Bazarov's biography is not described in its entirety anywhere in the novel, but is scattered in fragments throughout the novel, not only because the hero is still young. Probably, even in this there is a certain author's position. Turgenev, who respects Bazarov more and more throughout the story, nevertheless wants to emphasize that the Bazarov type itself has not yet developed as a historical one, it does not have an integral history, there is no biography, it is to some extent premature, devoid of historical regularity. It is no coincidence that Bazarov is so lonely in the novel, next to him there are not only real like-minded people, but even simply understanding or sympathizing.
Bazarov's nihilism is a fashionable hobby of the advanced heterogeneous youth at that time, built on the merciless denial of all social phenomena and all the idealistic foundations of human life, among which the nihilists included love, art, and faith, in the name of asserting a materialistic approach to reality, natural science knowledge as the sole criterion of truth.
The novel, read to the end, more accurately clarifies the essence of Bazarov's nihilism. This is both a painful, extreme reaction to the triumph of the calm and motionless aristocracy of the Kirsanovs, and a kind of masquerade costume of a cynical naturalist, hiding his true face and true feelings. Calling himself "self-broken", Bazarov admits not to duplicity and not to duality, but to a property characteristic of any ascetic - the struggle with his own nature. This painful, in essence, mortal struggle of Bazarov with his own nature is the most interesting thing in the novel for the modern reader.
"Fights" of Pavel Petrovich and Bazarov.
The first "duel" is a verbal duel in chapter 6. This is more likely not a dispute, but a kind of preparation, Pavel Petrovich's intelligence. He raises several topics: 1) about the success of the Germans in the natural sciences, 2) about authorities, 3) about poets and chemists, 4) about the non-recognition of art, 5) about faith in authorities (almost secondary). Bazarov objects very reluctantly and sluggishly, and Nikolai Petrovich, as always, intervenes in the conversation, when he "smells of fried", he acts as a softener, a buffer.
Before the main ideological battle (Chapter X) in the previous chapter, Turgenev specifically places the episode with Fenechka and the child. Here, for the first time, some of Bazarov's true qualities are revealed, which, however, as always, are hidden behind tough and cynical rhetoric. Bazarov enthusiastically and lovingly talks about plants, and most importantly, a child willingly goes into his arms, which indicates a healthy gut of the hero: children always behave calmly with kind, strong and loving people.
Chapter X is the main ideological duel of heroes. All disputes are started by Pavel Petrovich, for whom everything in Bazarov is unacceptable - from appearance and habits to character, lifestyle and views. Bazarov does not rush into battle, but only briefly parries Kirsanov's blows, but only until the time when he touched him to the quick, offending his filial feelings.
Pavel Petrovich and Bazarov disagree on the following issues:
on the issue of changing society for the better (Pavel Petrovich - for gradual, minor reforms, Bazarov wants to break everything at once);
On the question of the principles and meaning of life (Bazarov laughs at Kirsanov's "principles" and denies the very phenomenon of principles;
on the question of attitude towards the people (Pavel Petrovich honors his patriarchy, adherence to antiquity, faith, humility, and Bazarov despises him for the same and considers the peasant’s consent to slavery, drunkenness and ignorance a vice);
On the issue of patriotism (Pavel Petrovich considers himself a patriot and loves the people theoretically, Bazarov is somewhat closer to the people, easier to deal with the peasant, but no less alien and incomprehensible to the peasant - his name is “pea jester”, since the work of a naturalist is not capable of accepting work.
Bazarov does not want to recognize any authorities, because he believes that everything created thanks to these authorities is subject to demolition, destruction. Bazarov's trust extends only to the knowledge and experience gained by him during experiments and research.
Gradually, even before the duel, with all Turgenev’s sympathy, with all the sympathy for the Kirsanovs who are closer in spirit to him, and with all the limitations of the nihilist Bazarov, a certain superiority of the nihilist over the “fathers” is more and more clearly revealed. This superiority hurts the author's heart, and it is objectively not good in everything. The author, for example, highly appreciates the dignity, nobility and will of Pavel Petrovich, the sensitivity, kindness, aesthetics of Nikolai Petrovich, the emotionality, delicacy and goodwill of Arkady.
Finally, the reader begins to fully understand Bazarov's "self-indulgence", the peculiar sacrifice of his figure, and after that his painful split and loneliness. Hiding behind the usual cynical mask of the destroyer, his feelings begin to burst the shell of the mask from the inside. He is infuriated by the fact that he cannot explain his sympathy for Fenichka in the usual way - only by physiological needs; that during and after the duel (romantic absurdity!) he is forced to show nobility towards the enemy; that he feels in himself a desire to see next to him a more serious friend and follower than Arkady; finally, he is overtaken by a real feeling of love for Odintsova - that is, exactly what he denied in every possible way and over which he frankly teased.
Ivan Turgenev belongs to the category of writers who have made a significant contribution to the development of Russian literature. The most famous of his major works is the novel "Fathers and Sons", which provoked a heated controversy in society immediately after its publication. Turgenev foresaw such a reaction from the reading public and even desired it, specifically dedicating a separate edition to Belinsky (thus challenging the liberal intelligentsia): “I don’t know what success will be, Sovremennik will probably pour contempt on me for Bazarov - and will not believe that all the time I was writing, I felt an involuntary attraction to him, ”the author wrote in his diary on July 30, 1861. It was the main character and his views that caused fierce debate among Turgenev's contemporaries.
The main idea of many of Turgenev's novels is the expression of the peculiarities of the time through typical characters. The focus is on the socio-historical type, which represents the dynamic beginning of the era. The hero comes to a traditional conservative society and destroys its stereotypes, becoming a victim of the mission that is entrusted to him due to circumstances. Its historical task is to shake the established routine of life, bring new trends and change the existing way of life. Bazarov is a raznochinets (from the family of an ordinary rural doctor), who rises up the social ladder due to his intellectual abilities and personal achievements, and not to title, origin or wealth. Thus, the conflict in the novel can be described as "a raznochinets in a noble nest", that is, the opposition of a working man to an idle noble society. Such a hero is always lonely, his path is gloomy and thorny, and the outcome is certainly tragic. He alone cannot turn the world upside down, so his good intentions are always doomed, he seems to be helpless, inactive, even pathetic. But his mission is to pull the next generation out of the pool of indifference of grandfathers, from their moral and mental stagnation, and not to change their generation overnight. This is a realistic novel, the plot develops according to the laws of life itself.
If Bazarov is the bearer of historical progress, why does he deny everything in a row? Who is a nihilist? Nihilism is a worldview position that calls into question generally accepted values, ideals, norms of morality and culture. The hero denies even love, so his nihilism can be called grotesque. Turgenev deliberately exaggerates the colors in order to enhance the drama of the work and lead Bazarov through "copper pipes" - a mutual feeling for Odintsova. So he tests the hero (this is his favorite trick) and evaluates the whole generation. Despite his total denial, Bazarov is able to experience a strong passion for a woman, he is real, his impulses and thoughts are natural. Unlike secondary characters who fake and hide behind nihilism in order to impress, Bazarov is sincere both in hatred of the old order and in love for Odintsova. He contradicts himself, falling in love, but discovers new facets of existence, cognizes its fullness. He passed the test. Even Turgenev (a nobleman, an official, a representative of a more conservative camp than Belinsky, for example) was imbued with sympathy for his hero.
So the author wrote about Bazarov: "... if he is called a nihilist, then it must be read: a revolutionary." That is, in the understanding of Turgenev, a nihilist is a revolutionary, a person who opposes himself to the existing social order. The hero really rejects the institutions and ideological concepts approved and consecrated by the state. He is a materialist who sets himself the goal of serving the progress of society and, to the best of his ability, cleanse it of prejudices. Indeed a revolutionary feat! Bazarov dooms himself to misunderstanding and loneliness, causes fear and alienation in people, and limits his life to service. The fact that he so insistently denies everything is only a desperate protest of a man who is "a warrior alone in the field." Excessive radicalism is like the loud cry of one crying out in the wilderness. Only in this way will he be heard, only in this way will the next generation understand him. He will have to embody everything that Bazarov does not have time to do. As befits a mission, he will die young, leaving a kind of "apostles" to plant new ideas and lead people to the future.
"Before they were just morons, and now they've suddenly become nihilists"
Nihilism for Bazarov is everything, that is, he spent a conscious, “considered” life under the roof of this worldview. So, studying Bazarov, we also understand the essence of nihilism.
Let's start with the basics: where did Bazarov's nihilism come from? In my student years, thanks to the teachers and the student atmosphere, there came a clear realization that in Russia everything is bad, whatever you take, whatever you do, everything will still be corrupted and turn into dust: “Imagine at least one decision in our modern life, in family or public, that would not cause complete and merciless denial”. Of course, the question emerges: Who is to blame for this, what to do with it, how to fix it? It was not possible to find the culprits, so they simply said - the environment is to blame! “Moral illnesses come from bad education, from all sorts of trifles with which people’s heads are stuffed from childhood, from the ugly state of society, in a word. Fix society and there will be no disease».
How are these young people going to "save" society? What will they resort to? “You are destroying everything. Yes, you have to build. “It's none of our business anymore. We need to clear the place first." Speaking in Russian, to make a revolution, but before that it is necessary to saturate the heads of others with your nihilism, which Bazarov did well. His father, idolizing him, does not dare to say a word across, of course, that he would agree to this "denial" for the sake of his son's attention. Sitnikov bluntly says that Bazarov “opened his eyes” to him - not to recognize authorities. Bazarov's "friend" Arkady, as a seminary student, repeats everything and agrees with Bazarov (up to a certain point) in everything. I am generally silent about Eudoxia. Nikolai Petrovich again indulges his son, emphasizing that, apparently, he is behind the times. Here are just one old liberal, Pavel Petrovich, everything rests and argues with Yevgeny. Of course, to be frank, all this "nihilism" is pure fiction, but of all the heroes of the work, one uncle Arkady openly expresses his indignation at this worldview. And that only says one thing: nihilism is power. "We break because we are strong" Arkady Kirsanov also notes.
The last thing remains, namely: how best to destroy society in order to “clear” a place for society, where there will be no diseases, where it will not matter whether a person is good or evil, smart or stupid? What means have chosen "rescuers" of the world? The denial of everything that is at least somehow sacred, the non-recognition of authorities, but this does not mean that the nihilist, having convinced himself of the correctness and reliability of the authority he once did not recognize, will again become an authority in his eyes. Oh no! This nihilist will also not recognize him, as before.
What keeps any society, people, nation? On a culture that is cherished from generation to generation, these are works of art that any self-respecting person will think about. The nihilist, on the other hand, sees in culture that force, because of which there is no justice in society. They are not completely sure of this, but on the other hand, if you cut off more, then the problem, so to speak, the virus can definitely disappear and only then the country will be just and prosperous.
What was the basis in Russia? Faith Orthodox. And this is the first thing that nihilists deny - God, his existence. From here, the roots of nihilism penetrate into philosophy, and into poetry, and into music, in short, into all creative activities and directions: "a decent chemist is twenty times more useful than any poet". It should also be noted that the denial of God is accompanied by a denial of love, which led Bazarov to what happened to him. The denial of the soul, as the next step in the denial of God, closed the nihilist from talking about what worries him, what is going on in him. “In my heart I was very happy, but I considered it my duty to hide my feelings. No wonder he was a nihilist!”
Below I would like to consider specific examples of Bazarov's nihilism, so to speak, in practice.
Bazarov denies, as mentioned above, love, this sacred feeling that Eugene felt, as if an ancient man saw fire for the first time and was burned by it, he does not fully understand the properties and application of this flame, but understands that it brings him comfort for him caves. “What is the mysterious relationship between a man and a woman? We physiologists know what these relationships are.”. As you can see, Bazarov sees the relationship between the sexes as extremely flat and vulgar, and hence his non-recognition of marriages: “You attach more importance to marriage; I didn't expect this from you.".
And now he will go directly to Russia itself and Bazarov's attitude, as a nihilist, to her. Let's start with a thing that at first glance is international, but of direct importance for a Russian person, and for the title of Turgenev's work it has the closest relationship. The attitude of the nihilist to the family, to parents: it is absent, and this absence is due to the denial of feelings in a person, like romanticism. That is why Arkady Kirsanov, in the presence of his nihilist friend, did not say “dad”, but “father”. The nihilist, as it were, moves away from his relatives, the family is destroyed. Next comes the attitude to his childhood, to the places where the future nihilist grew up. It is missing again, as if there is no difference between the garden in which you ran as a child and the garden in another estate that you see for the first time. “Really, it seems to me that nowhere in the world smells so much as in these parts! “You were born here, everything must seem special to you here. “Well, dad, it doesn’t matter where a person is born.”. Where is it from? And from the thought of the nihilist Eugene: "Nature is not a temple, but a workshop". Why would a nihilist love his father's house? It is not worth talking about Russian poetry and other arts, so it is clear that the nihilist does not recognize any of this. Bazarov is confident only in science, but what does he say about Russian science? “You probably don’t have such a flattering idea about Russian scientists? “Probably so.”. And what does Bazarov think about the Russian people, of which he himself is a part? Nothing good: “A Russian person is good only because he himself has a bad opinion”. And how does this "nihilist" talk to the common people? Like the last boor, respect for an aristocrat, father and peasant is disgusting. But how did Bazarov boast before Pavel Petrovich that, they say, he could talk with a simple peasant? But the reality is different: “self-confident Bazarov did not even suspect that in their eyes (that is, of the common people) he was still something like a pea jester”. It should be noted that Eugene himself does not consider himself Russian, but more on that below.
What comes out of all this? The nihilist does not recognize anything in his Fatherland: neither spiritual life nor the state, he does not see magnificent Russian scientists or great poets, he has absolutely no feelings for his father's house, for his Motherland, he does not see anything good in the people among whom he lives, whom he decided to treat. What does it cost such a person to desecrate a church or burn an estate, kill a person, overthrow the system? Sheer rubbish.
But what keeps any nihilist? After all, there must be some kind of core? It is very easy to say that it does not exist, because this worldview does not recognize authorities. Yes, indeed, he does not recognize, with only one amendment: he does not recognize any authorities other than himself. The whole essence of these fighters is vanity and narcissism, pride and selfishness. This mortal passion soaked through young people. It manifests itself in everything: “So we are gods with you? That is, you are a god, but am I not an idiot? "Yeah, you're still stupid.". Bazarov, without a twinge of conscience, considers himself the greatest, the most intelligent. And here the question arises, what was it originally: indignation at the internal policy of the state or pride? What follows what? It is more believed that it was Bazarov's egocentrism that gave rise to a commitment to nihilism in him, because by the end of his life, he was not a nihilist at all. Bazarov's love and the breath of death ennobled his soul, his views changed, and this change is unlikely to be connected with the political situation in the country, but rather that he was freed from pride, from what is the basis of his nihilism. How can this be confirmed? Very simple: pay attention to how Bazarov talks to others? Through my teeth But how does his father caress his ears, Arkady Kirsanov, Sitnikov, Odintsova?
This is how the sin of pride has found a cozy place in nihilism, in which it is very difficult to detect it. Pavel Petrovich correctly remarked: "pride is almost satanic ... they themselves are powerless and fruitless to the point of disgust."
The idea of Turgenev's novel "Fathers and Sons" came to the author in 1860, when he was vacationing in the summer on the Isle of Wight. The writer compiled a list of actors, among whom was the nihilist Bazarov. This article is devoted to the characteristics of this character. You will find out whether Bazarov is really a nihilist, what influenced the formation of his character and worldview, and what are the positive and negative features of this hero.
Initial author's description of Bazarov
How did Turgenev portray his hero? The author initially presented this character as a nihilist, self-confident, not without cynicism and abilities. He lives small, despises the people, although he knows how to talk with them. Eugene does not recognize the "artistic element". The nihilist Bazarov knows a lot, is energetic, and in his essence is "a barren subject." Eugene is proud and independent. Thus, at first this character was conceived as an angular and sharp figure, devoid of spiritual depth and "artistic element". Already in the process of working on the novel, Ivan Sergeevich became interested in the hero, learned to understand him, and was imbued with sympathy for Bazarov. To some extent, he even began to justify the negative traits of his character.
Yevgeny Bazarov as a representative of the generation of the 1860s
The nihilist Bazarov, despite all his spirit of denial and harshness, is a typical representative of the generation of the 60s of the 19th century, the heterodox democratic intelligentsia. This is an independent person who does not want to bow to authorities. The nihilist Bazarov is accustomed to subjecting everything to the judgment of reason. The hero provides a clear theoretical basis for his negation. He explains the social diseases and imperfections of people by the nature of society. Eugene says that moral ailments come from a bad upbringing. All sorts of trifles with which people's heads are stuffed from an early age play an important role in this. It was precisely this position that the domestic democrats-enlighteners of the 1860s adhered to.
The revolutionary outlook of Bazarov
Nevertheless, in the work, criticizing and explaining the world, he tries to radically change it. Partial improvements in life, its minor corrections cannot satisfy him. The hero says that it is not worth the trouble to "just talk" about the shortcomings of society. He resolutely demands a change in the very foundations, the complete destruction of the existing system. Turgenev saw a manifestation of revolutionism. He wrote that if Eugene is considered a nihilist, then this means that he is also a revolutionary. At that time in Russia the spirit of rejection of the entire old, obsolete feudal world was closely connected with the spirit of the people. Evgeny Bazarov's nihilism eventually became destructive and all-encompassing. It is no coincidence that this hero, in a conversation with Pavel Petrovich, says that he blames his convictions in vain. After all, Bazarov's nihilism is associated with the people's spirit, and Kirsanov stands up just in his name.
Bazarov's denial
Turgenev, embodying the progressive features of youth in the image of Yevgeny Bazarov, as Herzen noted, showed some injustice in relation to an experienced realistic view. Herzen believes that Ivan Sergeevich mixed it with "boastful" and "rude" materialism. Yevgeny Bazarov says that he adheres to a negative direction in everything. He is "pleased to deny". The author, emphasizing Yevgeny's skeptical attitude towards poetry and art, shows a characteristic feature characteristic of a number of representatives of progressive democratic youth.
Ivan Sergeyevich truthfully portrays the fact that Yevgeny Bazarov, hating everything noble, extended his hatred to all poets who came from this environment. This attitude automatically extended to other artists as well. This feature was also characteristic of many young people of that time. I.I. Mechnikov, for example, said that the opinion spread among the younger generation that only positive knowledge can lead to progress, while art and other manifestations of spiritual life can only hinder it. That is why Bazarov is a nihilist. He believes only in science - physiology, physics, chemistry - and does not accept everything else.
Evgeny Bazarov - a hero of his time
Ivan Sergeevich Turgenev created his work even before the abolition of serfdom. At this time, revolutionary sentiments were growing among the people. Ideas of destruction and negation of the old order were brought to the fore. The old principles and authorities were losing their influence. Bazarov says that now it is most useful to deny, which is why the nihilists deny. The author saw Evgeny Bazarov as a hero of his time. After all, he is the embodiment of this denial. However, it must be said that Eugene's nihilism is not absolute. He does not deny what has been verified by practice and experience. First of all, this applies to work, which Bazarov considers the vocation of every person. The nihilist in Fathers and Sons is convinced that chemistry is a useful science. He believes that the basis of the worldview of each person should be a materialistic understanding of the world.
Eugene's attitude towards pseudo-democrats
Ivan Sergeevich does not show this hero as the leader of the provincial nihilists, such as, for example, Evdokia Kukshina and the farmer Sitnikov. For Kukshina, even Yevgeny Bazarov is a backward woman who understands the emptiness and insignificance of such pseudo-democrats. Their environment is alien to him. Nevertheless, Eugene is also skeptical about popular forces. But it was precisely on them that the revolutionary democrats of his day pinned their main hopes.
Negative aspects of Bazarov's nihilism
It can be noted that Bazarov's nihilism, despite many positive aspects, also has negative ones. It contains the danger of discouragement. Moreover, nihilism can turn into superficial skepticism. It can even transform into cynicism. Ivan Sergeevich Turgenev, thus, astutely noted in Bazarov not only positive aspects, but also negative ones. He also showed that under certain circumstances it could develop to the extreme and lead to dissatisfaction with life and loneliness.
Nevertheless, as K.A. Timiryazev, an outstanding Russian scientist-democrat, in the image of Bazarov, the author embodied only the traits of a type that were outlined at that time, which, despite all the "secondary shortcomings", showed concentrated energy. It was thanks to her that the Russian naturalist managed in a short time to take an honorable place both at home and abroad.
Now you know why Bazarov is called a nihilist. Turgenev in the image of this character used the technique of the so-called secret psychology. Ivan Sergeevich presented the nature of Yevgeny, the spiritual evolution of his hero through the life trials that fell to his lot.
In the novel by I.S. Turgenev "Fathers and Sons" one of the problems is the confrontation between lordly and democratic Russia. Yevgeny Bazarov, the protagonist of the work, calls himself a "nihilist".
The characters in the novel interpret this concept in different ways. Arkady Kirsanov, who considered himself a follower of Bazarov, explains that a nihilist is a person who treats everything from a critical point of view. Pavel Petrovich, a representative of the older generation, said the following: "A nihilist is a person who does not bow to any authorities, who does not take a single principle on faith." But only Yevgeny Bazarov could fully feel the whole meaning of this philosophy, realize the strengths and weaknesses of nihilism.
Bazarov associated nihilism with the establishment of a materialistic worldview, with the development of the natural sciences. The hero really did not take anything on faith, thoroughly checking everything with experiments and practice, he considered nature not a temple, but a workshop where a person is a worker. And Bazarov himself never sat idle, did not sybaritize, like Arkady, for example. Eugene completely denied art in all its manifestations, did not believe in love, despised it, calling it "romanticism" and "nonsense." Pushkin's work was considered nonsense, playing the cello was a disgrace. During a dispute with Pavel Petrovich, Evgeny declared that a decent chemist is much more useful than a poet. He valued only what he could touch with his hands and denied the spiritual principle. A quote can confirm this: “You study the anatomy of the eye: where does the mysterious look come from?”. Yevgeny Bazarov was proud of his theory, considered its truths unshakable.
A special role is played by the female images of Turgenev. They are always imbued with a slight romanticism: in a woman, Turgenev sees a being of a higher order. Most often, it is they who awaken the best spiritual qualities in heroes, changing them radically. So it happened with Bazarov. Fate seemed to play a cruel joke with him. More recently, having heard a frank story about the misfortune of Pavel Petrovich, the nihilist said that the person who put life on the map of love is not a man and a male.
Anna Odintsova appeared in Bazarov's life. Bazarov immediately drew attention to her. “What is this figure? She doesn’t look like other women, ”Evgeny is impressed. Later, the hero realizes that she is special. He likes her presence, her closeness to him makes him happy. Without noticing it himself, Bazarov tried with all his might to impress her, but denied his feelings, covered himself with rudeness. Eugene began to gradually change, get angry, worried. Previously adhering to the theory “If you like a woman, try to get the point, but if you can’t, turn away.” But, despite the fact that it was difficult to get sense from Odintsova, he could not turn away. When he remembered her, he involuntarily realized the "romantic" in himself. His struggle with feeling was unsuccessful. Love could not languish in his soul for a long time, it demanded recognition. “I love you, stupidly, madly,” the hero says breathlessly, unable to cope with the streams of passion. Anna Sergeevna was not able to love, Bazarov did not receive a return and fled to his parents' house. Not even from Odintsova, but from himself.
Yevgeny is still a strong nature, he did not become limp, but he was disappointed in the theory. Vedas, what he rejected and despised, took possession of him. The hero understands that love is higher, more complicated than theories, does not obey the laws of physics. This speaks of the failure of nihilism. It was love that led to a crisis in the views and attitude of Bazarov to life. The inability to love Odintsova, the need to rethink one's values and principles led to the fact that the hero dies tragically, because this is the only way to achieve peace in full.
I.S. Turgenev shows that it is impossible to completely deny what is the basis of human existence. Spirituality takes over. Feelings that are born in the soul of even the most ardent nihilist can destroy any foundations and ideas. Real values cannot be despised, no matter how hard people try to do it. Such a position will only lead to confrontation with oneself, boundless internal struggle. And you should always remember that the power of love lies in the fact that everyone is powerless before it.
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