son. In Bryansk, local theater workers were involved in the filming, they played the role of servants.

• Costume designer Oksana Yarmolnik spent 5 months to create only outfits for the ladies. The costumes, however, are not authentic, but deliberately approximated to modern fashion, so that the viewer can more easily feel sympathy for the characters and delve into the vicissitudes of their lives. The completely reconstructed costumes made the film look like a historical play and distanced the viewer from what was happening on the screen, so it was decided to sacrifice authenticity.
• The scenes allegedly taking place on city streets were actually filmed on the natural sites of Mosfilm.
• The dishes and wallpapers that the viewer sees in the frame were created specifically for filming, so that they correspond to the spirit of the times.

Quotes

"A decent chemist is twenty times more useful than any poet."

"Nature is not a temple, but a workshop, and man is a worker in it."

“You see what I'm doing; there was an empty space in the suitcase, and I put hay there; so it is in our life suitcase; whatever they stuffed it, as long as there is no emptiness. "

“Education? interjected Bazarov. - Every person should educate himself - well, at least like me, for example ... And as for the time - why should I depend on him? Better yet, it depends on me. No, brother, this is all licentiousness, emptiness! And what is this mysterious relationship between a man and a woman? We physiologists know what this relationship is. You study the anatomy of the eye: where does it come from, as you say, a mysterious look? It's all romanticism, nonsense, rot, art. "

The greatest creation of the master of psychology I.S. Turgenev. He wrote his novel at a turning point, when the progressive people of society were interested in the future of Russia, and the writers were interested in the search for a hero of the time. Bazarov (the characterization of this character clearly demonstrates what the most developed youth of that time was) is the central character of the novel, all the threads of the narrative are reduced to him. It is he who is the brightest representative of the new generation. Who is he?

General characteristics (appearance, occupation)

As a writer-psychologist, Turgenev thought through everything to the smallest detail. One of the ways to characterize the character is the appearance of the hero. Bazarov has a high forehead, which is a sign of intelligence, narrow lips that speak of arrogance and arrogance. However, the hero's clothing plays an important role. First, it shows that Bazarov is a representative of the common democrats (the younger generation, opposed to the older generation of the 40s liberal aristocrats). He is wearing a long black hoodie with tassels. He is wearing loose trousers of coarse fabric and a simple shirt - this is how Bazarov is dressed. The image turned out to be more than speaking. He does not pursue fashion trends, moreover, he despises the elegance of Pavel Petrovich Kirsanov, whose appearance is completely opposite. Simplicity in clothes is one of the principles of nihilists, whose position the hero took, so he feels closer to the common people. As the novel shows, the hero really manages to get close to ordinary Russian people. Bazarov is loved by the peasants; the yard children follow on his heels. By occupation, Bazarov (characterization of the hero in terms of the profession) is a doctor. And who else could he be? After all, all his judgments are based on German materialism, where man is viewed only as a system in which his physical and physiological laws operate.

Bazarov's nihilism

Bazarov, whose character is undoubtedly one of the brightest in the literature of the 19th century, adhered to one of the most popular teachings of that time - nihilism, which means "nothing" in Latin. The hero does not recognize any authorities, does not bow to any life principles. The main thing for him is science and knowledge of the world by experience.

External conflict in the novel

As noted above, Turgenev's novel is multifaceted; two levels of conflict can be distinguished in it: external and internal. At the external level, the conflict is represented by the disputes between Pavel Petrovich Kirsanov and Yevgeny Bazarov.

Disputes with Pavel Petrovich Kirsanov concern different aspects of human life. The most irreconcilable Bazarov is in relation to art, especially poetry. He sees in her only an empty and unnecessary romanticism. The second thing the heroes are talking about is nature. For people like Nikolai Petrovich and Pavel Petrovich, nature is a temple of God, in which a person rests, they admire its beauty. Bazarov (the character's quotes confirm this) is categorically against such chanting, he believes that nature is "a workshop, and a person is a worker in it." In a conflict with Pavel Petrovich, the hero often shows himself rather rudely. He speaks inappropriately about him in the presence of his nephew, Arkady Kirsanov. All this shows Bazarov not from the best side. It is for such an image of the hero that Turgenev will subsequently suffer. Bazarov, whose characterization in many critical articles does not affect Turgenev, turned out to be undeservedly scolded by the author, some even believe that Turgenev slanders the entire younger generation, undeservedly accusing him of all sins. However, do not forget that the older generation is also not at all praised in the text.

Relations with parents

Bazarov's nihilism clearly manifests itself at all moments of his life. Parents who have not seen their son for a long time are eagerly waiting for him. But they are a little shy about their serious and educated child. The mother pours out her feelings, and the father embarrassedly apologizes for such intemperance. Bazarov himself seeks to leave his parental home as soon as possible, apparently because he is afraid of himself suddenly showing warm feelings. According to German materialism, a person cannot have any emotional attachments. On his second visit, Evgeny also asks his parents not to interfere with him, not to bother him with their care.

Internal conflict

The internal conflict in the novel is obvious. It lies in the fact that the hero begins to doubt his theory, he is dissuaded from it, but cannot accept it. The first doubts about nihilism arise in Bazarov when he meets Sitnikov and Kukshina. These people call themselves nihilists, but they are too small and insignificant.

Love line in a novel

The hero's test of love is a classic for the genre of the novel, and the novel "Fathers and Sons" was no exception. Bazarov, an inveterate nihilist who denies any romantic feelings, falls in love with the young widow Odintsov. She conquers him at first sight when he sees her at the ball. She differs from other women in beauty, majesty, her gait is graceful, every movement is royally graceful. But its most important feature is intelligence and prudence. Prudence will prevent her from staying with Bazarov. At first, their relationship seems friendly, but the reader immediately realizes that a spark of love flashed between them. However, none of them is able to overstep their principles. Evgeny Bazarov's confession looks ridiculous, because at the moment of revelation his eyes are more full of anger than love. Bazarov is a complex and contradictory image. What makes him angry? Of course, the fact that his theory collapsed. Man is and has always been a being with a living heart, in which the strongest feelings glimmer. He, who denies love and romance, obeys a woman. Bazarov's ideas collapsed, they are refuted by life itself.

friendship

Arkady Kirsanov is one of Bazarov's most loyal supporters. However, it is immediately noticeable how different they are. In Arcadia, as in his relatives, there is too much romanticism. He wants to enjoy nature, he wants to start a family. Surprisingly, Bazarov, whose quotes about Pavel Petrovich are harsh and unfriendly, does not despise him for this. He guides him on his path, realizing at the same time that Arkady will never be a true nihilist. At the moment of a quarrel, he insults Kirsanov, but his words are rather rash than angry. A remarkable mind, strength of character, will, calmness and self-control - these are the qualities that Bazarov possesses. The characterization of Arkady looks weaker against his background, because he is not such an outstanding personality. But Arkady in the finale of the novel remains a happy family man, and Eugene dies. Why is that?

The meaning of the ending of the novel

Many critics reproached Turgenev for "killing" his hero. The ending of the novel is very symbolic. For such heroes as Bazarov, the time has not come, and the author believes that it will never come at all. After all, humanity holds on only because it has love, kindness, respect for the traditions of ancestors, culture. Bazarov is too categorical in his assessments, he does not take half measures, and his sayings sound blasphemous. He encroaches on the most valuable things - nature, faith and feelings. As a result, his theory crashes on the rocks of the natural order of life. He falls in love, cannot be happy only because of his convictions, and in the end he dies altogether.

The epilogue of the novel emphasizes that Bazarov's ideas were unnatural. Parents visit their son's grave. He found peace in the midst of a beautiful and eternal nature. In an emphatically romantic vein, Turgenev portrays a cemetery landscape, once again carrying out the idea that Bazarov was wrong. "Workshop" (as Bazarov called it) continues to bloom, live and delight everyone with its beauty, but the hero is gone.

Events, which are described in the novel by I. S. Turgenev "Fathers and Sons" on the eve of the peasant reform. The progressive public was divided into liberals and revolutionary democrats. Some welcomed the reform, while others were against such a reform.

Evgeny Bazarov appears in the center of the novel. And Turgenev's novel begins with Bazarov's arrival at the Kirsanovs' estate. Bazarov was the son of a doctor, he also went through a harsh school, then studied at the university for a pittance, was fond of various sciences, knew botany, agricultural technology, geology well, never refused medical assistance to people, in general, he is proud of himself. But he caused rejection and interest in people by his appearance: tall, old cloak, long hair. The author also emphasized his intelligence, pointing to the skull and face, expressing self-confidence. But the Kirsanovs were the best of the nobles. Bazarov's views evoke different feelings in them.

The characterization of Bazarov in the novel "Fathers and Sons" sounds in one word: he is a nihilist, he vividly defends his position of denying everything. He speaks badly about art. Nature is not an object of admiration for the hero, she is not a temple for him, but a workshop, and a person is a worker in it. And Bazarov calls love an unnecessary feeling. Bazarov's views are not typical of representatives of the radical nobility.

The author leads his hero through many trials, as well as through trials of love. When he had a meeting with Madame Odintsova, Bazarov was sure that there was no love, and there would not be at all. He looks at women indifferently. Anna Sergeevna for him is only a representative of one of the categories of mammals. He said that her rich body was worthy of a theater, but he did not think about her as a person. Then, unexpectedly for him, feelings flare up, which lead him into a state of absent-mindedness. The longer he was visiting Madame Odintsova, the closer he gets to her, the more he becomes attached to her.

A person who strongly believed in his theory of nihilism, accepting it 100%, breaks down at the very first real life situation. True love overtakes the hero of Bazarov's novel and he does not know what to do and how to do the right thing. He does not lose pride because of an unrequited feeling, he just steps aside.
Bazarov's attitude to others is different. He tries to captivate Arcadia with his theory. He hates Pavel Petrovich Kirsanov, and considers Nikolai Petrovich a kind, but already obsolete man. Inside him, a feeling of internal confrontation with himself grows. Trying to build his life on the basis of nihilism, he cannot subordinate it to all these dry canons.

Denying the existence of honor, he, at the same time, accepts the challenge to a duel, as he considers it right. Despising the principle of nobility, he behaves in a noble manner, which Pavel Kirsanov himself admits. Actions requiring a certain analysis of Bazarov are frightening and he does not always understand how to act.
As Bazarov does not try, he fails to hide his tender feelings for his parents. This is especially evident when Bazarov's death is approaching. Saying goodbye to Madame Odintsova, he asks not to forget the old people. The realization that the bazaars are a nihilist, but he believes in the existence of love, is painful and painful for him.