Table of Bazarov's attitude to science and art. Bazarov and his relationship to art (based on the novel by Ivan Turgenev "Fathers and Sons"). Attitude towards nihilism

The title of Turgenev's novel "Fathers and Sons" very accurately reflects the main conflict of the work. The writer raises the layer of cultural, family, romantic, platonic and friendly topics, but the relationship between two generations - the elder and the younger - comes to the fore. The dispute between Bazarov and Kirsanov is a vivid example of this confrontation. The mid-19th century, the time before the abolition of serfdom in the Russian Empire, served as the historical background for ideological conflicts. Then the liberals and revolutionary democrats collided head-on. Let us consider the details and outcome of the controversy using the example of our heroes.

The central conflict of the novel "Fathers and Sons" is the dispute between Bazarov and Kirsanov

It is a mistake to believe that the essence of the work "Fathers and Sons" is reduced to one change in the ideology of generations, which has a socio-political implication. Turgenev endowed this novel with a deep psychologism and a multi-layered plot. At a superficial reading, the reader's focus is only on the conflict between the aristocracy and the commoners. Helps to identify the views held by Bazarov and Kirsanov, controversy. The table below shows the essence of these contradictions. And if you dig deeper, we can notice that there is an idyll of family happiness, and intrigue, and emancipation, and grotesque, and the eternity of nature, and reflections on the future.

Evgeny Bazarov finds himself at the epicenter of the conflict between fathers and children when he agrees to come to Maryino with his university friend Arkady. In the house of a friend, the atmosphere did not work out right away. Manners, appearance, divergence of views - all this provokes mutual antipathy with Uncle Arkady. The further dispute between Bazarov and Kirsanov flares up over a multitude of topics: art, politics, philosophy, the Russian people.

Portrait of Evgeny Bazarov

Evgeny Bazarov is a representative of the generation of "children" in the novel. He is a young student with progressive views, but at the same time prone to nihilism, which the "fathers" condemn. Turgenev seemed to deliberately dress the hero in an absurd and careless manner. The details of his portrait emphasize the rudeness and spontaneity of the young man: a broad forehead, red hands, self-confident behavior. Bazarov, in principle, is outwardly unattractive, but has a deep mind.

The dispute between Bazarov and Kirsanov is exacerbated by the fact that the former does not recognize any dogmas and authorities. Evgeniy is convinced that any truth begins with doubt. Also, the hero believes that everything can be checked empirically, does not take judgments on faith. The situation is aggravated by Bazarov's intolerance of opposing opinions. He is emphatically harsh in his statements.

Portrait of Pavel Petrovich Kirsanov

Pavel Kirsanov is a typical nobleman, a representative of the generation of "fathers". He is a pampered aristocrat and a staunch conservative who holds liberal political views. She dresses elegantly and neatly, wears formal suits in the English manner and starch collars. Bazarov's opponent is outwardly very well-groomed, graceful in manners. He shows his "breed" with all his looks.

From his point of view, established traditions and principles must remain unshakable. The dispute between Bazarov and Kirsanov is supported by the fact that Pavel Petrovich perceives everything new negatively and even hostilely. Here innate conservatism makes itself felt. Kirsanov worships the old authorities, only they are true for him.

Dispute between Bazarov and Kirsanov: table of differences

The most important problem has already been voiced by Turgenev in the title of the novel - the difference between generations. The line of dispute between the main characters can be traced in this table.

"Fathers and Sons": Generational Conflict

Evgeny Bazarov	Pavel Kirsanov
Manners and portrait of heroes
Careless in his statements and behavior. A self-confident but intelligent young man.	Fit, refined aristocrat. Despite its venerable age, it has retained its slenderness and presentable appearance.
Political Views
Promotes nihilistic ideas, followed by Arkady. Has no authority. Only recognizes what he considers useful to society.	Adheres to liberal views. He considers personality and self-respect to be the main values.
Attitude towards the common people
He despises commoners, although he is proud of his grandfather, who worked all his life on the earth.	He defends the peasantry, but keeps his distance from them.
Philosophical and aesthetic views
A convinced materialist. Doesn't consider philosophy to be something important.	Believes in the existence of God.
Motto in life
Has no principles, is guided by feelings. Respects people who are either listened to or hated.	He considers aristocracy to be the main principle. And he equates unprincipled people with spiritual emptiness and immorality.
Attitude to art
Denies the aesthetic component of life. Does not recognize poetry and any other form of art.	He considers art important, but he is not interested in it. The man is dry and unromantic.
Love and women
Voluntarily refuses love. He considers it only from the point of view of human physiology.	He treats women with reverent, reverent, respectful. In love - a real knight.

Who are the nihilists

The ideas of nihilism are clearly manifested in the confrontation of opponents, which are Pavel Kirsanov, Bazarov. The controversy exposes Yevgeny Bazarov's rebellious spirit. He does not bow before the authorities, and this unites him with the revolutionary democrats. The hero questions and denies everything he sees in society. It is this trait that is characteristic of nihilists.

The outcome of the storyline

In general, Bazarov belongs to the category of business people. He does not accept conventions and feigned aristocratic etiquette. The hero is in daily quest for truth. One of such searches is the dispute between Bazarov and Kirsanov. The table clearly shows the contradictions between them.

Kirsanov is good at polemics, but things don't go further than talk. He talks about the life of ordinary people, but only the ashtray in the shape of a bast shoe on his desktop speaks of his true connection with him. Pavel Petrovich talks with pathos about serving for the good of the Motherland, while he himself lives a well-fed and calm life.

Because of the uncompromising character of the characters, the truth is not born in the novel "Fathers and Sons". The dispute between Bazarov and Kirsanov ends with a duel, which demonstrates the emptiness of noble knighthood. The collapse of the ideas of nihilism is identified with the death of Eugene from blood poisoning. And the passivity of the liberals is confirmed by Pavel Petrovich, since he remains to live in Dresden, although life far from his homeland is difficult for him.

Home\u003e Public report

Ministry of Education and Science of the Russian Federation

MOU "Gymnasium No. 1"

Literature lesson in grade 10

"The external conflict of the novel

I. S. Turgenev "Fathers and Sons"

Teacher: Potapushkina Irina Grigorievna

biysk 2007

Objectives: 1) to reveal the meaning of the ideological confrontation between "fathers" and "children"; 2) to develop the skills of generalization and systematization in the process of working on a work of art; 3) Course of the lesson:

Teacher's word

I. S. Turgenev's novel "Fathers and Sons" was written in the late 50s of the 19th century. At this time, Russia was on the verge of great reforms, so there was an increased interest in the society in social problems in the life of the country. This is a period of radical changes, changes in everything: both in traditional foundations, and in understanding the role of a person, and in the attitude. The beginning epoch of liberation created new types of people and their relationships, often at odds with the rules and "principles" of life already rooted in the minds of the conservative part of society. - Who is he, the new hero of the 60s? (Turgenev himself set himself the task of creating an image of a certain intellectual Pugachev, a rebel)

Let's try, relying on the author's characteristics of the portrait, character, lifestyle of the hero, to form our own, personal, attitude towards the character.

We get a superficial, first impression of the hero from 1-2 chapters of the novel (portrait, origin, brief mentions of the lifestyle, facts of the biography), but we can fully judge Bazarov's worldview by his heated disputes with Pavel Petrovich Kirsanov. Moreover, against the background of PP Kirsanov, a representative of the "fathers", the originality of Bazarov is seen more clearly. Both characters embody two irreconcilable extremes. On the eve of the lesson, groups of 2-3 people are given the task: to choose material from the text about the character, answer the questions suggested by the teacher, draw conclusions. In the lesson, each group presents to the attention of classmates the results of their work, which should be recorded in a table. In continuation of the lesson, the students turn to the text, answer the teacher's questions.

Criteria for evaluation	Bazarov Evgeny Vasilievich	Kirsanov Pavel Petrovich
Portrait	Chapter 2 "... tall in a long hoodie with tassels ... naked red hand", "in a lazy but courageous voice", "the face is long and thin, with a wide forehead, a flat upward, pointed nose, large greenish eyes and hanging sideburns of sandy color, it enlivened with a calm smile "," thin lips "," dark blond hair, long and thick, did not hide the large bulges of the spacious skull. "Frank disregard for appearance, democracy, long hair - a sign of freethinking. The appearance, of course, was uncommon for those times, which gives reason to assume that we are facing a curious person.	Chapter 4 “... a man of average height, dressed in a dark English suite, a fashionable low tie and patent leather ankle boots ... He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light incisor, showed traces of remarkable beauty: the light, black, oblong eyes were especially good2, “... I pulled out my pants pocket my beautiful hand with long pink nails, my hand , which seemed even more beautiful from the snowy whiteness of a sleeve, buttoned by a single large opal. "The appearance of P.P. is an elegant, thoroughbred, the image of a sleek and arrogant aristocrat.

Character	Chapter 2 " mind, self-confidence ""Said almost nothing"“Nikolai Petrovich ... squeezed him (Bazarov) tightly ... the hand that henot immediately gave him » - awareness of their superiority. "... possessed a special ability to arouse confidence in the lower people, although he never indulged them and treated them carelessly."Arkady admits that he values \u200b\u200bhis friendship. It is noticeable that Arkady is trying to imitate Bazarov, but only in his presence. What is his confidence based on, and what power did Bazarov possess that could attract people to him? Bazarov is a self-sufficient person	“Pavel Petrovich bent his flexible body and smiled slightly, butdidn't shake hands and even put it back in his pocket "Ch. 6 “His aristocratic nature was outraged by the perfect swagger of Bazarov. This medicinal son was not only not shy, he even answered abruptly and reluctantly ... "- What is P.P.'s arrogance based on? Arrogance, stiffness, does not lend itself to someone else's influence. 7-8 (P. P.'s love story, scene in Fenechka's room): impeccable honesty; lonely and unhappy. - What is the basis of P.P.'s arrogance? Class arrogance
BiographyLifestyle	The son of a poor county doctor. "Penny i didn't take too much " from my parents when I studied at the university in St. Petersburg. Harsh living conditions give him the right to say: "Every person must educate himself." The fact that Turgenev made his hero a doctor, natural scientist, materialist is not accidental, it is a characteristic sign of the times. His strength lies in natural science knowledge, which he idolizes and considers as a weapon against lordly daydreaming, popular superstition, and the official ideology of autocracy. In his impetuosity it seems to him that with the help of the natural sciences it is possible to easily solve all questions concerning the complex problems of social life, to solve all the riddles, all the secrets of life. Following the vulgar materialists, Bazarov extremely simplifies the nature of human consciousness, reduces the essence of complex spiritual and mental phenomena to elementary, physiological ones. He has a narrowly biological view of human nature, which leads to the erasure of the qualitative differences between physiology and social psychology.	Ch. 7. The son of a military general in 1812, he graduated from the Corps of Pages, and a brilliant military career awaited him. Unsuccessful love for a woman with a "mysterious" look, Princess R., turned his life upside down. He retired, wandered in foreign lands, returned to Russia, did nothing, and so 10 "colorless, fruitless years" passed

Worldview	Ch. five “We are acting because we recognize it as useful. " Bazarov is a nihilist, that is, a person "Who treats everything from a critical point of view", "does not bow before any authorities, who does not take a single principle on faith, no matter how much respect this principle". Bazarov is a characteristic product of the era, a convinced materialist to the core, preaching the new German truths of the fathers of Russian nihilism Molemott and Fagot, denying everything and considering denial as the engine of progress, he is a rebel, a restless soul, yearning for change and feeling their approach.	G. 5 " We, people of the old age, we believe that without principles ... you cannot take a step, you cannot die ”.Ch. 10 “aristocracy is a principle, and without principles, only immoral or empty people "... Idealizes existing rules, forms of life and customs. Conservative in relation to the views of Bazarov.
Attitude towards science	Ch. 6 "... science does not exist at all at all. " He loves particular facts and concrete knowledge and therefore does not recognize abstract science.	Ch. 6. Pavel Petrovich is offended by Bazarov's unflattering remark about Russian scientists. P. P., in turn, does not want to recognize the significance of the works of scientists just because they are Germans. In evaluating scientific discoveries, patriotism is inappropriate.
Attitude to art	Ch. 6 "A decent chemist is twenty times more useful than any poet"Ch. ten “The day before yesterday, I saw him reading Pushkin. Explain to him, please, that this is no good. After all, he is not a boy: it's time to give up this nonsense. And the desire to be a romantic at the present time! "Ch. nine “Does your father play the cello? ... Have mercy! at forty-four years old a man ... plays the cello! Bazarov continued to laugh. "Ch. ten "Raphael is not worth a dime"	Aesthetic art worship
Attitude to nature	Ch. 9 "Nature is not a temple, but a workshop, and a man is a worker in it", "nature is nothing"

Attitude to love, marriage	Chapter 7 "... a man who all his life put on the card of female love and when they killed him, became limp and sank to the point that he was not capable of anything, such a person is not a man, not a male", And what a mysterious relationship between a man and a woman? We physiologists know what this relationship is. You study the anatomy of the eye: where does it come from, as you say, a mysterious look? This is all romanticism, nonsense, rot, art. Let's go and see the beetle. ”Bazarov does not recognize the spiritual refinement of amorous feelings. 9 Bazarov - Arcadia : “You attach more importance to marriage; I didn't expect that from you. " A marriage union presupposes mutual obligations, a willingness to compromise; for Bazarov, this form of relationship is unacceptable.	Ch. 7 The story of P. P.'s love for the mysterious princess R. For P. P. love is the meaning of life.
Attitude towards the people	Ch. 5 "Bazarov had a special ability to arouse confidence in himself in lower people, although he never indulged them and treated them carelessly." 9 "The Russian peasant will devour God", "The Russian man is only good because he has a bad opinion of himself" Ch. 10 Ch. 27 “Sometimes Bazarov went to the countryside ... and so on.” Bazarov's frank contempt for the peasant's narrow-mindedness, superstition, and servility, in turn, the peasant justly notes how far Bazarov is from the needs of ordinary people: “... so, he was chatting something; I wanted to scratch my tongue. It is known sir; unless he understands. "Ch. 17 Scene of Bazarov's meeting with Timofeich. It is Timofeich who personifies that poetic side of folk life. In the appearance of Timofeich, something ancient, Christian "shines through and secretly": "tiny tears in his shrunken eyes" as a symbol of the people's fate, people's long-suffering, compassion. The harsh Bazarov turns away from all this.	Ch. 7, 10 Kirsanov confesses his love for the patriarchal people, who “sacredly honor traditions”, “cannot live without faith”, is outraged by Bazarov’s critical remarks about the Russian people (“You are insulting the Russian people!), But he is alien to the people, not by accident I. S. Turgenev introduces into his speech a lot of foreign words, which, according to Bazarov, "Russian people do not need them for nothing." Arkady, for example, says about his uncle: “... always stands up for the peasants; however, speaking to them, he frowns and smells cologne ... "
Attitude to social order	Bazarov, looking at the crumbling farm of the Kirsanovs ("I saw all the establishments of your father, the cattle are bad, and the horses are broken. The buildings too have played around, and the workers look outright sloths; and the manager is either a fool or a cheat, I have not made it out well yet"), understands that the economic system of Russia requires transformations, that the world is on the brink of a social catastrophe, that the nobility as a class turned out to be helpless in a difficult economic situation. 10 “And then we guessed ...” - Bazarov is critical of the shortcomings of the social order, the imperfection of everyday life, family and social relations.	Ch. 10 “Civilization is dear to us ...”. He considers the main condition for the existence of a "solid public building" to be self-esteem, respect for oneself, fulfillment of duty, which are manifested in his habits, tidiness, and refined toilets. The ideal of P. P. is the English aristocrats: “They do not concede an iota of their rights, and therefore they respect the rights of others; they demand the fulfillment of duties in relation to them, and therefore they themselves fulfill their duties. " Apparently, Kirsanov here defends his duty to sit “with folded hands.” Kirsanov does not understand how one can live without a certain standard to follow and reject what people have believed for centuries.
Attitude towards the opponent	"Archaic phenomenon" "aristocratic" "idiot" Relations are based on class antagonism, social intolerance	"Healer" "charlatan" "hairy" "mister nihilist" "brute Mongol force"

- Who wins in this ideological battle? Pavel Petrovich, possessed by class arrogance, pride, is deprived of a fatherly respect for the eternally renewing life. In his reverence for the old authorities, the "paternal" noble egoism manifests itself. It was not without reason that I. S. Turgenev wrote that his novel was directed "against the nobility as an advanced class." Just as in the behavior of Bazarov there is everything that he denies, so P. P. is far from the self-confident aristocrat whom he plays out of himself.

Jan 25 2011

In order to understand the conflict of the novel in its entirety, one should understand all the shades of disagreement between Evgeny Bazarov and Pavel Petrovich Kirsanov. "Who is Bazarov?" - Ask the Kirsanovs and hear Arkady's answer: "Nihilist". According to Pavel Petrovich, nihilists simply do not recognize anything and respect nothing. The views of the nihilist Bazarov can only be determined by clarifying his position. The question of what to recognize, on what, on what grounds to build your convictions is extremely important for Pavel Petrovich. This is what Pavel Petrovich Kirsanov's principles are: the aristocrats won the right to a leading position in society not by origin, but by moral virtues and deeds ("The aristocracy gave freedom to England and supports it"), i.e. moral norms developed by aristocrats are the support of the human person.

Only immoral people can live without principles. After reading Bazarov's statements about the uselessness of loud words, we see that Pavel Petrovich's “principles” do not correlate in any way with his activities for the good of society, and Bazarov accepts only what is useful (“They will tell me the case - I agree.” “It is more useful now everything is denial - we deny ”). Eugene also denies the political system, which confuses Pavel Petrovich (he “turned pale”). Pavel Petrovich and Bazarov have different attitudes towards the people. To Pavel Petrovich, the religiosity of the people, according to the rules established by their grandfathers, seem to be primordial and valuable features of the people's life, they touch him. Bazarov hates these qualities: “The people believe that when the thunder is thundering, it is Elijah the prophet in a chariot that rides across the sky. Well? Should I agree with him? " One and the same phenomenon is called differently, and its role in the life of the people is assessed differently. Pavel Petrovich: "He (the people) cannot live without faith." Bazarov: "The gross superstition is strangling him." Disagreements between Bazarov and Pavel Petrovich in relation to art and nature are seen. From Bazarov's point of view, "reading Pushkin is a wasted time, making music is funny, enjoying nature is absurd." Pavel Petrovich, on the contrary, loves nature and music. The maximalism of Bazarov, who believes that it is possible and necessary to rely in everything only on one's own experience and one's own feelings, leads to the denial of art, since art is precisely the generalization and artistic interpretation of someone else's experience. Art (and, and painting, and music) softens the soul, distracts from business. All this is "romanticism", "nonsense". Bazarov, for whom the main figure of the time was a Russian peasant, crushed by poverty, "gross superstitions", it seemed blasphemous "to talk" about art, "unconscious" when "it comes to daily bread."

So, in the novel by Turgenev "Fathers and Sons" two strong, bright characters collided. According to his views, convictions, Pavel Petrovich appeared before us as a representative of the “chilling, chilling force of the past”, and Evgeny Bazarov - as part of the “destructive, liberating force of the present”.

The novel by I.S.Turgenev reflected the struggle between two socio-political camps that had developed in Russia by the 60s of the 19th century. I. S. Turgenev reflected in the novel a typical conflict of the era and raised a number of topical problems, in particular, the question of the nature and role of the “new man”, a figure during the revolutionary situation in Europe in the 60s.

The expression of the ideas of revolutionary democracy was Yevgeny Bazarov, a hero who is opposed in the novel to the liberal nobility.

The image of Bazarov is central to the composition of the novel. Out of 28 chapters, only two do not have Bazarov, in the rest he is the main character. All the main faces of the novel are grouped around him, reveal themselves in relationships with him, accentuate certain features of his personality more sharply and brighter, emphasize his superiority, intelligence, spiritual strength, testify to his loneliness among the district aristocrats. Recall that the hero of the 60s was a commoner-democrat, a staunch opponent of the noble-serf system, a materialist in his outlook, passed the school of labor and hardship, self-thinking and independent. This is exactly what Bazarov is in the author's image.

The plot of the novel is based on Bazarov's collision with the world of aristocrats. Turgenev immediately shows that Bazarov is a democrat, a commoner, labor, alien to aristocratic etiquette and conventions. In a collision with the “damned barchuk”, his appearance is fully revealed. The novel widely uses the technique of contrast: Bazarov is opposed to Pavel Petrovich, the aristocracy of one is the democracy of the other. Bazarov's consistency, conviction, will and purposefulness contrast with Arkady's duality, with his casual convictions, softness and lack of a conscious goal.

It is in the collision with various characters opposed to him that Bazarov's remarkable features are revealed: in disputes with Pavel Petrovich - maturity of mind, depth of judgment and irreconcilable hatred of lordship and slavery; in relations with Arkady - the ability to attract young people to their side, to be a teacher, educator, honesty and irreconcilability in friendship; in relation to Madame Odintsova - the ability to deeply and truly love, the integrity of nature, willpower and self-esteem.

The main place in the composition of the novel is occupied by scenes of disputes. Turgenev's heroes reveal their worldview in direct statements, in clashes with their ideological opponents. Bazarov is an independent nature, not bowing to any aristocrats, but subject to the judgment of thought. Bazarov's interest in natural sciences is also typical of the sixties, although neither a career as a scientist nor a career as a doctor would have been his lot.

Turgenev conducts his own through a series of tests (and this is generally typical of Turgenev's novels). He tests Bazarov first with love, then with death. Turgenev, as it were, watches from the outside how his character behaves in these situations. And if love for Madame Odintsova, a smart, proud, strong woman, to match Bazarov himself, wins the principles of nihilism. (After all, Bazarov called love “rubbish”, contemptuously treated ideal, romantic feelings, recognized only physiological love: “You like a woman, so take her!” He himself, having fallen in love, suddenly felt a romantic in himself). Then in the scene before his death Bazarov is faithful to his ideals to the end, he is not broken, proudly looks death in the eyes. Many critics consider this scene to be the most powerful, lively and touching. Because it is here that this “sinful, rebellious heart” is revealed to the end.

The death of Bazarov is justified in its own way. Just as in love it was impossible to bring Bazarov to the “silence of bliss,” so in his supposed business he had to remain at the level of not yet realized, nurtured, and therefore boundless aspirations. Bazarov had to die to remain Bazarov.

No matter how many critical articles about the hero of Fathers and Children, and no matter how Bazarov was interpreted, the author himself said the best about his “favorite brainchild”: “I wanted to make a tragic face out of him ... I dreamed of a gloomy, wild figure big, half-grown out of the soil, strong, vicious, honest, - and yet doomed to perish, because she still stands on the threshold of the future. "

Need a cheat sheet? Then save - "Bazarov's conflict with the world of aristocrats. Literary works!

Which form the ideological basis of the famous novel by the famous writer I. Turgenev "Fathers and Sons", are the ideological opponents in this work. Both personify different worldviews that are fundamentally different from each other. The first is a nihilist commoner, a materialist in his views on the world, the second is an aristocrat in spirit and blood, a conservative by nature. Such different personalities, of course, could not find a common language, and this led to the unfortunate duel between them.

Social contradictions

Bazarov and Kirsanov, whose disputes served as the basis of the conflict between these heroes, belonged to different social groups. The first came from the family of a simple county doctor. He spent all his life at work and did not tolerate free time, which, in fact, was what Pavel Petrovich was doing.

Bazarov studied a lot, was engaged in science. In addition, the author makes the reader understand: he did not disdain physical labor either. Kirsanov, on the other hand, was left to himself. He did not bother himself with any occupations. The son of a military officer, an aristocrat and nobleman, Pavel Petrovich led an idle lifestyle in the village. Such different positions led to their first clash, which revealed deeper differences between them.

A look at life principles

Bazarov and Kirsanov, whose disputes concerned the most important aspects of human existence, on the very first evening of their acquaintance experienced a lively dislike for each other.

During the general conversation, both discovered completely different views on the principles of human existence. Kirsanov argued that a person should be guided in life by clearly developed principles. Bazarov, on the other hand, believed that it was necessary to take only what was practically useful. Pavel Petrovich defended the exclusive right of the aristocracy to a leading position in society: in his opinion, the nobles earned themselves the right to be at the top of society not by a noble birth, but by deeds. Evgeny Vasilievich does not accept any authorities.

About society

The two main adversaries in Fathers and Sons are Bazarov and Kirsanov. The disputes between these characters are interesting in that they show the clash of two worldviews of the mid-nineteenth century era: the noble-aristocratic and the revolutionary-raznochin. Bazarov considered the social order of his day obsolete and in need of complete transformation.

At the same time, the vulnerability in the explanations of this character is that he does not offer anything in return for the destroyed way of life. He thinks like a maximalist. Bazarov does not even allow the thought that a lot of useful things can be taken and borrowed from the old system. The hero confidently asserts the need to break absolutely everything, without any exceptions. This position shocks and at the same time irritates his opponent, who considers the preservation of the old social order to be a guarantee of prosperity.

About culture

The dispute between Bazarov and Pavel Kirsanov is perhaps the most interesting part of their conversation for schoolchildren. The main character's attitude to culture is also negative. He believes that works of painting, literature, music have no practical use for a person and therefore are useless. These words shock not only Kirsanov, but also his brother, who, being an esthete by nature, loved to play music. Pavel Petrovich refuses to understand his interlocutor, and this, perhaps, is his weak point. He is only indignant and irritated, but does not find and does not give any explanations in favor of his point of view about the necessity and usefulness of art.

The deep split in society in general and among the intelligentsia in particular in the mid-nineteenth century is proved by the dispute between Bazarov and Kirsanov. Quotes from their conversation allow you to better understand the position of the heroes. Each of them looked at the same things completely differently. The first, for example, asserted that "nature is a workshop, and a person in it is a worker." He also believed that in order to improve society, one must first get rid of all old ideas. Kirsanov objects that one should not only destroy, that “after all, it is necessary to build”. However, Yevgeny Vasilievich, as a maximalist, believes that first you need to completely get rid of everything that is associated with idealism.

Duel

The dispute between Bazarov and Kirsanov ended in a duel in which the latter was slightly wounded in the leg. It is indicative that Evgeny Vasilyevich, who considered the duel a relic of the old regime, accepted the challenge and even fired.

However, in this episode of the novel, it is not so much physical confrontation that is important as the completion of the ideological conflict, which the author leaves open. Former opponents, although reconciled in words, however, Turgenev makes it clear that time will determine the right in this endless dispute between fathers and children.

The title of Turgenev's novel "Fathers and Sons" very accurately reflects the main conflict of the work. The writer raises the layer of cultural, family, romantic, platonic and friendly topics, but the relationship between two generations - the elder and the younger - comes to the fore. The dispute between Bazarov and Kirsanov is a vivid example of this confrontation. The mid-19th century, the time before the abolition of serfdom in the Russian Empire, served as the historical background for ideological conflicts. Then the liberals and revolutionary democrats collided head-on. Let us consider the details and outcome of the controversy using the example of our heroes.

The central conflict of the novel "Fathers and Sons" is the dispute between Bazarov and Kirsanov

It is a mistake to believe that the essence of the work "Fathers and Sons" is reduced to one change in the ideology of generations, which has a socio-political implication. Turgenev endowed this novel with a deep psychologism and a multi-layered plot. At a superficial reading, the reader's focus is only on the conflict between the aristocracy and the commoners. Helps to identify the views held by Bazarov and Kirsanov, controversy. The table below shows the essence of these contradictions. And if you dig deeper, we can notice that there is an idyll of family happiness, and intrigue, and emancipation, and grotesque, and the eternity of nature, and reflections on the future.

Evgeny Bazarov finds himself at the epicenter of the conflict between fathers and children when he agrees to come to Maryino with his university friend Arkady. In the house of a friend, the atmosphere did not work out right away. Manners, appearance, divergence of views - all this provokes mutual antipathy with Uncle Arkady. The further dispute between Bazarov and Kirsanov flares up over a multitude of topics: art, politics, philosophy, the Russian people.

Portrait of Evgeny Bazarov

Evgeny Bazarov is a representative of the generation of "children" in the novel. He is a young student with progressive views, but at the same time prone to nihilism, which the "fathers" condemn. Turgenev seemed to deliberately dress the hero in an absurd and careless manner. The details of his portrait emphasize the rudeness and spontaneity of the young man: a broad forehead, red hands, self-confident behavior. Bazarov, in principle, is outwardly unattractive, but has a deep mind.

The dispute between Bazarov and Kirsanov is exacerbated by the fact that the former does not recognize any dogmas and authorities. Evgeniy is convinced that any truth begins with doubt. Also, the hero believes that everything can be checked empirically, does not take judgments on faith. The situation is aggravated by Bazarov's intolerance of opposing opinions. He is emphatically harsh in his statements.

Portrait of Pavel Petrovich Kirsanov

Pavel Kirsanov is a typical nobleman, a representative of the generation of "fathers". He is a pampered aristocrat and a staunch conservative who holds liberal political views. She dresses elegantly and neatly, wears formal suits in the English manner and starch collars. Bazarov's opponent is outwardly very well-groomed, graceful in manners. He shows his "breed" with all his looks.

From his point of view, established traditions and principles must remain unshakable. The dispute between Bazarov and Kirsanov is supported by the fact that Pavel Petrovich perceives everything new negatively and even hostilely. Here innate conservatism makes itself felt. Kirsanov worships the old authorities, only they are true for him.

Dispute between Bazarov and Kirsanov: table of differences

The most important problem has already been voiced by Turgenev in the title of the novel - the difference between generations. The line of dispute between the main characters can be traced in this table.

"Fathers and Sons": Generational Conflict

Evgeny Bazarov	Pavel Kirsanov
Manners and portrait of heroes
Careless in his statements and behavior. A self-confident but intelligent young man.	Fit, refined aristocrat. Despite its venerable age, it has retained its slenderness and presentable appearance.
Political Views
Promotes nihilistic ideas, followed by Arkady. Has no authority. Only recognizes what he considers useful to society.	Adheres to liberal views. He considers personality and self-respect to be the main values.
Attitude towards the common people
He despises commoners, although he is proud of his grandfather, who worked all his life on the earth.	He defends the peasantry, but keeps his distance from them.
Philosophical and aesthetic views
A convinced materialist. Doesn't consider philosophy to be something important.	Believes in the existence of God.
Motto in life
Has no principles, is guided by feelings. Respects people who are either listened to or hated.	He considers aristocracy to be the main principle. And he equates unprincipled people with spiritual emptiness and immorality.
Attitude to art
Denies the aesthetic component of life. Does not recognize poetry and any other form of art.	He considers art important, but he is not interested in it. The man is dry and unromantic.
Love and women
Voluntarily refuses love. He considers it only from the point of view of human physiology.	He treats women with reverent, reverent, respectful. In love - a real knight.

Who are the nihilists

The ideas of nihilism are clearly manifested in the confrontation of opponents, which are Pavel Kirsanov, Bazarov. The controversy exposes Yevgeny Bazarov's rebellious spirit. He does not bow before the authorities, and this unites him with the revolutionary democrats. The hero questions and denies everything he sees in society. It is this trait that is characteristic of nihilists.

The outcome of the storyline

In general, Bazarov belongs to the category of business people. He does not accept conventions and feigned aristocratic etiquette. The hero is in daily quest for truth. One of such searches is the dispute between Bazarov and Kirsanov. The table clearly shows the contradictions between them.

Kirsanov is good at polemics, but things don't go further than talk. He talks about the life of ordinary people, but only the ashtray in the shape of a bast shoe on his desktop speaks of his true connection with him. Pavel Petrovich talks with pathos about serving for the good of the Motherland, while he himself lives a well-fed and calm life.

Because of the uncompromising character of the characters, the truth is not born in the novel "Fathers and Sons". The dispute between Bazarov and Kirsanov ends with a duel, which demonstrates the emptiness of noble knighthood. The collapse of the ideas of nihilism is identified with the death of Eugene from blood poisoning. And the passivity of the liberals is confirmed by Pavel Petrovich, since he remains to live in Dresden, although life far from his homeland is difficult for him.