Attitude to the nobility of Bazarov and Paul. Dispute between "fathers" and "children"

The problem of generations. Comparative characteristics of E. Bazarov and P. Kirsanov. (based on the novel by I. S. Turgenev “Fathers and Sons”)

Lesson summary teacher of Russian language and literature MBOU "Arch-Golitsinskaya Secondary School" Mikheeva Lyudmila Nikolaevna.

year 2014

The problem of generations. Comparative characteristics of E. Bazarov and P. Kirsanov.(based on the novel by I. S. Turgenev “Fathers and Sons”)

Goals : 1.Improve students’ ability to write comparative descriptions of characters. 2. Be able to determine the moral and ideological positions of the characters in the work. 3. Develop students’ thinking and oral speech. 4. Develop students' interest in reading the novel.

Equipment: Portrait of I. S. Turgenev, presentation “Fathers and Sons”.

During the classes.

1. Organizational moment.
2. Report the topic and objectives of the lesson.(On the screen is a portrait of I. S. Turgenev) We continue to study I. S. Turgenev’s novel “Fathers and Sons.” “My whole life is in my writings,” he wrote. Turgenev has a special sense of time. “Our time requires us to capture modernity in its emerging images; You can’t be too late.” In his works, he “caught” something new that was just emerging in Russian life. Today in class we will try to answer the questions with you: -What is the meaning of the title of the novel? -How and why is there a dispute between representatives of different generations? Guys, at home you compiled a comparative description of the images of P. P. Kirsanov and E. Bazarov.3. Work according to the table.

Comparative characteristics of E. Bazarov and P. P. Kirsanov.

Generation conflict... This problem is relevant at all times. - In which works is this problem addressed? (Shakespeare's Romeo and Juliet, A. Ostrovsky's The Thunderstorm, etc.) In the mid-19th century, on the eve of the abolition of serfdom in Russia, disputes between liberals and revolutionary democrats, aristocrats and commoners sharply intensified. I. S. Turgenev tells us about this in his novel.

Which of the novel's heroes oppose each other?

What are these people called? (antipodes)

Antipode - a person who is opposite to someone in terms of beliefs, properties, tastes. (Explanatory Dictionary of the Russian Language by S. I. Ozhegov)

Name the antipodes in Russian literature. (Grinev and Shvabrin, Oblomov and Stolz, Chatsky and Molchalin...) Today we will conduct a comparative description of the new heroes of the novel.

1. What can you sayabout the origin, social affiliation of the heroes? P. Kirsanov - nobleman, aristocrat, son of a general, retired officer, liberal-conservative. E. Bazarov -son of a military doctor, had peasant roots, medical student. Faculty of St. Petersburg University, commoner, democrat-nihilist.”

2.Portrait. Bazarov- “tall in a long robe with tassels.” The face is “long and thin, with a wide forehead, a flat top, pointed nose downwards, large green eyes and drooping sand-colored sideburns...” He has “naked red arms.”

P. P. Kirsanov- in all appearance “gloss and panache”, appearance “elegant and thoroughbred”, beautiful hands with long pink nails.

3. Speech - P. P. Kirsanov uses French expressions in conversation, his speech is refined, and he often distorts Russian words into a foreign manner (principles, etc.) E. Bazarov- speaks simply and artlessly, his speech is common, he often uses sayings and aphorisms. (read from the text)

1. There are many differences between the heroes, but perhaps the most important thing that makes them irreconcilable opponents is the philosophical positions of each.

- What are our heroes arguing about?

1. On the attitude towards the nobility

P. Kirsanov . Pavel Petrovich sees the main social force in aristocrats. The significance of aristocracy, in his opinion, is that it once gave freedom in England, and that aristocrats have a highly developed sense of self-esteem and self-respect. Their self-respect is important since society is built on the individual

E. Bazarov. The conversation that the aristocracy gave England freedom - “Old Song”, a lot has changed after the seventeenth century, so Pavel Petrovich’s reference cannot serve as an argument. The aristocracy is of no use to anyone; their main occupation is doing nothing (“sitting with folded hands”). They only care about themselves, about their appearance. Under these conditions, their dignity and self-respect look like empty words. Aristocratism is a useless word. In idleness and empty chatter, Bazarov sees the basic political principle of the entire noble society, living at the expense of others.

2.On the principle of activity of nihilists

Pavel Petrovich stands for the preservation of the old order. He is afraid to imagine the destruction of “everything” in society. He agrees to make only minor changes in combining the foundations of the existing system, to adapt to new conditions, as his brother does. They are not reactionaries, they are liberals

E. Bazarov . Nihilists act deliberately, based on the principle of usefulness of activity for society. They deny the social system, that is, autocracy, religion, this is the meaning of the word “ALL”. Bazarov notes that the freedom that the government is worrying about is unlikely to be of any use; This phrase contains a hint of impending reforms. Bazarov does not accept reform as a means of changing the social situation. Denial is perceived by new people as activity, not chatter.

3.About attitude towards the people

P. Kirsanov . The Russian people are patriarchal, they sacredly value traditions, and cannot live without religion. These Slavophile views (with a lifestyle in the English way) speak of reactionaryness. He is touched by the backwardness of the people and sees this as the key to the salvation of society.

E. Bazarov . The situation of the people causes Bazarov not tenderness, but anger. He sees trouble in all areas of people's life. Bazarov turns out to be far-sighted and condemns what will later become the creed of populism. It is no coincidence that he says that the Russian people do not need useless words like “liberalism” and “progress”. Bazarov has a sober attitude towards the people. He sees the lack of education and superstition of the people. He despises these shortcomings. However, Bazarov sees not only the downtrodden state, but also the discontent of the people.

4.About views on art

P. Kirsanov. The new Peredvizhniki artists abandon frozen academic traditions and blindly follow old models, including Raphael. The Peredvizhniki artists, in his opinion, absolutely abandoned traditions. New artists are “powerless and sterile to the point of disgusting.”

E. Bazarov. He denies both old and new art: “Raphael is not worth a penny, and they are no better than him.”

Who wins in disputes?

Does Bazarov have the right to judge his opponent and his “principles” in such a humiliating manner? (We must respect other people's opinions, age..)

5. Attitude towards love.(slide “Scene of E. Bazarov’s declaration of love for A. Odintsova”)

P. P. Kirsanov 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 incapable of anything, such a person is not a man,” he notes. Love seemed like a test for Bazarov... Love conquers selfishness, enlightens the world, this feeling turned out to be not physiological, as the hero assumed, this feeling is shocking and traumatic. In words he denied love, but in reality life forced him to admit it.
For Bazarov, such a drama means humiliation and is perceived as a manifestation of shameful weakness.

6. Lifestyle, interests.

There are differences between Bazarov and Pavel Petrovich in relation to art and nature. From Bazarov’s point of view, “reading Pushkin is wasted time, playing music is ridiculous, enjoying nature is absurd.” Pavel Petrovich, on the contrary, loves nature and music. Art (and literature, and painting, and music) softens the soul and distracts from business. All this is “romanticism”, “nonsense”. Looking at the album of Saxon Switzerland, Bazarov tells Odintsova: “You don’t assume artistic sense in me - yes, I really don’t have it, but these views could interest me from a geological point of view.” Bazarov tries to debunk ineffective “principles”, does not accept illusory daydreaming, rejecting the achievements of culture (“Raphael is not worth a penny”) and perceiving nature in a utilitarian way.
Kirsanov and Bazarov each remain with their own opinion.
Bazarov is the enemy of abstract science, divorced from life. He is for science that would be understandable to the people. Bazarov is a worker of science, he is tireless in his experiments, completely absorbed in his favorite profession.

7.Attitude towards each other.

Bazarov should not forget about respect for the generation of elders. He crosses out the entire life of P. Kirsanov, who believed that he was leading a noble life and worthy of respect.

4. Summing up the lesson.

- Is there a winner in the dispute?

Did the heroes want to find the truth or were they just sorting things out?

Whose side do you think the author is on? I. S. Turgenev considers himself to be a generation of “fathers” and tries to convey to us the idea of ​​the important role of “old people” in the past and present of Russia. It is impossible to deny all the accumulated human experience, art, religion, and the spiritual side of society. The author tried to convey to the reader the idea of ​​​​finding some kind of compromise between generations.

5.Grading.

6. Homework.Analysis of the last chapters of the novel. "The Death of Bazarov."

Disputes between E. Bazarov and P.P. Kirsanov in the novel "Fathers and Sons"

The writer's eternal desire to understand everything that is happening in a given period in his country is also inherent in I.S. Turgenev. A striking novel that reflected an entire era in the historical development of Russia in the second half of the 19th century was the novel “Fathers and Sons.” In the book, the writer reflected not only the contradictions of different generations, but also, to a greater extent, the struggle of two socio-political camps that had developed in Russia by the 60s of the 19th century.

The plot of the novel is based on the opposition of two worldviews, two political directions - liberal nobles and democratic revolutionaries. In this vein of confrontation, Turgenev raises important issues in the development of society: socio-economic, moral, cultural and many others. The two heroes of the novel discuss these questions in their disputes.

Bazarov is a bright representative of revolutionary democracy, an exponent of new thoughts and ideas born of new times. He is contrasted in the novel with the liberal nobility, represented by Pavel Petrovich Kirsanov. We notice their sharp differences in views already in the first argument between the heroes.

Outraged by Bazarov's nihilism, Pavel Petrovich, an aristocrat and liberal, strives to prove that the nobility and aristocracy, as its best part, are the driving force of social development. It is here that the right paths to progress and the ideal are born - “English freedom”, which is the constitutional monarchy. But behind Kirsanov’s words, Bazarov sees only faith in change and passive hope, and therefore considers aristocrats incapable of action. Bazarov rejects liberalism, denies the ability of the nobility to lead Russia to the future. Pavel Petrovich, not seeing behind the nihilism and egocentrism of young people an active desire to replace faith with knowledge and hope with action, does not accept Evgeniy’s views and sharply condemns nihilists for the fact that they “respect no one” and live without principles and ideals. Disagreeing with the nihilists’ denial of everything, Kirsanov considers them unnecessary and useless: “There are only four and a half of you people.” “To this, Bazarov laconically answers him: “Moscow burned down from a penny candle.” By denying “everything,” Bazarov primarily means religion, the autocratic serfdom system, and generally accepted morality. Nihilists preach, first of all, the need for revolutionary actions, the criterion of which is of public benefit.

Bazarov claims that the people are revolutionary in spirit, therefore nihilism is a manifestation of the national spirit. To which Kirsanov objects to him, pointing out the religiosity and patriarchy of the Russian peasant. Pavel Petrovich glorifies the peasant community and family way of life. But arguing with him, Bazarov says that the people do not understand their own interests, that they are dark and ignorant, and consider it necessary to distinguish the people's interests from the people's prejudices. Evgeny is irreconcilably opposed to the lordship and slavery of the people.

Another important issue raised in the debate between “fathers and sons” is the attitude towards art and nature. On this issue, the author does not share the opinion of his hero. It remains on the side of the opponent, who blesses and glorifies art, while Bazarov does not understand and does not love Pushkin, does not admire painting: “Raphael is not worth a penny,” denies the importance of art in general. He approaches nature in a purely materialistic way: “Nature is not a temple, but a workshop, and man is a worker in it.”

In disputes with Pavel Petrovich, the maturity of mind and depth of judgment of Bazarov, his honesty and intransigence are revealed. In all disputes, the last word remained with Bazarov. A compromise between Turgenev's heroes is impossible; their duel confirms this.

Whose side is the author on? By age, character, and lifestyle, Turgenev was a “father,” but being a liberal by conviction, he argued: “My whole story is directed against the nobility as an advanced class.” And yet the hero dies at the end of the novel. In the dying scene, Bazarov is faithful to his ideals to the end, he is not broken, he proudly looks death in the eye. Bazarov's death is justified in an artistic sense. Having not met like-minded people or “kindred elements,” Bazarov had to die in order to remain Bazarov. Turgenev created “a gloomy, wild, ... strong figure ... - and yet doomed to destruction because she still stands on the eve of the future.” Kirsanov's disputes with Bazarov have ideological significance; they reveal the main idea of ​​the novel. They give special poignancy to the plot, serve as a characteristic of each hero, they show the superiority of new, progressive ideas over old ones, the eternal movement towards progress.

Bibliography

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

In their eyes, he was still something of a clown..." 2. Media The writer’s keen interest in the man of the 60s determined the composition of “Fathers and Sons.” The central place in the novel is occupied by the image of Bazarov. Of the 28 chapters, he does not appear in only two. All characters are grouped around the main character, revealed in their relationships with him, and more clearly highlight his appearance...

Our ancestors. Some, for example, serve in the army because their father, grandfather, great-grandfather, etc. were military, and some treat people, just like their father and like Evgeny Bazarov. The problem of “father and children” in the novel is only a reason for conflict, and the reason is that fathers and children were representatives of different ideas. Already describing the heroes, Turgenev contrasts Bazarov’s dirty robe, which...

Being like a friend is a way of self-affirmation. And in this sense, the path of young Kirsanov in the novel is the path to himself. The means of psychological characterization of the characters in the novel “Fathers and Sons” is, of course, a separate topic, but it is necessary to pay attention to the portraits and gestures of the characters already at the beginning of the work. Thus, the portraits of Bazarov and Pavel Petrovich are clearly contrasting, as are their reviews of each other...

The main figure of the time was the Russian peasant, crushed by poverty, “the grossest superstitions,” it seemed blasphemous to “talk” about art, “unconscious creativity” when “it’s about our daily bread.” In Turgenev’s novel “Fathers and Sons,” two strong, vibrant characters collided. According to his views and convictions, Pavel Petrovich appeared before us as a representative of a “binding, chilling force...

Criticism's perception of Bazarov's image

Two points of view

Novel character system

Two camps

Bazarov's doubles

Women's images

I.S. Turgenev “Fathers and Sons”

Test

There is a small rural cemetery in one of the remote corners of Russia.

Like almost all of our cemeteries, it has a sad appearance: the ditches surrounding it have long been overgrown; gray wooden crosses droop and rot under their once painted roofs; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely provide scant shade; sheep wander freely through the graves... But between them there is one, which is not touched by man, which is not trampled by animals: only birds sit on it and sing at dawn. An iron fence surrounds it; two young fir trees are planted at both ends: Evgeny Bazarov is buried in this grave. From a nearby village, two already decrepit old men often come to her - a husband and wife. Supporting each other, they walk with a heavy gait; they will approach the fence, fall down and kneel, and cry long and bitterly, and look long and carefully at the silent stone under which their son lies; they exchange a short word, brush away the dust from the stone and straighten the tree branch, and pray again, and cannot leave this place, from where they seem to be closer to their son, to the memories of him... Are their prayers, their tears, fruitless? Isn’t love, holy, devoted love, omnipotent? Oh no! No matter what passionate, sinful, rebellious heart hides in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal peace, about that great peace of “indifferent” nature; they also talk about eternal reconciliation and endless life...

(I.S. Turgenev “Fathers and Sons”)

IN 1.

AT 2. The above passage is a description of nature. What is such a description called in a work of art?

AT 3. The above excerpt is taken from the final part of the work, which tells about the fate of the heroes after the completion of the main plot. What is another name for such an artistic finale?

works?

AT 4. The word “indifferent” (nature) is placed in quotation marks in the above passage. This is a quote: here Turgenev refers to a poem by a poet who is mentioned and quoted many times on the pages of Fathers and Sons. Write down the name of this poet.

AT 5. Establish a correspondence between the three characters of the work and their statements about the main character of the passage - Bazarov. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.

AT 6. Establish a correspondence between Bazarov’s three remarks and the words that are missing from them (they are given in the nominative case). For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.

AT 7. What is the name for the technique of syntactically similar arrangement of speech elements in adjacent sentences or parts of sentences (for example, An iron fence surrounds it; two young Christmas trees

planted at both ends: Evgeny Bazarov is buried in this grave or Are their prayers, their tears fruitless? Isn’t love, holy, devoted love, omnipotent?)?

C1. What do you think makes it possible to bring the above passage closer to a prose poem?

C2. In what other works of literature do we encounter philosophical reflections on life and death and how do they resonate with the above passage (or with the work of I.S. Turgenev as a whole)?

I.S. Turgenev “Fathers and Sons”

Test

Six months have passed. It was a white winter with the cruel silence of cloudless frosts, dense, creaking snow, pink frost on the trees, a pale emerald sky, caps of smoke above the chimneys, clouds of steam from instantly opened doors, fresh, as if bitten, faces of people and the busy running of chilled horses. The January day was already drawing to a close; the evening cold squeezed the still air even more tightly, and the bloody dawn quickly faded. Lights were lit in the windows of the Maryinsky house

lights; Prokofich, in a black tailcoat and white gloves, set the table for seven places with particular solemnity. A week ago, in a small parish church, two weddings took place quietly and almost without witnesses: Arkady with Katya and Nikolai Petrovich with Fenechka; and on that very day Nikolai Petrovich gave a farewell dinner to his brother, who was going to Moscow on business. Anna Sergeevna left there immediately after the wedding, generously endowing the newlyweds.

At exactly three o'clock everyone gathered at the table. Mitya was placed right there; he already had a nanny in a glazed kokoshnik. Pavel Petrovich sat between Katya and Fenechka; The "husbands" lined up next to their wives. Our acquaintances have changed recently: everyone seems to have become prettier and more mature; only Pavel Petrovich lost weight, which, however, gave even more grace and grandeur to his expressive features... And Fenechka became different. In a fresh silk dress, with a wide velvet headdress on her hair, with a gold chain around her neck, she sat respectfully motionless, respectful to herself, to everything that surrounded her, and smiled as if she wanted to say: “Excuse me, It's not my fault." And she wasn’t the only one—the others were all smiling and also seemed to be apologizing; everyone was a little awkward, a little sad and, in essence, very good. Each served the other with amusing courtesy, as if everyone had agreed to act out some simple-minded comedy. Katya was the calmest of all: she looked around her trustingly, and one could notice that Nikolai Petrovich

I had already fallen in love with her madly. Before the end of dinner, he stood up and, taking the glass in his hands, turned to Pavel Petrovich.

“You are leaving us... you are leaving us, dear brother,” he began, “of course, not for long; but still I can’t help but express to you that I... that we... as much as I... as much as we... That’s the trouble, that we don’t know how to speak! Arkady, tell me.

- No, dad, I didn’t prepare.

– I’m well prepared! Just, brother, let me hug you, wish you all the best, and come back to us soon!

Pavel Petrovich kissed everyone, not excluding, of course, Mitya; At Fenechka’s, he, moreover, kissed the hand, which she still did not know how to give properly, and, drinking a second-filled glass, said with a deep sigh: “Be happy, my friends! Farewell!” (Farewell! (English).) This English ponytail went unnoticed, but everyone was touched.

“In memory of ____________,” Katya whispered in her husband’s ear and clinked glasses with him. Arkady shook her hand firmly in response, but did not dare to loudly propose this toast.

I.S. Turgenev "Fathers and Sons"

IN 1. What genre does the work from which the excerpt is taken belong to?

AT 2. The chapter from which the excerpt is taken tells about the fate of the heroes after the completion of the main plot. What is the name of such a final, final part of a work of art, its ending?

AT 3. Write down the hero's surname (in the nominative case), which must be inserted instead of the blank.

AT 4. Write down a word from the text that, along with the word “toast,” denotes a short table speech of a welcoming nature.

AT 5. Establish a correspondence between the three characters appearing in the passage and their future fate. For each position in the first column, select the corresponding position from the second column.

AT 6. Match the three characters with the lines they speak in the story. For each position in the first column, select the corresponding position from the second column.

AT 7. What is the description of nature in a work of art called (the above passage begins with such a description)?

C1. Why, from your point of view, does Arkady hesitate to propose a toast to his friend out loud?

C2. In what other works of literature do we find scenes in which a family gathers at the table, and how do they resonate with the above passage (or with the work of I.S. Turgenev as a whole)?

M.E. SALTYKOV-SHCHEDRIN

"The Story of a City"

I. S. Turgenev worked on the novel “Fathers and Sons” in the early 60s of the 19th century. The novel reflects the processes taking place in Russia at this time: the struggle between the socio-political forces of liberals and revolutionary democrats. The heroes of the novel are representatives of two ideological camps: liberal Pavel Petrovich Kirsanov and revolutionary democrat Yevgeny Bazarov.

Evgeny Bazarov is young, energetic, businesslike. He takes nothing for granted and denies any principles. In his worldview, he is a materialist, a person who has gone through the school of labor and hardship. Bazarov thinks independently and does not depend on anyone. Knowledge and work give him independence and self-confidence. He is the grandson of a sexton, the son of a district doctor, and he is proud of his origins. Bazarov is a nihilist, and this word comes from the Latin nihil - nothing, that is, he denies everything. He justified his denial of everything theoretically: he explains the imperfection of society and social illnesses by the character of society itself. Bazarov demands a replacement of the very foundations of society. Bazarov expresses these views and beliefs in disputes with Pavel Petrovich, his ideological opponent.

Pavel Petrovich is a representative of conservative liberals. He is an aristocrat, an Anglomaniac and a very self-confident person. He is smart and has certain virtues: honest, noble, true to his convictions. But Pavel Petrovich does not feel the movement of time, does not accept modernity, for him tradition is above all. In Bazarov, he sees a danger to himself and his class, so he defends his “peace” by all means available to him, even to the point of a duel.

Bazarov and Pavel Petrovich discuss topics of art, culture, poetry, nature, science, spirituality, philosophy, and the Russian people.

In disputes with Pavel Petrovich, Bazarov is often aggressive and tries to impose his opinion. From Evgeniy’s point of view, reading Pushkin is a waste of time, playing music is ridiculous, enjoying nature is absurd. Kirsanov is able to appreciate the beautiful: he reads Pushkin, plays the piano. Bazarov is a straightforward person, he is not used to “distorting his soul”, hiding a harsh but fair word out of politeness. This irritated Pavel Petrovich. His “aristocratic” nature was outraged by the young man’s complete swagger. “This doctor’s son not only was not shy in front of him, but also answered abruptly and reluctantly, and there was something rude, almost impudent in the sound of his voice.”

Bazarov does not recognize any “principles,” and Pavel Petrovich, on the contrary, believes that it is impossible to live without principles accepted on faith. After Pavel Petrovich’s words that at the present time, instead of the “Schillers” and “Goethe”, “everyone has come up with some chemists and materialists,” Bazarov sharply declares: “A decent chemist is twenty times more useful than any poet.” Material from the site

All of Pavel Petrovich’s principles boil down, in essence, to one thing - to protect the old order. The principles of the young nihilist boil down to destroying this order.

Turgenev wrote that his work was directed against the nobility, but he did not believe in the prospects of the revolutionary democratic movement, although the author’s sympathies were definitely on the side of the protagonist.

According to Turgenev, Bazarov is a “tragic face” because the Bazarovs’ time has not yet come. The ending of the novel convinces of the inconsistency of Bazarov's theory. It is not he who perishes, but his artificial theory.

The novel “Fathers and Sons” is for us a mirror that reflects the era of the 60s of the 19th century, with its conflicts and contradictions.

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On this page there is material on the following topics:

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• Bazarov and Pavel Petrovich dispute

So, we know that the novel “Fathers and Sons” is about a progressive and a nihilist. Why is so much space given to love in the novel? Why, according to the author, does Bazarov fall in love?

It's simple: the feeling will shed everything superficial, and we will see a living person. Remember how Turgenev himself treated love. Bazarov was always and everywhere confident in himself. Spiritual stability begins to be disrupted when the test of love occurs.

What are Bazarov's views on love? Remember what Bazarov says about this after Arkady’s story about Pavel Petrovich. There is nothing poetic or romantic about this. Bazarov does not accept love as an all-consuming feeling. He doesn’t want to know and doesn’t recognize romantic relationships.

The relationship between Bazarov and Odintsova develops out of mutual interest. Bazarov, seeing her at the ball, was amazed and, in order to hide this, rather cynically shows his interest: “Who is she?”, “She doesn’t look like other women.” Anna Sergeevna also noticed Bazarov, but she did not single him out by his sophistication of manners; outwardly he was no different from the others; he was, like everyone else, in a tailcoat. She noticed an extraordinary face. The fact that he noticed her speaks in favor of Bazarov, because... Anna Sergeevna amazed him not only with her “physiology”, but also with something else, he admired her, but at first he hides it, suppresses it. His feeling is still in its infancy. And then amazing things follow: Odintsova, out of interest in Bazarov, invites friends to the hotel, and Arkady, during this visit, notices that Bazarov is embarrassed, embarrassed and, in the end, blushes, although there is a serious conversation. Odintsova asks him about his attitude towards people, science and art. Bazarov answers her questions completely seriously. We see the feeling begin to grow.

Bazarov accepts Odintsova’s offer to visit Nikolskoye. He was not going there to work, but to visit a beautiful woman. This love grows not only as a passion, but also as a thirst for communication with a truly intelligent woman, capable of understanding him, and he intuitively feels this: “Not like all the other Russian women,” he says about Anna Sergeevna.

What new do we learn about Bazarov during his visit to Odintsova?

We again see his embarrassment, but we also see his significance, his originality. Turgenev says about Odintsova: “The vulgarity alone repelled her,” but no one will accuse Bazarov of vulgarity. The word "nihilist" in the 19th century meant "ordinary." Bazarov is clearly outstanding. In a conversation with Anna Sergeevna, he speaks very seriously, and his thoughts are deep and significant: “Correct society - and there will be no diseases.” In a conversation with her, he also touches on his future scientific activities. We do not see any satanic pride, but in these relationships something is revealed that he did not yet know in himself: the ability for a deep, unified, all-consuming feeling. And this is very important because it is truly human.

But what about his beliefs? He, who laughs at all romanticism, suddenly recognizes the romanticism in himself. Even dying, he remembers Odintsova. Life is governed not by principles, but by sensations. It seemed to him that there was no such love, but his feelings told him that there was. And he is unable to resist the human, and benefits from this: his feelings revealed his soul, showed a truly human face. Passion and spirituality are harmoniously combined in Bazarov.

Anna Sergeevna Odintsova herself is a difficult woman. We learn her biography and know how she ended up in Nikolskoye. Her blood flows calmly, life rolls along the well-trodden path. For her, peace is above all else. Anna Sergeevna makes a good duet for Bazarov in conversations. She is his match in intelligence and intelligence. In many ways I disagree with him. But just as Bazarov reaches out to her, so she reaches out to him.

Please note: against the background of the relationship between Bazarov and Odintsova, the feelings of Arkady and Katya develop. Arkady does not hide the fact that he is in love, Bazarov demonstrates his Olympic calm. For Arkady, everything happens as if by itself. Katya is what his soul wanted. Katya, music, nature - and Arkady’s soul agrees with this.

But with Bazarov it’s more difficult. Bazarov himself is ambivalent about his feelings. Bazarov loves, at some point he is angry with himself, because his deep nature understands that the romanticism that he considered unworthy of a man is entering into him. Bazarov's passion is heavy because, having fallen in love with Odintsova, he discovered obvious voids in his worldview. Before meeting her, he explained everything with his mind, but now he cannot explain this feeling with his mind. His worldview is falling apart. He wages a tough struggle with himself, but still finds the strength to explain himself to her.

Explanation happens, and it happens unusually. Anna Sergeevna herself provokes Bazarov to this act. Her life is empty, she wants life’s impressions, she is tired of this measured movement of life. And he is a strong, mature man, he is not like everyone else. This is what attracts her to him. She wanted him to tell her something about love. But Bazarov is not in the mood for jokes. He has such power of passion! He pressed his forehead against the cold glass. She forced him to confess. She extended her arms, and the next moment she was already at the other end of the room. "We'll remain friends," she says.

What pushes Odintsova away from Bazarov? What is she afraid of: that he is poor or that he is a doctor and the son of a doctor? She allows herself to be loved, but she does not love herself yet, she is on the verge of love. She was afraid of that restless beginning, the beginning of the search, the revolutionary beginning that lives in Bazarovo. To be with Bazarov means to lose peace. After all, even for her sake, he will not give up his beliefs. (Imagine, if he gives up, then who will he become? Pavel Petrovich). When parting, she does not look brilliant, asks Bazarov to stay, and he replies: “Why?” For Bazarov you need everything or nothing, for Odintsova, rather, nothing than everything. Remember Odintsova’s thoughts after Bazarov’s note, in which he writes that he will no longer stay. She understands that there will not be such a real feeling in her life, but for her “peace is better than anything in the world,” and, having made such a decision, satisfied, she falls asleep. Anna Sergeevna would never dare to connect her life with Bazarov. She herself builds her life based only on reason. But Bazarov and Odintsova have common features:

1) they do not share anyone’s opinions;

Katya, who is afraid of her sister, having fallen in love with Arkady, changes, but Anna Sergeevna does not understand her. In her development, in her destiny, she loses more than she finds, she does not go through life as a mistress. She passes by as a shadow, unlike Pavel Petrovich, who loved. Odintsova strangled everything within herself, being a bright and gifted person. In the epilogue, Turgenev talks about her marriage, but his words sound bitter: “... maybe he will live to see love.”

Bazarov looks larger against her background. He is talented, broad-minded, able to look life in the eye, and courageous. He can accept life as it is, as it has hit him in the face. But comfort is important to Odintsova; she cannot and does not want to waste herself on love, on worries. She was frightened. One can only dream of such love, but it is difficult to live with such a person: he does not recognize any half-tones. She insulted him: “You didn’t understand me...”, and he realized that she didn’t love him. He, like a real man, can no longer be in this house.

Bazarov is also higher than everyone else in his love, higher in his natural human simplicity. He has true love, fire, and she…. Turgenev emphasizes her coldness several times, saying that she has “frozen” herself. From this moment on, Bazarov changes radically. But he is also lonely in love. The tragedy of his situation increases from chapter to chapter.

Odintsova, with her mysteriousness, resembles Princess R. What Bazarov denied, it turns out, exists in nature. Odintsova is a mysterious, selfish, cold creature. Both Princess R. and Odintsova are both not worthy of the great love that the heroes feel for them.

Bazarov does not accept alms - “... you took my life - give yours.” Why does he need crumbs and handouts? In his opinion, a man who has staked his whole life on love is not a man. Remember the conversation between Bazarov and Arkady when they first leave Nikolskoye (“It’s better to break stones on the pavement. A real man should be fierce...”). A real man should be serious and busy with real work. You can’t put a woman’s life at stake. Bazarov had to admit due to the feeling that love, in the romantic sense, exists, but he does not give up his business, does not betray him.

Having said goodbye to Odintsova, Bazarov and Arkady go to Vasilyevskoye to visit their parents.

What are Bazarov's parents like? Evgeny’s father wants to keep pace with his son, he doesn’t want to let Evgeny guess what an event this is for him – his son’s arrival. He tries to behave in such a way as to show that his son's arrival is a normal occurrence. Vasily Ivanovich assumes severity, and his lips and eyebrows twitch. He, like Arkady’s father, does not want to lag behind his son, he wants the blood, human, spiritual connection not to be interrupted, so the father has an internal monologue: “I will be a man of his circle, his beliefs.” His father's intonations irritate Evgeniy.

Vasily Ivanovich argues that a person should live by his own work, he himself has worked all his life and continues to work. Like Nikolai Petrovich, he first of all sees his connection with the century in the fact that “...not without sensitive sacrifices, he put the peasants on quitrent and gave them his land for share.” But the efforts of the good old man are in vain. Life moves forward rapidly, and a gap appears between him and his son. Evgeniy’s father himself realizes this and bows his head to the youth: “Of course, you, gentlemen, know better; where can we keep up with you? After all, you have come to replace us.”

D.I. Pisarev says about this: “When such a discord between parents and children appears as we see between the old Bazarovs and their son, then no way out can be thought of. Evgeny Bazarov, of course, can shrink away from his parents, and his life will still be full, because it will be filled with mental work; but their lives? And what a real Bazarov, what kind of thinking person would decide to push away the old people who only live and breathe him and who did everything they could for his education. These old men literally lifted him up on their shoulders so that he could grab with his adolescent hands the lowest branch of the tree of knowledge; he grabbed hold and climbed and climbed high, and there is no turning back, and it is impossible to go down, and it is also impossible for them to climb up, because they are weak and decrepit, and they have to be heard from afar, and they have to suffer because there is no way to hear and understand each other friend; and yet the old people are glad that they can at least hear the vague sounds of their native voice. Tell me, for God’s sake, who would not dare, being in Bazarov’s position, to remain completely silent and not respond with a single sound to the meek and affectionate speeches that rise to him... And Bazarov responds.”

What feelings does Bazarov experience at home? Bazarov comes to Vasilievskoye with the thought that “the woman will not break him,” he comes to be cured of his love for Odintsova. His worldview changes. The joy of the parents breaks Bazarov. He allows his mother to hang on his shoulder. Previously, he said no to the feelings he called romanticism. But now everything is different. He sees how his father behaves, especially in the garden: Vasily Ivanovich sings. It turns out that everything that he did not recognize in a simple person, all this is in his father, and it turns out that, according to his concepts, his father is a plebeian.

And yet, how does Bazarov feel about his parents? Is Pisarev right? Yes. Let's remember the scene of the conversation between Arkady and Bazarov under the haystack. When asked by Arkady whether Bazarov loves his parents, he replies: “Yes, Arkady, I do.”

And we feel his loneliness even more, we see his internal conflict, he is not at peace with himself. In the 10th chapter, he is confident in himself, in his business: “We need to clear the place,” he knows what he needs to do in life. In Chapter 21 he is different.

Pay attention to the landscape in the scene - reflections on eternal nature.

Bazarov talks about the purpose of life and speaks about himself from a different point of view. His mind is split. He is not only obsessed with the desire to “clear the place.” Bazarov is probably beginning to realize the error of his views. Hence his words: “And I hated this last man, Philip or Sidor, for whom I have to bend over backwards and who (talking about a man) won’t even say thank you to me... and why should I thank him? Well, he will live in a white hut, and a burdock will grow out of me; Well, what next?”

Therefore, the burdock after death, which is the logical conclusion of human life, according to his own theory, now no longer suits Eugene, because who would want a burdock to grow out of him just like that, without any meaning, without any idea. The death of the idea becomes obvious to the hero, and therefore all further attempts to fight only cause him mental anguish.

Bazarov sees himself in connection with eternity. No matter how smart and strong he is, we hear his silent question: “... no matter how strong, smart I am, Lord, what do I mean, even if I am like this?”

Turgenev leads Bazarov to bitter thoughts. Bazarov looks at himself: “What does my fluttering mean for this eternal life? Is it possible to shake the eternal, the universal? “Even someone so strong and smart, what can he change in this eternal life? And is it necessary? He tried and hit this life.

How does Bazarov feel about the peasant? Bazarov believes that he looks at the people from the inside and understands them, but even he is not able to look into the secret worldview of the Russian peasant. (But in Maryino ordinary people accepted him as one of their own, and in Vasilyevsky he is a gentleman for the peasants). Bazarov treats the woman “using the latest method,” in the words of the elder Bazarov, and the woman is on her own: she is thinking about how to leave her four testicles in gratitude.

Remember the scene of playing cards with Alexy. Both have their own principles, their own beliefs. The priest has a thousand years of living experience of communication with Russian people. With some feeling, he realized that Bazarov did not need to be blessed. He is flexible, broad, plays cards, smokes. Bazarov takes risks in the game. The priest says: “He’s playing risky.”

What is this scene for? It has a certain meaning: Bazarov’s extreme views (for Turgenev, a gradualist, “extreme”) are inferior to natural life, Russian life.

Turgenev forces Bazarov, now another, who has experienced love and defeat, who has seen his father’s tears, who has moved away from his friend, to go through the second circle: Nikolskoye - Maryino - Nikolskoye - Vasilyevskoye.

The development of the plot leads the hero to the same places twice. And if on the first visit contradictions between the characters are discovered, then during the second visit they develop into conflict. You remember that the ideological, verbal duel between Bazarov and Pavel Petrovich Kirsanov was shown by the author at the beginning of the novel; at the end of the novel a real duel took place between them.

On the second visit of young people to Maryino, the Kirsanovs and elders greeted them joyfully. Even Pavel Petrovich shook Bazarov’s hand, smiling condescendingly. But Pavel Petrovich does not enter into arguments with Bazarov: “We cannot understand each other, at least I do not have the honor to understand you,” he notes. Nevertheless, he sees in Bazarov a scientist, a doctor, a person.

What was the reason for the duel? Let's remember the scene with Fenechka, when Bazarov kisses her.

Let's think about what caused Bazarov's behavior. Bazarov loves Odintsova, and he doesn’t need Fenechka. It was flirting. Remember the circumstances: a summer morning, a broken Bazarov, for whom Odintsova is like an obsession. Bazarov's kiss is an attempt to return to himself. He believes that love is romanticism, it does not exist, there are only sensations. (Remember his statements about love). He wants to return to those positions, to the state that Odintsova violated. But Fenechka is the wife of Nikolai Petrovich, and Bazarov does not recognize traditions, feelings, or conventions. In his opinion, there is no love, but only instinct. He, as already noted, wants to return to his previous state, which is why he kisses Fenechka

Fenechka, who previously respected Bazarov and trusted him, says: “It’s a sin to you.” It contains spiritual culture and folk morality. Women's instinct and folk morality suggest these words to her. From her point of view, Bazarov’s act is immoral, it testifies to Evgeniy’s unspiritual state. Fenechka’s very nature is spirituality and moral beauty.

But it’s interesting: Fenechka is Nikol Petrovich’s wife, and Pavel Petrovich challenges Bazarov to a duel.

Why? There are two reasons for this.

1). The former Pavel Petrovich would not have challenged a plebeian to a duel, but an internal evolution is taking place in him. Principles are one thing, practice is another. In his house, his brother's wife is insulted. It turns out that Pavel Petrovich crosses out his attitude towards the aristocracy and goes out to a duel. 2). He himself is in love with Fenechka, casts ardent glances at her, from which, according to Fenechka, “it gives you such a cold feeling.”

So, Bazarov sees Odintsova in Fenechka and tries to get rid of his love for her, P.P. Kirsanov sees Princess R. in Fenechka.

Let us remember how the explanation takes place between them, the scene of the challenge to a duel (Chapter 24). Pavel Petrovich comes with a stick decorated with a knob, Bazarov behaves in the only possible way: he is calm, ironic and accepts the challenge.

Why does Bazarov agree to a duel? If Pavel Petrovich had challenged Bazarov to a duel in the first dispute, Bazarov would not have agreed to accept the challenge. There were no feelings in my soul then. Now he himself has changed, and his views have also changed, he is already a different person, living not only by sensations, but also by feelings.

Read the duel scene with the words: “Bazarov raised his head and saw Pavel Petrovich...”. The duel scene is the culmination of the development of the conflict between Bazarov and Pavel Petrovich. The only second is the cowardly lackey Peter. Bazarov is calm and continues to be ironic: “I deign it,” he says to Kirsanov, who offered to “deign it” to choose a weapon. And he adds: “And you must agree, Pavel Petrovich, that our duel is unusual to the point of ridiculous...”

Pavel Petrovich aims carefully, but Bazarov doesn’t aim at all and, by pure chance, hits the flesh of Kirsanov’s thigh. Bazarov conducts a conversation with Pavel Petrovich in a joking manner, with mockery, and Kirsanov pompously, seriously. Bazarov agrees to measure mutual hostility in steps.

After Pavel Petrovich is wounded, Bazarov refuses to fight a duel and goes about his usual business: he is a doctor. Pavel Petrovich's fainting is not cowardice, he is just very nervous.

Thus, the duel showed the complete failure of Pavel Petrovich in comparison with Bazarov. If in disputes Bazarov defeated Pavel Petrovich, and this was not said anywhere, then in a duel defeat is completely obvious. “This scene was introduced to expose the elegant noble chivalry, and rightly so.”

The main character of the duel is Bazarov. Why is a duel necessary at all? We saw Bazarov quite clearly. Having outlined the positions of the characters, the author leads them through the trials of love and life. Bazarov stands the test of love; he is a man of great feelings. Thus, Bazarov comes out victorious through the tragic ordeal. Next, Turgenev takes him through the comic. The hardest thing is not to seem funny and pathetic in funny circumstances. It's hard to maintain your dignity when you find yourself in a funny situation. Bazarov even goes through the funny with dignity, so that we do not blame him. In a duel, Bazarov is a strong, courageous man worthy of respect.

But this scene also has another meaning - a philosophical one. Extreme ideological positions push people towards confrontation. Bazarov and Pavel Petrovich are the personification of the social forces of a single nation. The unity of the nation is eternity, and ideology and social struggle are modernity, which must be guided by eternity. You cannot split a nation, a family. A crack in a family is a crack in a nation. These people, the heroes of the novel, deserve each other. The duel shows that both Bazarov and Pavel Petrovich are not bad people. Pavel Petrovich praises Bazarov’s behavior, and he says: “I am a doctor. And stop it!” Such a duel is scary. It is a tragedy when a verbal duel escalates into physical destruction.

Notice the landscape at the beginning of the chapter. Disharmony in the hero's soul and in nature.

How are Bazarov’s relations with other representatives of the “old world”? What can you say about them?

Nikolai Petrovich. Let's remember everything we already know about him. He is a soft, weak person. (Remember the diminutive suffixes: chubby, gray-haired, legs, etc.).

Does the author sympathize with Nikolai Petrovich? Yes. He even gives his own character traits: love of nature, art, love of Pushkin. He takes care of the farm, separated himself from the peasants, and started a farm. He tries to live by the progressive ideas of the century, a determined opponent of serfdom. Its 200 acres are processed by civilian workers who damage the machines. Liberal principles and the decency of a person do not allow sending for a police officer. He is superfluous, incapable of practical activities (see Chapter 22). He is gentle, smart, arranges a marriage with Fenechka, a loving father. N.P. Kirsanov enjoys the respect of the author, but he is “superfluous”

How is your relationship with Arkady? Let's follow their relationship from beginning to end. Arkady Kirsanov, a young, romantic nobleman, falls under the influence of the democrat Bazarov, being carried away by his ideas. Arkady is generally easy to influence. But the working lifestyle of democrats is obviously not very typical for Arkady: the author never shows young Kirsanov at work. But so many times Arkady declares his new views and openly admires himself. Think about a few examples. When Arkady and his father go to Maryino, his father tells him about his native place and reads Pushkin. Arkady likes this, but, afraid to seem like a romantic in front of Bazarov, pretending to be indifferent, he says that it makes no difference for a person where he is born. Clearly wanting to puzzle his father and uncle, Arkady utters the word “nihilist” and not very tactfully starts a conversation about Fenechka’s place in the house - he wants to demonstrate his broad-mindedness. Nihilistic roots were not firmly entrenched in him.

How does Bazarov feel about Arkady? He pulls his young student back, asks him “not to speak nicely,” but at the same time he is attached to Arkady, and one can understand him: Arkady is a kind and in many ways likeable young man, but the severity and severity of the task that he wants to take upon himself , he understands poorly.

Contradictions between friends begin to emerge from the time they visited Odintsova. It is in Nikolskoye that the first crack appears. Arkady cannot stand comparison with Bazarov. Anna Sergeevna is not interested in him. Here, in Nikolskoye, his passion for Katya begins, although at first he does not realize it. For some time now, a kind of false, cheeky banter had been established between the two young people, which always serves as a sign of secret displeasure or unexpressed suspicions.

At the Bazarovs' estate, Arkady gets into an argument with Evgeniy. This has never happened before! Under the influence of rivalry, Arkady’s final awareness of his “I” occurs, and here Arkady’s connection with the noble nest is especially evident: he strives to justify Pavel Petrovich in the eyes of Bazarov, does not agree with his harsh assessments.

The heroes find themselves in the same situation: both are in love with Odintsova, both without reciprocity. Bazarov's deep passion sets off the passion of the quickly consoled Arkady.

How is Arkady’s relationship with Katya built? Arkady is a soft wax from which a strong person can mold anything. He reports to Katya, an 18-year-old girl. This does not surprise her: she is a strong person, she is a real miracle: smart, beautiful, she knows how to stand up for herself. Without noticing, Arkady falls under the influence of Katerina Sergeevna. She immediately sees the difference between Arkady and Evgeny and notices that they are people of a different breed. “He is a predator, and we are tame,” she says. Katya understands that people like Bazarov, who is a “different breed,” must be born. Smart Katya soon understands something else: after Arkady left Bazarov, he had no convictions left, only traces of a satirical direction remained. Having fallen in love with Katya, he becomes a zealous owner and leads a common life with his father in Maryino. Arkady's love for Katya finally separates his friends, and marriage “pacifies” Arkady. How strong are Arkady's democratic ideals, the scenes in Nikolskoe again show

Bazarov: “We say goodbye forever... you were not created for our bitter, tart, bean life. You have neither insolence nor anger, but only youthful courage and youthful enthusiasm; This is not suitable for our business. Your brother, a nobleman, cannot go further than noble humility or noble ebullience, and this is nothing. For example, you don’t fight and already imagine yourself to be great, but we want to fight. Our dust will eat into your eyes, our dirt will stain you, and you have not grown up to us, you involuntarily admire yourself, you enjoy scolding yourself; But it’s boring for us - give us others; We need to break others! You’re a nice guy, but you’re still a soft liberal baric.”

Arkady: “I am no longer the arrogant boy I was when I arrived here... I still want to be useful; I wish to devote all my strength to the truth; but I am no longer looking for my ideals where I looked for them before; they seem much closer to me. Until now, I did not understand myself, but set myself tasks that were beyond my strength.”

As we see, Arkady realized the impossibility of taking part in revolutionary activities. And although “transformations are necessary,” his role in them will be limited only to economic activities on his estate. The tasks of self-education turned out to be beyond Arkady's ability. So, the ideals of the nobility were achieved by Arkady and are achievable by him. Arkady is sad at separation from Bazarov: “Are you saying goodbye to me, Evgeny?” And Bazarov answers him: “You yourself said goodbye to me a long time ago.” Arkady has long since parted with the business to which Bazarov is so devoted. This is a bitter farewell for both; both are experiencing separation. “You say goodbye, and there are no other words,” says Arkady, and Bazarov is true to himself: he does not want to show his feelings, but we understand what is happening in Bazarov’s soul: “Yes, but I can get upset.” Of all the people, Arkady was the closest person to Bazarov, but Evgeny understands: it is natural for Arkady to do what he did. And Evgeniy tells Arkady to follow the example of the jackdaw. The jackdaw is a family bird, sitting on the tip of its nest, and Arkady returned to his nest, becoming a zealous owner.

Why "zealous"? Arkady did not go alongside Bazarov, he sank lower than his parents - “fathers”, believing that it is reasonable to build relationships with workers with the help of the police officer. If Arkady's father is soft, then Arkady himself is spineless. Young Kirsanov does not keep up with the level of decency of his fathers. Before us is a nobleman-owner with a capitalist grasp.

Conclusion. Even the best of the nobles, free from prejudices, practical, democratic, “cannot reach further than a noble boiling point, and this is nothing.” They are weak, lethargic, and cannot resist “new people.” Turgenev's main task is to prove: “if cream is bad, what is milk?”

In the assessment of the nobles, Turgenev remains a person of their circle, the nobility is his class, but he has ceased to be advanced, having, of course, the right to exist. The nobles cannot lead into the distant future. “My whole story is directed against the nobility as an advanced class.”

But Turgenev did not see any conditions for development in another direction. The liberal nobles, who will not do anything, still have some conditions for their activity (Arkady’s farm is thriving), and Bazarov is tragically alone: ​​there are no comrades nearby, there are no people of the same caliber as him, those who could “not lose in front of him.” " Anna Sergeevna is a strong person, but she is indifferent to Bazarov’s affairs.

Bazarov says goodbye not only to Arkady, but also to Odintsova, although she expresses hope for a meeting. Let's trace their relationship again and see if Bazarov understood Anna Sergeevna. What is going on in the soul of each of them? We will need to know this in order to understand them during their last meeting before Bazarov’s death.

So, Bazarov meets Anna Sergeevna at the ball. They drew attention to each other, standing out from the rest with their originality. He accepts the invitation to visit her, first at the hotel, and then at her estate in Nikolskoye. You and I also know the reason for Bazarov and Arkady’s arrival in Nikolskoye: they are each infatuated with Anna Sergeevna in their own way, and are trying to hide it from each other. We know about their “monotonous” 15 days spent here. For Bazarov, these days have their own hidden dynamics in the formation of his relationship with Odintsova; we know how this relationship ends.

How does Pisarev characterize them? Bazarov's relationship with Odintsova ends with a strange scene taking place between them. She calls him to talk about happiness and love, she, with the curiosity characteristic of cold and intelligent women, asks him what is happening in him, she pulls out of him a declaration of love. She pronounces his name with a hint of involuntary tenderness; then, when he, stunned by the sudden influx of sensations and new hopes, rushes to her and presses her to his chest, she recoils in fear to the other end of the room and assures him that he misunderstood her, that he was mistaken.”

Everything is over. One of Bazarov’s principles: “If you like a woman, try to get some sense; but you can’t - well, don’t, turn away - the earth is not like a wedge,” - in its first part it has outlived its usefulness. As hard as it is for Bazarov to realize, now he has nothing to do with Odintsova. “Bazarov leaves the room, and that’s the end of the relationship. He leaves the next day after this incident, then sees Anna Sergeevna twice, even stays with her together with Arkady, but for him and for her the past events turn out to be truly an irrevocable past, and they look at each other calmly and speak to each other in a tone reasonable and respectable people,” noted D.I. Pisarev.

But is it? Is everything really so calm in the relationship between Bazarov and Odintsova? Did Pisarev overlook some of the underlying processes that led to Bazarov’s death? What did his new visit to Odintsova’s estate mean for Bazarov? After all, his principles determine the meaning of his life, and suddenly...

He violated this principle; I knew that I couldn’t get “any sense” from Odintsova, but I still went to see her again. Bazarov fell in love with Odintsova very much, so, perhaps, he consoled himself with the fact that he could be deceived by her coldness... What if she still turns out to be better, what if, when they meet again, she will still utter the three words he expected. He subjected his entire worldview to a cruel test: after all, if this one principle is worth “breaking,” then what is the price of everything else. It was not so easy for Bazarov to decide on a third visit to Odintsova’s estate.

What happened during this meeting? Bazarov now did not stay with Odintsova for long, but he would have been glad to live here longer, then he came, but he realized that Odintsova would not change her attitude towards him, so he did not stay long.

But something interesting still happened. Remember, Turgenev says that after one phrase Bazarov said the next day after his arrival, Odintsova’s face “... alternately turned red and pale.” What's happened? Bazarov spoke about the possibility of Katya and Arkady’s engagement: “The party is good in all respects; Kirsanov's condition is fair, oh