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We need a synopsis or a summary of the article by Pisarev Bazarov ...

1. yeah

   You can be indignant at people like Bazarov as much as you like, but it is absolutely necessary to recognize their sincerity.

   Nothing, except for personal taste, prevents them from killing and robbing, and nothing, except for personal taste, encourages people of such temperament to make discoveries in the field of sciences and social life.

   In addition to direct attraction, Bazarov has another leader in life, calculation.

   He acts according to calculation: he buys a valuable little nuisance in the future, a great convenience, or getting rid of a big nuisance. People who are very smart understand that it is very beneficial to be honest.

   Neither above himself, nor outside himself, nor within himself does he recognize any principle.
   If bazaarism is a disease of our time and one has to suffer through it.

   Bazarov is obsessed with this disease, has a remarkable mind and makes a strong impression on people.

   In Bazarov's cynicism, there are two sides: internal (ironic attitude to everything) and external (crude expression of irony).

   In what relationship is Bazarov with others:
   The Pechorins have a will without knowledge
   The Rudins have knowledge without will
   The Bazarovs have both knowledge and will, thought and deed merge into one solid whole.
   Turgenev acquitted Bazarov and appreciated it, did not love Bazarov, but recognized his strength, brought him a tribute of respect.

   Bazarov behaves simply with ordinary people, and therefore they are not shy or shy in front of him.

   Great historical figures are developed from the Bazarovs.
   Bazarov will not become a fanatic of science, but will engage in it in order to give work to the brain and squeeze benefits from science.

   Bazarov is a man of life, a man of action.
   Unable to show us how Bazarov lives, Turgenev showed how he dies.

   Bazarov does not betray himself: the approach of death does not regenerate him, he becomes more natural, more human.

   If a person, weakening control over himself, becomes better and more human, this is proof of the wealth of nature. Bazarov's rationality is a forgivable extreme, it makes him break himself. She disappeared as death approached.

2. I'm waiting too)) help !! ! pleats))) in the morning to carry to school))
3. Pisarev turns to the analysis of the work of art Fathers and Sons, in order to study the past generation. He says that the opinions and judgments of Turgenev do not change our view of the younger generation and the ideas of our time by a hair's breadth; we will not even take them into consideration, we will not even argue with them; these opinions, judgments and feelings will only provide materials for characterizing the past generation in the person of one of its best representatives.

   Pisarev addressed his analysis to the younger generation, saying that the entire younger generation of that time can recognize themselves in the characters of this novel, with their aspirations and ideas. According to Pisarev, Bazarov is a collective type, a representative of the younger generation; in his personality, those properties are grouped that are scattered in small proportions among the masses, and the image of this person clearly and clearly looms before the reader's imagination, therefore the critic writes out the name of the hero Turgenev in the title of his article, without supplying him with any evaluative definitions. First of all, DI Pisarev wanted to understand the cause of the conflicts between the old and new generations. He was curious to see how the ideas and aspirations stirring in our young generation affect a person. to find the cause of the disorder in our private life from which young lives often perish; old men and women groan and groan and groan

   So Pisarev noted the fundamental properties of the Bazarov type, conditioning them with aversion to everything old. This kind of aversion to everything that is detached from life and disappears in sounds is a fundamental property of people of the Bazarov type. This fundamental property is developed precisely in those heterogeneous workshops in which a person, refining his mind and tensing his muscles, fights with nature for the right to exist in this world.

   The critic also believes that the hero's actions are governed by movement along the path of less resistance. In addition to direct attraction, Bazarov has another calculation manager. He chooses the lesser of two evils. Consequently, Bazarov's honesty is due to his cold-blooded calculation. being honest is very beneficial any crime is dangerous and, therefore, inconvenient. Pisarev does not find differences between Bazarov and the heroes of the era that preceded him. Only people of the Bazarov type understood the unattainability of the goal.

   In practical terms, they are as powerless as the Rudins, but they realized their powerlessness and stopped waving their hands. Pechorin has will without knowledge, Rudin has knowledge without will; Bazarov has both knowledge and will; thought and deed merge into one solid whole. People of the present do not whisper, they do not look for anything, they do not attach themselves anywhere, do not give in to any compromises and do not hope for anything. To the question What to do? Pisarev gives his answer Live while you live. To live while one lives, to eat dry bread, when there is no roast beef, to be with women, when you cannot love a woman, and in general, not dream of orange trees and palms, when there are snowdrifts and cold tundras under your feet. From the point of view of Pisarev, Turgenev's attitude to the hero and his death is clear. Turgenev cannot stand Bazarov's company. All the interest, the whole meaning of the novel lies in the death of Bazarov. Turgenev obviously does not like his hero. his soft loving nature, striving for faith and sympathy, warps with corrosive realism. Turgenev shrinks painfully from the softest touch with the bouquet of bazaarism.

Need a synopsis or summary of the article by Pisarev Bazarov ... and got the best answer

Answer from Maxim Yu Volkov [guru]
Pisarev turns to the analysis of the work of art "Fathers and Sons", with the aim of studying the "past generation". He says that “the opinions and judgments of Turgenev do not change our views on the younger generation and on the ideas of our time by a hair's breadth; we will not even take them into consideration, we will not even argue with them; these opinions, judgments and feelings ... will only provide materials for characterizing the past generation in the person of one of its best representatives. "
Pisarev addressed his analysis to the younger generation, saying that the entire younger generation of that time can recognize themselves in the characters of this novel, with their aspirations and ideas. According to Pisarev, Bazarov is a collective type, a representative of the younger generation; in his personality are grouped those properties that “are scattered in small portions among the masses, and the image of this person is clearly and distinctly looming before the imagination of the reader,” therefore the critic writes out the name of the hero Turgenev in the title of his article, without supplying him with any evaluative definitions. First of all, DI Pisarev wanted to understand the cause of the conflicts between the old and new generations. He was “... curious to see how the ideas and aspirations stirring in our young generation affect a person. ... to find the reason for that discord in our private life ... from which young lives often perish ... old men and old women groan and groan ... "
So Pisarev noted the fundamental properties of the Bazarov type, conditioning them with aversion to everything old. “This kind of aversion to everything that is detached from life and disappears in sounds is a fundamental property of people of the Bazarov type. This fundamental property is developed precisely in those heterogeneous workshops in which a person, refining his mind and tensing his muscles, fights with nature for the right to exist in this world. "
The critic also believes that the hero's actions are controlled by “... movement along the path of less resistance. In addition to direct attraction, Bazarov has another leader - calculation. He chooses the lesser of two evils. "Consequently, Bazarov's honesty is due to his cold-blooded calculation. ... being honest is very beneficial ... any crime is dangerous and, therefore, inconvenient. Pisarev does not find differences between Bazarov and the heroes of the era that preceded him. “Only people of the Bazarov type understood the unattainability of the goal.
In practical terms, they are as powerless as the Rudins, but they realized their powerlessness and stopped waving their hands. Pechorin has will without knowledge, Rudin has knowledge without will; Bazarov has both knowledge and will; thought and deed merge into one solid whole. People of the present do not whisper, they do not look for anything, they do not attach themselves anywhere, do not give in to any compromises and do not hope for anything. "To the question" What to do? "Pisarev gives his answer -" Live while you live. To live while one lives, to eat dry bread, when there is no roast beef, to be with women, when you cannot love a woman, and in general, not dream of orange trees and palms, when there are snowdrifts and cold tundras under your feet. "From the point of view of Pisarev, Turgenev's attitude to the hero and his death is clear. Turgenev cannot stand Bazarov's company. All the interest, the whole meaning of the novel lies in the death of Bazarov. Turgenev obviously does not like his hero. ... his soft loving nature, striving for faith and sympathy, jarring with corrosive realism ... Turgenev shrinks painfully from the softest touch with the bouquet of bazaarism.

Answer from Igor[newbie]
I'm waiting too)) help !! ! pleats))) in the morning to carry to school))

Answer from Amir Barotov[newbie]
yeah
You can be indignant at people like Bazarov as much as you like, but it is absolutely necessary to recognize their sincerity.
Nothing, except for personal taste, prevents them from killing and robbing, and nothing, except for personal taste, encourages people of such temperament to make discoveries in the field of sciences and social life.
In addition to direct attraction, Bazarov has another guide in life - calculation.
He acts according to calculation: he buys a valuable little nuisance in the future, a great convenience, or getting rid of a big nuisance. People who are very smart understand that it is very beneficial to be honest.
Neither above himself, nor outside himself, nor within himself does he recognize any principle.
If bazarovism is a disease of our time and one has to suffer through it.
Bazarov is obsessed with this disease, has a remarkable mind and makes a strong impression on people.
There are two sides to Bazarov's cynicism - an internal (ironic attitude to everything) and an external (a crude expression of irony).
In what relationship is Bazarov with others:
The Pechorins have a will without knowledge
The Rudins have knowledge without will
The Bazarovs have both knowledge and will, thought and deed merge into one solid whole.
Turgenev acquitted Bazarov and appreciated it, did not love Bazarov, but recognized his strength, brought him a tribute of respect.
Bazarov behaves simply with ordinary people, and therefore they are not shy or shy in front of him.
Great historical figures are developed from the Bazarovs.
Bazarov will not become a fanatic of science, but will engage in it in order to give work to the brain and squeeze benefits from science.
Bazarov is a man of life, a man of deeds.
Unable to show us how Bazarov lives, Turgenev showed how he dies.
Bazarov does not betray himself: the approach of death does not regenerate him, he becomes more natural, more human.
If a person, weakening control over himself, becomes better and more human, this is proof of the wealth of nature. Bazarov's rationality is an excusable extreme, it makes him break himself. She disappeared as death approached.

Article by D.I. Pisarev's "Bazarov" was written in 1862 - just three years after the events described in the novel. From the very first lines, the critic expresses admiration for the gift of Turgenev, noting his inherent impeccability of "artistic decoration", the soft and visual portrayal of paintings and heroes, the proximity of the phenomena of modern reality, making him one of the best people of his generation. According to Pisarev, the novel stirs the mind thanks to its amazing sincerity, deep feeling, immediacy of feelings.

The central figure of the novel, Bazarov, is the focus of the qualities of today's young people. Life hardships tempered him, making him strong and whole in nature, a true empiricist, trusting only personal experience and sensations. Of course, he is calculating, but just as sincere. Any deeds of such natures - bad and glorious - result only from this sincerity. At the same time, the young doctor is satanically selfish, which means not self-admiration, but "fullness of oneself", i.e. neglect of petty vanity, opinion of others and other "regulators". "Bazarovschina", i.e. the denial of everything and everyone, life by one's own desires and needs, is the true cholera of the time, which must, however, be ill. Our hero is struck by this ailment for a reason - mentally, he is significantly ahead of others, which means that one way or another influences them. Someone admires Bazarov, someone hates him, but it is impossible not to notice him.

The cynicism inherent in Eugene is twofold: it is both external swagger and internal rudeness, arising both from the environment and from the natural properties of nature. Growing up in a simple environment, surviving hunger and want, he naturally threw off the husk of "nonsense" - dreaminess, sentimentality, tearfulness, splendid phrasing. Turgenev, according to Pisarev, does not at all favor Bazarov. A refined and refined man, he is offended by any flashes of cynicism ... however, he makes a true cynic the main character of the work.

The need to compare Bazarov with his literary predecessors comes to mind: Onegin, Pechorin, Rudin and others. According to the established tradition, such personalities were always dissatisfied with the existing order, they were knocked out of the general mass - and therefore so attractive (how dramatic). The critic notes that in Russia any thinking person is "a little Onegin, a little Pechorin." The Rudins and Beltovs, unlike the heroes of Pushkin and Lermontov, are eager to be useful, but they do not find application for knowledge, strength, intelligence, and the best aspirations. All of them have outlived their usefulness, without ceasing to live. At that moment Bazarov appeared - not yet a new, but no longer an old-regime nature. Thus, the critic concludes, "The Pechorins have will without knowledge, the Rudins have knowledge without will, the Bazarovs have both knowledge and will."

The other characters of Fathers and Sons are outlined quite brightly and aptly: Arkady is weak, dreamy, in need of care, superficially carried away; his father is gentle and sensitive; uncle - "secular lion", "mini-Pechorin", and possibly "mini-Bazarov" (adjusted for his generation). He is smart and has a will, appreciates his comfort and "principles", and therefore Bazarov is especially antipathetic to him. The author himself does not feel sympathy for him - however, as for all his other characters - he is not "satisfied with either fathers or children." He only notes their ridiculous features and mistakes, not idealizing the heroes. This, according to Pisarev, is the depth of the writer's experience. Himself Bazarov not be, but he understood this type, felt him, does not deny him "charming power" and brought him a tribute of respect.

Bazarov's personality is self-contained. Not having met an equal personality, he does not feel the need for that, even with his parents it is boring and difficult for him. What can we say about all kinds of "bastards" like Sitnikov and Kukshina! .. Nevertheless, Odintsova manages to impress the young man: she is equal to him, outwardly beautiful and mentally developed. Carried away by the shell and enjoying communication, he can no longer refuse it. The explanation scene put an end to the relationship that had not begun, but Bazarov, oddly enough with his character, is bitter.

Arkady, meanwhile, falls into a love net and, despite the haste of marriage, is happy. Bazarov is destined to remain a wanderer - homeless and careless. The reason for this is only in his character: he is not inclined to limitations, does not want to obey, does not give guarantees, longs for a voluntary and exclusive location. Meanwhile, he can only fall in love with an intelligent woman, and she will not agree to such a relationship. Mutual feelings, thus, are simply impossible for Yevgeny Vasilich.

Further, Pisarev examines aspects of Bazarov's relations with other heroes, primarily the people. The heart of the peasants "lies" to him, but the hero is still perceived as a stranger, a "jester" who does not know their true troubles and aspirations.

The novel ends with the death of Bazarov - as unexpected as it is natural. Alas, to judge what the future would await the hero, it would be possible only when his generation reaches a mature age, to which Eugene is not destined to live. Nevertheless, such personalities grow into great figures (under certain conditions) - energetic, strong-willed, people of life and deeds. Alas, Turgenev is unable to show how Bazarov lives. But it shows how he dies - and that's enough.

The critic believes that to die like Bazarov is already a feat, and this is true. The description of the hero's death becomes the best episode of the novel and almost the best moment in the entire work of the genius author. Dying, Bazarov is not sad, but despises himself, powerless in the face of chance, remaining a nihilist until his last breath and - at the same time - keeping a bright feeling for Madame Odintsova.

(Anna Odintsova)

In conclusion, D.I. Pisarev notes that Turgenev, starting to create the image of Bazarov, wanted, attracted by an unkind feeling, "to smash him to dust," believing in him. The author loves his heroes, is fond of them and gives Bazarov the opportunity to experience a feeling of love - passionate and young, begins to sympathize with his creation, for which neither happiness nor activity is possible.

There is no need for Bazarov to live - well, let's look at his death, which is the whole essence, the whole meaning of the novel. What did Turgenev want to say with this untimely but expected death? Yes, the current generation is mistaken, carried away, but it has the strength and intelligence that will lead them on the right path. And only for this thought the author can be grateful as "a great artist and an honest citizen of Russia."

Pisarev admits: the Bazarovs feel bad in the world, they have no activity, love, and therefore life is boring and meaningless. What to do - whether to be content with such an existence or to die “beautifully” - is up to you.

D. I. Pisarev

Bazarov
"Fathers and Sons", a novel by I. S. Turgenev

D.I. Pisarev. Literary criticism in three volumes. Volume One Articles 1859-1864 L., "Fiction", 1981 Compilation, introductory article, preparation of the text and notes by Yu. S. Sorokin Turgenev's new novel gives us everything that we are used to enjoying in his works. The artistic finish is immaculately good; characters and positions, scenes and pictures are drawn so clearly and at the same time so softly that the most desperate denier of art will feel some incomprehensible pleasure while reading the novel, which cannot be explained either by the amusement of the events narrated, or by the amazing fidelity of the main idea. The point is that the events are not at all entertaining, and the idea is not strikingly correct at all. In the novel there is no beginning, no denouement, no strictly thought out plan; there are types and characters, there are scenes and pictures, and, most importantly, the personal, deeply felt attitude of the author to the deduced phenomena of life appears through the fabric of the story. And these phenomena are very close to us, so close that all our young generation with their aspirations and ideas can recognize themselves in the characters of this novel. By this I do not mean that in Turgenev's novel the ideas and aspirations of the younger generation are reflected in the way the younger generation understands them; Turgenev treats these ideas and aspirations from his personal point of view, and the old man and the young man almost never agree with each other in convictions and sympathies. But if you go to a mirror, which, reflecting objects, changes their color a little, then you will recognize your physiognomy, despite the errors of the mirror. Reading Turgenev's novel, we see in it the types of the present moment and at the same time are aware of the changes that the phenomena of reality have experienced, passing through the artist's consciousness. It is curious to trace how the ideas and aspirations stirring in our young generation and manifesting, like all living things, in a wide variety of forms, rarely attractive, often original, sometimes ugly, act on a person like Turgenev. This kind of research can be very profound. Turgenev is one of the best people of the past generation; to determine how he looks at us and why he looks at us in this way and not otherwise is to find the cause of the discord that is seen everywhere in our private family life; that discord, from which young lives often perish and from which old men and women constantly groan and groan, who do not have time to process the concepts and actions of their sons and daughters into their stock. The task, as you can see, is a vital, large and complex; I probably won't get along with her, but I will think about it. Turgenev's novel, in addition to its artistic beauty, is also remarkable in that it stirs the mind, prompts thought, although in itself it does not solve any question and even illuminates with a bright light not so much the phenomena that are deduced, but the author's attitude to these very phenomena. He leads one to speculation precisely because he is completely imbued with the most complete, most touching sincerity. Everything that is written in Turgenev's last novel is felt down to the last line; This feeling breaks through against the will and consciousness of the author himself and warms the objective story instead of being expressed in lyrical digressions. The author himself does not give himself a clear account of his feelings, does not subject them to analysis, does not become critical of them. This circumstance enables us to see these feelings in all their untouched immediacy. We see what shines through, not what the author wants to show or prove. The opinions and judgments of Turgenev will not change even a hair's breadth of our view of the younger generation and the ideas of our time; we will not even take them into consideration, we will not even argue with them; these opinions, judgments and feelings, expressed in inimitable living images, will only provide materials for characterizing the past generation, represented by one of its best representatives. I will try to group these materials and, if I succeed, I will explain why our old people do not agree with us, shake their heads and, depending on different characters and different moods, are angry, sometimes perplexed, then quietly sad about our actions and reasoning. The novel takes place in the summer of 1859. The young candidate, Arkady Nikolaevich Kirsanov, comes to his father's village with his friend, Yevgeny Vasilyevich Bazarov, who obviously has a strong influence on the way of thinking of his comrade. This Bazarov, a man strong in mind and character, is the center of the entire novel. He is a representative of our younger generation; in his personality are grouped those properties that are scattered in small portions among the masses; and the image of this person is vividly and distinctly looming before the imagination of the reader. Bazarov is the son of a poor district doctor; Turgenev does not say anything about his student life, but one must assume that it was a poor, hard, hard life, Bazarov's father says about his son that he did not take an extra penny from them from his childhood; to tell the truth, much could not be taken even with the greatest desire, therefore, if old man Bazarov says this in praise of his son, then this means that Evgeny Vasilyevich supported himself at the university with his own labors, was interrupted by penny lessons and at the same time found the ability to efficiently prepare yourself for future activities. From this school of labor and hardship Bazarov emerged as a strong and stern man; the course he took in the natural and medical sciences developed his natural intelligence and weaned him from taking on faith any notions and beliefs; he became a pure empiricist; experience became for him the only source of knowledge, personal sensation the only and last convincing evidence. “I am in a negative direction,” he says, “because of sensations. I am pleased to deny that my brain works like that - and basta! Why do I like chemistry? Why do you like apples? Also because of sensation, it’s all one. People will never penetrate deeper than this. Not everyone will tell you this, and I will not tell you this next time either. " As an empiricist, Bazarov recognizes only that which can be felt with the hands, seen with the eyes, put on the tongue, in a word, only that which can be witnessed by one of the five senses. He reduces all other human feelings to the activity of the nervous system; as a result of this enjoyment of the beauties of nature, music, painting, poetry, love, women do not at all seem to him higher and purer than the enjoyment of a hearty dinner or a bottle of good wine. What enthusiastic youths call an ideal does not exist for Bazarov; he calls all this "romanticism", and sometimes instead of the word "romanticism" he uses the word "nonsense." Despite all this, Bazarov does not steal other people's scarves, does not pull money from parents, works diligently and does not even mind doing something worthwhile in life. I have a presentiment that many of my readers will ask themselves the question: what is it that keeps Bazarov from doing vile actions and what prompts him to do something worthwhile? This question will lead to the following doubt: is Bazarov not pretending to himself and to others? Is he not being drawn? Perhaps, in the depths of his soul, he recognizes much of what he denies in words, and perhaps it is this acknowledged, this hidden thing that saves him from moral fall and from moral insignificance. Although Bazarov is neither a matchmaker nor a brother to me, although I may not sympathize with him, however, for the sake of abstract justice, I will try to answer the question and refute the crafty doubt. You can resent people like Bazarov as much as your heart desires, but it is absolutely necessary to recognize their sincerity. These people can be honest and dishonest, civilians and outright crooks, depending on the circumstances and personal tastes. Nothing, except for personal taste, prevents them from killing and robbing, and nothing, except for personal taste, encourages people of such temperament to make discoveries in the field of sciences and social life. Bazarov will not steal a handkerchief for the same reason why he does not eat a piece of rotten beef. If Bazarov were dying of hunger, he would probably have done both. The agonizing feeling of unsatisfied physical need would overcome his aversion to the bad smell of decaying meat and to secret encroachment on someone else's property. In addition to direct attraction, Bazarov has another guide in life - calculation. When he is ill, he takes medicine, although he does not feel any immediate attraction to castor oil or assafoetida. He does so by design; at the cost of a little nuisance, he buys in the future more convenience or relief from a greater nuisance. In a word, he chooses the lesser of two evils, although he does not feel any attraction to the lesser. For mediocre people this kind of calculation is for the most part untenable; they are calculating, cunning, cheating, stealing, getting entangled, and in the end they are fools. People who are very smart do differently; they understand that being honest is very beneficial and that any crime, from simple lies to murder, is dangerous and, therefore, inconvenient. Therefore, very smart people can be honest in calculation and act honestly where limited people will wag and throw loops. Working tirelessly, Bazarov obeyed immediate attraction, taste and, moreover, acted according to the most correct calculation. If he sought patronage, bowed, poddled, instead of toil and behave proudly and independently, he would have acted imprudently. Careers made with one's own head are always stronger and wider than careers laid by low bows or the intercession of an important uncle. Thanks to the last two means, you can get into the provincial or capital aces, but, by the mercy of these means, no one, since the world stands, has managed to become either Washington, Garibaldi, Copernicus, or Heinrich Heine. Even Herostratus - and he made a career for himself on his own and got into history not through patronage. - As for Bazarov, he is not aiming at the provincial aces; if imagination sometimes draws a future for him, then this future is somehow indefinitely wide; he works without a goal, to get his daily bread or out of love for the process of work, but meanwhile he dimly feels by the amount of his own strength that his work will not remain without a trace and will lead to something. Bazarov is extremely prideful, but his pride is imperceptible precisely because of his enormity. He is not interested in the little things that make up everyday human relationships; he cannot be insulted with obvious disdain, he cannot be made happy with signs of respect; he is so full of himself and so unshakably high in his own eyes that he becomes almost completely indifferent to the opinions of other people. Uncle Kirsanov, close to Bazarov in mind and character, calls his vanity "satanic pride." This expression is very well chosen and perfectly characterizes our hero. Indeed, only an eternity of constantly expanding activity and constantly increasing pleasure could satisfy Bazarov, but, unfortunately for himself, Bazarov does not recognize the eternal existence of the human person. “Yes, for example,” he says to his friend, Kirsanov, “you said today, passing by the hut of our head Philip,“ she’s so glorious, white, ”you said: Russia will then reach perfection when the latter a peasant will have the same room, and each of us should contribute to this ... And I also hated this last peasant, Philip or Sidor, for whom I have to get out of my skin and who will not even say thank you to me ... And why should I Thanks to him? Well, he will live in a white hut, and a burdock will grow out of me; - Well, and then? " 2 So, Bazarov everywhere and in everything acts only as he wants or as it seems to him profitable and convenient. He is driven only by personal whim or personal calculation. Neither above himself, nor outside himself, nor within himself does he recognize any regulator, no moral law, no principle. There is no lofty goal ahead; in the mind - no lofty thought, and with all this - the forces are enormous. - Why, this is an immoral person! Villain, freak! - I hear from all sides the exclamations of indignant readers. Well, okay, villain, freak; scold more, persecute him with satire and epigram, indignant lyricism and outraged public opinion, fires of the Inquisition and executioners' axes - and you will not poison, you will not kill this monster, you will not put him in alcohol to a surprisingly respectable audience. If bazarovism is a disease, then it is a disease of our time, and one has to suffer through it, in spite of any palliatives and amputations. Treat bazarovshchina whatever you like - that's your business; and stop - don't stop; it's the same cholera. The disease of the century first of all sticks to people who, in terms of their mental powers, are above the general level. Bazarov, possessed by this disease, is distinguished by a remarkable mind and, as a result, makes a strong impression on people who encounter him. "A real person," he says, "is the one about whom there is nothing to think about, but whom one must obey or hate." Bazarov himself fits the definition of a real person; he constantly immediately seizes the attention of the people around him; some he intimidates and repels; he subjugates others, not so much by arguments as by direct strength, simplicity and integrity of his concepts. As a remarkably intelligent person, he did not meet “an equal.” When I meet a person who would not pass in front of me, ”he said with a constellation,“ then I will change my mind about myself. ”He looks at people from top to bottom and even rarely takes the trouble to hide his half-contemptuous, half-patronizing attitudes towards those people who hate him and those who obey him.Yun does not love anyone; without breaking existing ties and relationships, he at the same time will not take a step towards in order to re-establish or maintain this relationship, will not soften a single note in his stern voice, will not sacrifice a single harsh joke, not a single word of words. to be completely frank, but because he considers it completely unnecessary to embarrass his person in anything! for the same motive for which Americans lift their feet on the backs of their chairs and spit on parquet floors with tobacco juice lush hotels. Bazarov does not need anyone, is not afraid of anyone, loves no one and, as a result, does not spare anyone. Like Diogenes, he is ready to live almost in a barrel and for this he gives himself the right to speak harsh truths to people for the same reason that he likes it. In Bazarov's cynicism, two sides can be distinguished: internal and external, the cynicism of thoughts and feelings and the cynicism of manners and expressions. An ironic attitude to feelings of all kinds, to dreaminess, to lyrical impulses, to outpourings is the essence of inner cynicism. The rude expression of this irony, the causeless and aimless harshness in the address refer to external cynicism. The first depends on the mindset and on the general outlook; the second is due to purely external conditions of development, the properties of the society in which the subject in question lived. Bazarov's mocking attitude to the kind-hearted Kirsanov stems from the basic properties of the general Bazarov type. His rough clashes with Kirsanov and with his uncle constitute his personal identity. Bazarov is not only an empiricist - he is, moreover, an uncouth bursh, who knows no other life than the homeless, laborious, sometimes wildly riotous life of a poor student. Among Bazarov's admirers, there will probably be people who will admire his rude manners, traces of the bursak life, will imitate these manners, which, in any case, are a disadvantage, not a dignity, they will even, perhaps, exaggerate his angularity, baggy and sharpness. Among the haters of Bazarov, there will probably be people who will pay special attention to these unsightly features of his personality and reproach them with the general type. Both will be mistaken and will only reveal a deep misunderstanding of the real case. Both can be reminded of Pushkin's verse: You can be a sensible person, And think about the beauty of nails 3 You can be an extreme materialist, a complete empiricist, and at the same time take care of your toilet, treat your friends with refinement, be a kind interlocutor and a perfect gentleman. I say this for those readers who, attaching great importance to refined manners, will look with disgust at Bazarov as a man mal eleve and mauvais ton. ton, but this does not at all refer to the essence of the type and does not speak against it or in its favor. It occurred to Turgenev to choose an uncouth person as a representative of the Bazarov type; he did so and, of course, painting his hero, he did not conceal and did not paint over his angularities; Turgenev's choice can be explained by two different reasons: first, the personality of a person who mercilessly and with complete conviction denies everything that others recognize as high and beautiful, is often developed in the gray environment of working life; from harsh work hands coarse, manners coarse, feelings coarse; a person grows stronger and drives away youthful daydreaming, gets rid of tearful sensitivity; You cannot dream while working, because attention is focused on the occupying business; and after work you need rest, you need real satisfaction of physical needs, and the dream does not come to mind. A person gets used to looking at a dream as a whim, characteristic of idleness and lordly effeminacy; he begins to regard moral suffering as dreamy; moral aspirations and deeds - invented and absurd. For him, a working person, there is only one, eternally recurring concern: today we must think about not going hungry tomorrow. This simple concern, formidable in its simplicity, obscures from him the rest, secondary anxieties, squabbles and concerns of life; in comparison with this concern, he seems petty, insignificant, artificially created various unresolved questions, unexplained doubts, indefinite relationships that poison the lives of wealthy and leisure people. Thus, the working proletarian by the very process of his life, regardless of the process of reflection, reaches practical realism; for lack of time he disaccates to dreaming, to chase after an ideal, to strive in an idea for an unattainable, lofty goal. Developing energy in the worker, work teaches him to bring business closer to thought, an act of will with an act of mind. A person who is accustomed to relying on himself and on his own strength, accustomed to implementing today what was conceived yesterday, begins to look with more or less obvious disdain at those people who, dreaming of love, of useful activity, of the happiness of the entire human race, they do not know how to move a finger to improve their own extremely uncomfortable position in any way. In a word, a man of action, whether he is a physician, a craftsman, a teacher, even a writer (you can be a writer and a man of action at the same time), feels a natural, irresistible aversion to phrasing, to the waste of words, to sweet thoughts, to sentimental aspirations and in general, to all claims not based on real, tactile power. This kind of aversion to everything that is detached from life and disappears in sounds is a fundamental property of people of the Bazarov type. This fundamental property is developed precisely in those heterogeneous workshops in which a person, refining his mind and tensing his muscles, fights with nature for the right to exist in this world. On this basis, Turgenev had the right to take his hero in one of these workshops and bring him in a working apron, with unwashed hands and a gloomy, preoccupied look into the society of fashionable gentlemen and ladies. But justice prompts me to express the assumption that the author of the novel "Fathers and Sons" did so not without insidious intent. This insidious intent is the second reason I mentioned above. The fact is that Turgenev, obviously, does not like his hero. His soft, loving nature, striving for faith and sympathy, jarring with corrosive realism; his subtle aesthetic feeling, not devoid of a significant dose of aristocracy, is offended by even the slightest flashes of cynicism; he is too weak and impressionable to bear the bleak denial; he needs to make peace with existence, if not in the realm of life, then at least in the realm of thought, or rather, dreams. Turgenev, like a nervous woman, like a plant “don't touch me,” shrinks painfully from the slightest contact with the bazaar-style bouquet. Feeling, thus, an involuntary antipathy to this line of thought, he brought it out in front of the reading public in a possibly illiterate copy. He knows very well that there are a lot of fashionable readers in our public, and, counting on the refinement of their aristocratic taste, he does not spare coarse colors, with an obvious desire to drop and vulgarize, together with the hero, the warehouse of ideas that makes up the general belonging of the type. He knows very well that most of his readers will only say about Bazarov, that he has been ill-mannered and that he should not be allowed into a decent drawing-room; they will not go further and deeper, but, speaking with such people, a gifted artist and an honest person should be extremely careful out of respect for himself and for the idea that he defends or refutes. Here you need to keep your personal antipathy in check, which, under certain conditions, can turn into involuntary slander against people who are unable to defend themselves with the same weapon. I have tried so far to outline in large features the personality of Bazarov, or, rather, that general, emerging type, which is represented by the hero of Turgenev's novel. We must now trace, as far as possible, its historical origin; it is necessary to show in what relation Bazarov is to the various Onegins, Pechorins, Rudins, Beltovs and other literary types, in which, in the past decades, the younger generation recognized the features of their mental physiognomy. At all times there have been people in the world who were dissatisfied "" with life in general or with certain forms of life in particular; at all times these people constituted an insignificant minority. The masses at all times lived happily ever after and, due to their inherent unpretentiousness, were satisfied with what was available. Only some material calamity, such as "a coward, gladness, a flood, an invasion of aliens," set the masses in restless motion and disrupted the usual, sleepy, serene process of its vegetation. The mass, made up of those hundreds of thousands of indivisible 4, who have never in their lives used their brain as an instrument of independent thinking, lives for themselves from day to day, manages their affairs, gets jobs, plays cards, reads something, follows fashion in ideas and in dresses, he walks a snail's step forward by force of inertia and, never asking himself large, all-embracing questions, never tormented by doubts, does not experience irritation, fatigue, annoyance, or boredom. This mass does not make any discoveries or crimes, other people think and suffer for it, seek and find, fight and make mistakes, always strangers to it, always looking at it with disdain and at the same time eternally working in order to increase convenience her life. This mass, the stomach of humanity, lives on everything ready, without asking where it comes from, and without contributing a single half of it to the common treasury of human thought. People of the masses in Russia study, serve, work, have fun, marry, have children, raise them, in a word, live a full life, are completely satisfied with themselves and the environment, do not want any improvements and, walking along the beaten path, do not suspect any possibility nor the need for other ways and directions. They adhere to a routine by force of inertia, not by attachment to it; try to change this order - they will now live with the innovation; inveterate Old Believers are distinctive personalities and stand above the unrequited herd. And the masses today ride on nasty country roads and put up with them; in a few years she will sit in the carriages and admire the speed of movement and the convenience of travel. This inertia, this ability to agree to everything and coexist with everything is, perhaps, the most precious heritage of mankind. The wretchedness of thought is thus balanced by the modesty of demands. A person who does not have enough intelligence to come up with means to improve his intolerable situation can be called happy only if he does not understand and does not feel the inconveniences of his situation. The life of a limited person almost always flows smoother and more pleasant than the life of a genius or even just an intelligent person. Smart people do not get along with those phenomena to which the masses get used to without the slightest difficulty. To these phenomena, smart people, depending on the different conditions of temperament and development, become in the most heterogeneous relationship. For example, a young man lives in St. Petersburg, the only son of wealthy parents. He's smart. They taught him how it should, slightly everything that, according to the concepts of papa and the tutor, a young man of a good family needs to know. He was tired of books and lessons; tired of the novels that he read at first on the sly, and then openly; he eagerly pounces on life, dances until he drops, drags after women, wins brilliant victories. Two or three years pass imperceptibly; today is the same as yesterday, tomorrow is the same as today - there is a lot of noise, hustle and bustle, movement, brilliance, variegation, but in essence there is no variety of impressions; what our supposed hero saw is already understood and studied by him; there is no new food for the mind, and an agonizing feeling of mental hunger and boredom begins. A frustrated or, more simply and more accurately, a bored young man begins to think about what to do, what to start. Work, or what? But working, asking yourself work in order not to get bored, is like walking for exercise without a specific purpose. It is strange for an intelligent person to think about such a trick. And, finally, would you like to find a job with us that would interest and satisfy an intelligent person who was not involved in this work from a young age? Perhaps he should enter the service in the treasury chamber? Or should I prepare myself for the fun of my master's exam? Shouldn't I imagine myself as an artist and, at twenty-five, start drawing eyes and ears, study perspectives or general bass? Is it possible to fall in love? - It, of course, would not hurt, but the trouble is that smart people are very demanding and are rarely satisfied with those female specimens, which abound in brilliant St. Petersburg drawing rooms. They play nice with these women, they bring intrigues with them, they marry them, sometimes out of hobby, more often out of prudent calculation; but making relationships with such women an occupation that fills life, saves from boredom, is unthinkable for an intelligent person. The same deadening bureaucracy has penetrated into the relationship between a man and a woman, which has seized the rest of the manifestations of our private and public life. The living nature of man here, as elsewhere, is constrained and discolored by uniform and ritualism. Well, a young man, who has studied the uniform and the rite to the last detail, can only give up his boredom, as an inevitable evil, or, out of despair, throw himself into various eccentricities, nourishing an indefinite hope of dissipating. The first was made by Onegin, the second - by Pechorin; the whole difference between the one and the other is in temperament. The conditions under which they formed and from which they got bored are the same; the environment, which has become boring to both, is the same. But Onegin is colder than Pechorin, and therefore Pechorin plays the fool much more than Onegin, rushes to the Caucasus for impressions, looks for them in Bela's love, in a duel with Grushnitsky, in battles with the Circassians, while Onegin languidly and lazily carries around the world his beautiful disappointment ... A little Onegin, a little Pechorin, he was and still is with us any more or less intelligent person who owns a wealthy fortune, who grew up in an atmosphere of lordship and did not receive a serious education. Alongside these bored drones there were and are still crowds of people sad, yearning from an unsatisfied desire to be useful. Brought up in gymnasiums and universities, these people receive fairly solid ideas about how civilized peoples live in the world, how talented figures work for the benefit of society, how different thinkers and moralists define the duties of a person. In vague, but often warm expressions, the professors tell these people about honest activity, about the feat of life, about selflessness in the name of humanity, truth, science, society. Variations on these warm expressions fill the sincere student conversations, during which so much youthful freshness is expressed, during which it is so warm and boundlessly believed in the existence and in the triumph of good. Well, imbued with the warm words of idealistic professors, warmed by their own enthusiastic speeches, young people from school come out into life with an indomitable desire to do a good deed or to suffer for the truth. They sometimes have to suffer, but they never succeed. Whether they themselves are to blame for this, whether the life they are entering into is to blame - it is difficult to judge. It is at least true that they do not have the strength to alter the conditions of life, and they do not know how to get along with these conditions. Here they are rushing from side to side, trying their hand at different careers, asking, begging society: "You can attach us somewhere, take our strength, squeeze out of them some particle of benefit for yourself; destroy us, but destroy us like that. so that our death does not go to waste. " Society is deaf and implacable; the ardent desire of the Rudins and Beltovs to get involved in practical activities and see the fruits of their labors and donations remains fruitless. Not a single Rudin, not a single Beltov has ever risen to the rank of head of a department; and besides - strange people! - they, what good, even with this honorable and secured position would not be satisfied. They spoke in a language that society did not understand, and after vain attempts to explain their desires to this society, they fell silent and fell into a very excusable despondency. Some Rudins calmed down and found satisfaction in their teaching activities; becoming teachers and professors, they found an outlet for their striving for activity. We ourselves, they told themselves, had done nothing. At least we will pass on our honest tendencies to the younger generation, which will be stronger than us and create other, more favorable times for themselves. Remaining in this way far from practical activity, the poor idealist teachers did not notice that their lectures produced the same Rudins as themselves, that their students would have to remain outside of practical activity in the same way or become renegades, abandon beliefs and tendencies. It would be hard for Rudin's teachers to foresee that they, even in the person of their students, will not take part in practical activities; and yet they would be mistaken if, even foreseeing this circumstance, they thought that they were of no use. The negative benefits brought and brought by people of this temper are not subject to the slightest doubt. They breed people incapable to practical activities; consequently, the most practical activity, or, rather, the forms in which it is usually expressed now, slowly but constantly decrease in the opinion of society. About twenty years ago, all young people served in various departments; non-employees belonged to exceptional phenomena; society looked at them with compassion or disdain; to make a career meant to reach the highest rank. Now very many young people do not serve, and no one finds anything strange or reprehensible in this. Why did it happen? And therefore, it seems to me that they have become accustomed to such phenomena, or, what is the same, because Rudins have multiplied in our society. Not so long ago, about six years ago, shortly after the Crimean campaign, our Rudins imagined that their time had come, that society would accept and use the forces that they had long offered to it with complete selflessness. They rushed forward; literature revived; university teaching has become fresher; students have changed; society with unprecedented zeal began to work on magazines and even began to peer into the audience; 5 even new administrative positions arose. It seemed that the era of fruitless dreams and aspirations was followed by an era of ebullient, useful activity. It seemed that the rudimentary state was coming to an end, and even Mr. Goncharov himself buried his Oblomov and announced that many Stolts were hiding under Russian names. But the mirage dissipated - the Rudins did not become practical workers; because of the Rudins, a new generation emerged, which reacted with reproach and mockery to their predecessors. "What are you whining about, what are you looking for, what are you asking for from life? I suppose you want happiness," these new people said to the kind-hearted idealists who sadly lowered their wings, "but you never know! Happiness must be won. There is strength - - take it. No strength - keep quiet, and even without you it makes you sick! " - Gloomy, concentrated energy was reflected in this unfriendly attitude of the younger generation towards their mentors. In their concepts of good and evil, this generation converged with the best people of the previous one; likes and dislikes they shared; they wished for the same thing; but people of the past rushed about and fussed about, hoping to settle down somewhere and somehow, on the sly, in snatches, imperceptibly infuse their honest convictions into life. People of the present do not rush about, do not look for anything, do not attach themselves anywhere, do not make any compromises and do not hope for anything. In practical terms, they are just as powerless as the Rudins, but they realized their powerlessness and stopped waving their hands. “I cannot act now,” each of these new people thinks to himself, “I’m not going to try; I despise everything that surrounds me, and I will not hide this contempt. I will go to the fight against evil when I feel Until then I will live on my own, as I live, not putting up with the prevailing evil and not giving it any power over me. I am a stranger among the existing order of things, and I have nothing to do with it. , I think - what I want, and I express - what can be said. " This cold despair, reaching the point of complete indifference and at the same time developing the individual personality to the last limits of firmness and independence, strains the mental faculties; not being able to act, people begin to think and investigate; not being able to remake life, people take out their impotence in the field of thought; there nothing stops destructive critical work; superstitions and authorities are smashed to smithereens, and the world outlook is completely cleansed of various ghostly notions. - What are you doing? (Uncle Arkady asks Bazarov). - And this is what we do (Bazarov answers): before - recently, we said that our officials take bribes, that we have no roads, no trade, no proper court. - Well, yes, yes, you are accusers - is that what it’s called? I agree with many of your denunciations, but ... - And then we realized that chatting, just chatting about our ulcers is not worth the trouble, that it only leads to vulgarity and doctrinairism; we saw that our clever people, the so-called progressive people and accusers, are worthless, that we are doing nonsense, talking about some kind of art, unconscious creativity, about parliamentarism, about the legal profession, and the devil knows what when it comes to daily bread when the grossest superstition strangles us, when all our joint-stock companies collapse solely because there is a lack of honest people, when the very freedom that the government is seeking will hardly be of use to us, because our peasant is glad to rob himself in order to get drunk to a dope in a tavern ... - So, - interrupted Pavel Petrovich, - so; you were convinced of all this and decided not to take it seriously for anything? “And we decided not to take up anything,” Bazarov repeated gloomily. He suddenly felt annoyed with himself why he had spoken so much in front of this gentleman. - But just swear? - And swear. - And this is called nihilism? “And this is called nihilism,” Bazarov repeated again, this time with particular audacity. So here are my findings. A person of the masses lives according to the established rate, which falls to his lot not by his free choice, but because he was born at a certain time, in a certain city or village. He is all entangled in various relationships: family, service, household, social; his thought is shackled by accepted prejudices; he himself does not like these relations, nor these prejudices, but they seem to him "the limit, he will not pass," and he lives and dies without showing his personal will and often not even suspecting its existence in himself. If a smarter person is caught in this mass, then, depending on the circumstances, in one way or another he will stand out from the mass and dispose of in his own way, as it is more profitable for him, more convenient and more pleasant. Clever people who have not received a serious education cannot stand the life of the masses, because it annoys them with its colorlessness; they themselves have no idea of ​​a better life and therefore, instinctively recoiling from the masses, they remain in empty space, not knowing where to go, why live in the world, how to dispel melancholy. Here the individual breaks away from the herd, but does not know how to dispose of himself. Other people, intelligent and educated, are not satisfied with the life of the masses and consciously criticize it; they have their own ideal; they want to go to him, but, looking back, constantly, fearfully ask each other: will society follow us? Will we not be left alone with our aspirations? Will we be trapped? For these people, for a lack of firmness, the matter stops at words. Here the personality is aware of its separateness, makes itself the concept of independent life and, not daring to move from its place, bifurcates its existence, separates the world of thought from the world of life.People of the third category go further - they are aware of their dissimilarity with the masses and boldly separate from it by their actions and habits. , all way of life. Whether society will follow them, they do not care. They are full of themselves, their inner life and do not constrain it for the sake of accepted customs and ceremonies. Here the person achieves complete self-liberation, complete singularity and independence. In a word, the Pechorins have will without knowledge, the Rudins have knowledge without will; the Bazarovs have both knowledge and will. Thought and deed merge into one solid whole. So far I have spoken of a general phenomenon in life that gave rise to Turgenev's novel; now we need to see how this phenomenon is reflected in the work of art. Having learned what Bazarov is, we must pay attention to how Turgenev himself understands this Bazarov, how he forces him to act and in what relationship he puts him to the people around him. In a word, I will now proceed to a detailed factual analysis of the novel. I said above that Bazarov comes to the village to visit his friend, Arkady Nikolaevich Kirsanov, who is subject to his influence. Arkady Nikolaevich is an intelligent young man, but completely devoid of mental originality and constantly in need of someone's intellectual support. He is probably five years younger than Bazarov and in comparison with him seems to be a completely fledgling chick, despite the fact that he is about twenty-three years old and that he finished his course at the university. In awe of his teacher, Arkady delightedly denies authority; he does it from someone else's voice, thus not noticing the internal contradiction in his behavior. He is too weak to stand on his own in that cold atmosphere of sober rationality in which Bazarov breathes so freely; he belongs to the category of people who are eternally guarded and eternally unaware of their tutelage. Bazarov treats him patronizingly and almost always derisively; Arkady often argues with him, and in these disputes Bazarov gives full vent to his weighty humor. Arkady does not love his friend, but somehow involuntarily submits to the irresistible influence of a strong personality, and, moreover, imagines that he deeply sympathizes with Bazarov's world outlook. His relations with Bazarov are purely head-quarters, made to order; he met him somewhere in the student circle, became interested in the integrity of his views, submitted to his strength and imagined that he deeply respects him and loves him from the bottom of his heart. Bazarov, of course, did not imagine anything and, without embarrassing himself in the least, allowed his new proselyte to love him, Bazarov, and maintain a constant relationship with him. He went with him to the village not to please him, and not to get to know the family of his betrothed friend, but simply because it was on the way, and, finally, why not live two weeks in visiting a decent person, in the country, in the summer, when there are no distractions and interests? The village our young people came to belongs to Arkady's father and uncle. His father, Nikolai Petrovich Kirsanov, is a man of about forty years old; in character, he is very similar to his son. But Nikolai Petrovich has much more correspondence and harmony between his mental convictions and natural inclinations than Arkady. As a gentle, sensitive and even sentimental person, Nikolai Petrovich does not rush to rationalism and settles down on such a world outlook that gives food to his imagination and pleasantly tickles his moral feeling. Arkady, on the other hand, wants to be the son of his age and puts on the ideas of Bazarov, which decisively cannot merge with him. It is by itself, and ideas are dangling by themselves, like an adult's coat worn on a ten-year-old child. Even that childish joy that is found in a boy when he is jokingly made into great ones, even this joy, I say, is noticeable in our young thinker from someone else's voice. Arkady flaunts his ideas, tries to draw the attention of others to them, thinks to himself: "What a fine fellow I am!" and, alas, like a small child, unreasonable, sometimes he checks and comes to an obvious contradiction with himself and with his superimposed convictions. Arkady's uncle, Pavel Petrovich, can be called a small Pechorin; in his lifetime he chewed and played the fool, and, finally, he got tired of everything; he did not succeed in settling in, and that was not in his character; having reached the point where, in Turgenev's words, regrets are similar to hopes and hopes are similar to regrets, the former lion retired to his brother in the village, surrounded himself with graceful comfort and turned his life into a calm vegetation. An outstanding memory from the previous noisy and brilliant life of Pavel Petrovich was a strong feeling for a woman of high society, a feeling that gave him a lot of pleasure and after that, as is almost always the case, a lot of suffering. When Pavel Petrovich's relationship with this woman ended, his life was completely empty. Like a poisoned man, he wandered from place to place, - says Turgenev, - he still left, he retained all the habits of a secular man, he could boast of two or three new victories; but he no longer expected anything special either from himself or from others, and did nothing; he has grown old, gray; to sit in the club in the evenings, to be bitterly bored, to argue indifferently in a bachelor society has become a necessity for him - a bad sign, as you know. Of course, he did not even think about marriage. Ten years have passed in this way, colorless, fruitless and quickly, terribly fast. Nowhere does time run so fast as in Russia: in prison, they say, it runs even faster 7. As a bilious and passionate person, gifted with a flexible mind and strong will, Pavel Petrovich sharply differs from his brother and nephew. He does not give in to other people's influence, he subjugates the surrounding personalities and hates those people in whom he meets himself with resistance. To tell the truth, he has no convictions, but he has habits that he values ​​very much. Out of habit, he talks about the rights and duties of the aristocracy and out of habit proves in disputes the need principov... He is accustomed to the ideas that society holds, and stands for these ideas as for his comfort. He hates that someone refutes these concepts, although, in fact, he has no heartfelt affection for them. He argues with Bazarov much more energetically than his brother, and yet Nikolai Petrovich suffers much more sincerely from his merciless denial. In the depths of his soul, Pavel Petrovich is as much a skeptic and empiricist as Bazarov himself; in practical life, he always acted and acts as he pleases, but in the field of thought he does not know how to admit this to himself and therefore supports in words such doctrines that his actions constantly contradict. The uncle and nephew should have changed their beliefs, because the former mistakenly ascribes to himself the belief in principles , the second, in the same way, mistakenly imagines himself to be an extreme skeptic and a bold rationalist. Pavel Petrovich begins to feel the strongest antipathy towards Bazarov from the first acquaintance. Bazarov's plebeian manners angered the retired dandy; his self-confidence and lack of ceremony annoy Pavel Petrovich as a lack of respect for his graceful person. Pavel Petrovich sees that Bazarov will not yield to him predominance over himself, and this arouses in him a feeling of annoyance, which he seizes upon as entertainment amid deep country boredom. Hating Bazarov himself, Pavel Petrovich is indignant at all his opinions, finds fault with him, forcibly challenges him to a dispute and argues with that zealous enthusiasm that idle and bored people usually display. And what is Bazarov doing among these three personalities? First, he tries to pay as little attention to them as possible and spends most of his time at work; walks around the neighborhood, collects plants and insects, cuts frogs and engages in microscopic observations; he looks at Arkady as at a child, at Nikolai Petrovich as at a good-natured old man, or, as he puts it, at an old romantic. He is not entirely friendly to Pavel Petrovich; he is outraged by the element of lordship in him, but he involuntarily tries to hide his irritation under the guise of contemptuous indifference. He does not want to admit to himself that he can be angry with the "district aristocrat", but meanwhile his passionate nature takes its toll; he often ardently objects to Pavel Petrovich's tirades and does not suddenly manage to control himself and withdraw into his mocking coldness. Bazarov does not like to argue or speak out at all, and only Pavel Petrovich partly has the ability to provoke him into meaningful conversation. These two strong characters are hostile to each other; seeing these two people face to face, one can imagine the struggle taking place between two generations immediately following one after the other. Nikolai Petrovich, of course, is not capable of being an oppressor, Arkady Nikolaevich, of course, is not capable of entering into a struggle against family despotism; but Pavel Petrovich and Bazarov could, under certain conditions, be vivid representatives: the first - the chilling, chilling force of the past, the second - the destructive, liberating force of the present. On whose side do the artist's sympathy lie? Who does he sympathize with? This essentially important question can be answered positively, that Turgenev does not fully sympathize with any of his characters; not a single weak or ridiculous feature escapes his analysis; we see how Bazarov lies in his denial, how Arkady enjoys his development, how Nikolai Petrovich is timid, like a fifteen-year-old youth, and how Pavel Petrovich shows himself up and gets angry, why Bazarov does not admire him, the only person whom he respects in his very hatred ... Bazarov is lying - this is, unfortunately, true. He shrugs off things that he does not know or does not understand; poetry, in his opinion, is nonsense; reading Pushkin is a lost time; making music is funny; enjoying nature is ridiculous. It may very well be that he, a person, worn out by working life, has lost or did not have time to develop in himself the ability to enjoy pleasant stimulation of the optic and auditory nerves, but it does not follow from this that he has a reasonable basis to deny or ridicule this ability in others. Cutting out other people to the same yardstick with yourself means falling into narrow mental despotism. To deny completely arbitrarily this or that natural and really existing need or ability in a person is to move away from pure empiricism. Bazarov's hobby is very natural; it is explained, firstly, by the one-sidedness of development, and secondly, by the general nature of the era in which we had to live. Bazarov has a thorough knowledge of natural and medical sciences; with their assistance, he knocked all sorts of prejudices out of his head; then he remained an extremely uneducated person; he had heard something about poetry, something about art, didn’t bother to think about it, and pronounced the verdict on subjects unfamiliar to him on the shoulder. This arrogance is characteristic of us in general; it has its good sides as mental courage, but, of course, sometimes leads to gross mistakes. The general character of the era lies in the practical direction; we all want to live and we adhere to the rule that the nightingale is not fed with fables. People who are very energetic often exaggerate the tendencies prevailing in society; on this basis, Bazarov's too indiscriminate denial and the very one-sidedness of his development are in direct connection with the prevailing aspirations for the tactile benefit. We were tired of the phrases of the Hegelists, our heads were spinning from soaring in the sky-high heights, and many of us, having sobered and descended to earth, went to extremes and, banishing daydreaming, along with it began to pursue simple feelings and even purely physical sensations, like enjoying music ... There is no great harm in this extreme, but it does not interfere with pointing out it, and calling it ridiculous does not at all mean joining the ranks of obscurantists and old romantics. Many of our realists will rebel against Turgenev because he does not sympathize with Bazarov and does not hide from the reader the mistakes of his hero; many will express a desire that Bazarov was brought out as an exemplary man, a knight of thought without fear and reproach, and so that in this way the undoubted superiority of realism over other trends of thought would be proved in the face of the reading public. Yes, realism, in my opinion, is a good thing; but in the name of this same realism, we will not idealize either ourselves or our direction. We look coldly and soberly at everything that surrounds us; let us look just as coldly and soberly at ourselves; all around nonsense and wilderness, Yes, and we ourselves do not know how bright it is. What is denied is absurd, and deniers, too, sometimes do capital stupidity; they still stand immeasurably higher than the denied, but here the honor is painfully insignificant; to stand above blatant absurdity does not mean yet to be a brilliant thinker. But we, writing and speaking realists, are now too carried away by the mental struggle of the moment, by hot battles with backward idealists, with whom we really shouldn't even argue; we, I say, are too carried away to be skeptical of ourselves and check with a rigorous analysis whether we are testing ourselves in the heat of dialectical battles taking place in magazines and in everyday life. Our children will be skeptical about us, or maybe we ourselves will find out our real value over time and see a vol d "oiseau (Bird's eye view (fr) - Ed.) At our current favorite ideas. Then we will look from the heights of the present at the past; Turgenev is now looking at the present from the heights of the past.He does not follow us; he calmly looks after us, describes our gait, tells us how we speed up our steps, how we jump over potholes, how we sometimes stumble on uneven places There is no irritation in the tone of his description; he was simply tired of walking; the development of his personal worldview was over, but the ability to observe the movement of someone else's thought, to understand and reproduce all its bends remained in all its freshness and completeness. Turgenev himself will never be Bazarov, but he pondered this type and understood him so correctly as none of our young realists will understand. The apotheosis of the past is not in Turgenev's novel. The author of "Rudin" and "Asi", who exposed the weaknesses of his generation and who discovered in the "Notes of a Hunter" a whole world of domestic wonders that were made in front of this very generation 8, remained true to himself and did not twist his soul in his latest work. Representatives of the past, the "fathers," are depicted with merciless fidelity; they are good people, but Russia will not regret these good people; there is not a single element in them that really would be worth saving from the grave and from oblivion, and yet there are moments when one can sympathize more fully with these fathers than with Bazarov himself. When Nikolai Petrovich admires the evening landscape, then to any open-minded reader he will seem more humane than Bazarov, who unfoundedly denies the beauty of nature. - And nature is nothing? - said Arkady, pensively looking into the distance at the motley fields, beautifully and softly illuminated by the already low sun. - And nature is nothing in the sense in which you now understand it. Nature is not a temple, but a workshop, and man is a worker in it 9. In these words, Bazarov's denial turns into something artificial and even ceases to be consistent. Nature is a workshop, and a person in it is a worker - I am ready to agree with this idea; but, developing this idea further, I in no way arrive at the results to which Bazarov arrives. The employee needs to rest, and rest cannot be limited to one hard sleep after exhausting work. A person needs to be refreshed with pleasant impressions, and life without pleasant impressions, even if all basic needs are satisfied, turns into unbearable suffering. Consistent materialists like Karl Focht, Moleschott and Büchner do not refuse a day laborer a glass of vodka, and sufficient classes - in the use of drugs. They look condescendingly even at violations of due measure, although they recognize such violations as harmful to health. If the worker took pleasure in lying on his back in his free hours and staring at the walls and ceiling of his workshop, then all the more so any sane person would say to him: with an eye, dear friend, with an eye, as much as your heart desires; it will not harm your health, and during working hours you will not stare so as not to make mistakes. Why, allowing the use of vodka and narcotic substances in general, should not allow the enjoyment of the beauty of nature, soft air, fresh greens, gentle tints of contours and colors? Pursuing romanticism, Bazarov looks for him with incredible suspicion where he has never been. Armed against idealism and shattering its castles in the air, he sometimes becomes an idealist himself, that is, he begins to prescribe laws for a person how and what to enjoy and to what measure to adjust his personal feelings. Telling a person: do not enjoy nature is the same as saying to him: mortify your flesh. The more harmless sources of pleasure there are in life, the easier it will be to live in the world, and the whole task of our time is precisely to reduce the amount of suffering and increase the strength and amount of pleasure. Many will object to this that we are living in such a difficult time in which there is still nothing to think about pleasure; our business, they will say, is to work, to eradicate evil, to sow good, to clear a place for a great building in which our distant descendants will feast. Okay, I agree that we are forced to work for the future, because the fruits of all our endeavors can only ripen within a few centuries; our goal, let’s say, is very lofty, but this lofty goal is very little consolation in everyday troubles. A tired and exhausted person is unlikely to feel cheerful and pleasant from the thought that his great-great-grandson will live for his own pleasure. In difficult moments of life, to be comforted by the lofty goal is, you will, the same as drinking unsweetened tea, looking at a lump of sugar hanging from the ceiling. For people who do not have an excessive ardor of the imagination, tea will not seem more delicious from these dreary upward glances. In the same way, a life consisting of only works will not be to the taste and power of a modern person. Therefore, from whatever point of view you look at life, it still turns out that pleasure is absolutely necessary. Some will look at pleasure as the ultimate goal; others will be forced to acknowledge pleasure as the most important source of strength needed for work. This will be the whole difference between the Epicureans and the Stoics of our time. So, Turgenev does not fully sympathize with anyone and anything in his novel. If you were to say to him: "Ivan Sergeevich, you do not like Bazarov, what do you want?" - then he would not answer this question. He would never have wished the younger generation to agree with their fathers in terms of concepts and impulses. Neither fathers nor children satisfy him, and in this case his denial is deeper and more serious than the denial of those people who, destroying what came before them, imagine that they are the salt of the earth and the purest expression of complete humanity. In their destruction, these people may be right, but in their naive self-adoration or in the adoration of the type to which they rank themselves, lies their limitation and one-sidedness. Such forms, such types, on which one could really calm down and stop, have not yet developed and, perhaps, never will. Those people who, surrendering themselves to the full disposal of any dominant theory, abandon their mental independence and replace criticism with servile worship, turn out to be people who are narrow, powerless and often harmful. Arkady is capable of doing this, but this is completely impossible for Bazarov, and it is in this property of mind and character that all the charming power of Turgenev's hero lies. This charming power is understood and recognized by the author, despite the fact that he himself neither in temperament nor in terms of development does not agree with his nihilist. I will say more: Turgenev's general relations with those phenomena of life that make up the outline of his novel are so calm and impartial, so free from servile worship of one theory or another, that Bazarov himself would not find anything timid or false in these relations. Turgenev does not like merciless denial, and yet the personality of the merciless denier turns out to be a strong personality and inspires every reader with involuntary respect. Turgenev is inclined to idealism, and yet none of the idealists deduced in his novel can compare with Bazarov either in strength of mind or in strength of character. I’m sure that many of our magazine critics will want to see in Turgenev’s novel a hidden desire to humiliate the younger generation and prove that children are worse than their parents, but I’m just as sure that the immediate feeling of readers who are not constrained by the obligatory relations to theory, will justify Turgenev and will see in his work not a dissertation on a given topic, but a faithful, deeply felt and without the slightest concealment drawn picture of modern life. If some writer belonging to our young generation and deeply sympathizing with Bazarov's movement attacked the Turgenev theme, then, of course, the picture would have turned out differently and the colors would have been laid out differently. Bazarov would not have been an angular bursak, dominating the people around him by the natural strength of his healthy mind; he, perhaps, would turn into the embodiment of those ideas that constitute the essence of this type; he, perhaps, would present to us in his personality a vivid expression of the author's tendencies, but he would hardly be equal to Bazarov in relation to life fidelity and relief. The young artist I suppose would say with his work, addressing his peers: "Behold, my friends, what a developed person should be! This is the ultimate goal of our aspirations!" As for Turgenev, he simply and calmly says: "These are the kind of young people now!" - How is it possible, many of our contemporary critics and publicists will shout, this is obscurantism! - Gentlemen, you could answer them, but what do you care about Turgenev's personal feelings? Whether he likes or dislikes such people is a matter of taste; if he, not sympathizing with the type, would slander him, then every honest person would have the right to bring him to fresh water, but you will not find such slander in the novel; even the angularities of Bazarov, to which I have already drawn the attention of the reader, are explained quite satisfactorily by the circumstances of life and constitute, if not an essential, then at least a very frequent property of people of the Bazarov type. We, young people, would, of course, be nicer if Turgenev hid and brightened up the irrational roughness; but I do not think that, thus indulging our whimsical desires, the artist would more fully embrace the phenomena of reality. From the outside, the merits and demerits are more visible, and therefore a strictly critical look at Bazarov from the outside at the present moment turns out to be much more fruitful than unfounded admiration or servile adoration. Looking at Bazarov from the outside, looking in the way that only a "retired" person who is not involved in the modern movement of ideas can look, considering him with that cold, searching look that is given only by long experience of life, Turgenev justified Bazarov and appreciated him. Bazarov emerged from the test clean and strong. Against this type, Turgenev did not find a single significant accusation, and in this case his voice, as the voice of a person who is in a different camp for years and according to his view of life, has a particularly important and decisive significance. Turgenev did not like Bazarov, but recognized his strength, recognized his superiority over the people around him, and himself brought him a full tribute of respect. This is too enough to remove from Turgenev's novel any reproach that might arise for the backwardness of the trend; this is enough even to recognize his novel as practically useful for the present time. Bazarov's relationship to his comrade casts a bright streak of light on his character; Bazarov does not have a friend, because he has not yet met a person "who would not pass before him"; 10 Bazarov alone, by himself, stands at the cold height of sober thought, and this loneliness is not difficult for him, he is completely absorbed in himself and in work; observation and research on living nature, observation and research on living people fill the emptiness of life for him and insure him against boredom. He does not feel the need for any other person to find sympathy and understanding for himself; when a thought occurs to him, he simply speaks out, not paying attention to whether the listeners agree with his opinion and whether his ideas have a pleasant effect on them. More often than not, he does not even feel the need to speak out; thinks to himself and occasionally drops a cursory remark, which proselytes and chicks like Arkady usually pick up with respectful greed. Bazarov's personality closes in on itself, because outside it and around it there are almost no related elements at all. This isolation of Bazarov has a heavy effect on those people who would like tenderness and sociability from him, but there is nothing artificial and deliberate in this isolation. The people around Bazarov are mentally insignificant and in no way can stir him up, therefore he is silent, or speaks fragmentary aphorisms, or breaks off the dispute, feeling its ridiculous uselessness. Put an adult in the same room with a dozen kids, and you probably won't find it surprising if that adult doesn't talk to his community mates about his human, civic, and scientific beliefs. Bazarov does not pomp in front of others, does not consider himself a genius, incomprehensible to his contemporaries or compatriots; he is simply forced to look down at his acquaintances, because these acquaintances are knee-deep, so what should he do? After all, does he not sit on the floor in order to equal them in height? Can't pretend to be a child in order to share their immature thoughts with the guys? He involuntarily remains in solitude, and this solitude is not difficult for him because he is young, strong, busy with the seething work of his own thoughts. The process of this work remains in the background; I doubt that Turgenev was able to convey to us a description of this process; in order to portray him, one must experience it in one's own head, one must be Bazarov himself, and this did not happen with Turgenev, one can vouch for this, because anyone in his life at least once, even for several minutes, looked at things through the eyes of Bazarov, he remains a nihilist for his entire life. In Turgenev, we see only the results that Bazarov came to, we see the outer side of the phenomenon, that is, we hear what Bazarov says, and we learn how he acts in life, how he treats different people. We do not find a psychological analysis, a coherent list of Bazarov's thoughts; we can only guess what he thought and how he formulated his convictions before himself. Without introducing the reader into the secrets of Bazarov's mental life, Turgenev can arouse bewilderment in that part of the public that is not accustomed to supplementing with the labor of their own thoughts what is not agreed or completed in the writer's work. An inattentive reader may think that Bazarov has no inner content and that all his nihilism consists of a weave of bold phrases snatched out of thin air and not worked out by independent thinking. It can be positively said that Turgenev himself does not understand his hero that way, and only because he does not follow the gradual development and maturation of his ideas, that he cannot and does not find it convenient to convey Bazarov's thoughts as they appear to his mind. Bazarov's thoughts are expressed in his actions, in his treatment of people; they shine through, and it is not difficult to discern them, if only to read carefully, grouping facts and realizing their reasons. Two episodes finalize this remarkable personality: first, his relationship to a woman he likes; secondly, his death. I will consider both, but first I think it is not superfluous to pay attention to other, secondary details. Bazarov's relationship to his parents may predispose some readers against the hero, others against the author. The former, carried away by a sensitive mood, reproach Bazarov with callousness; the latter, carried away by their attachment to the Bazarov type, reproach Turgenev for injustice towards his hero and for wanting to expose him from a disadvantageous side. Both, in my opinion, will be completely wrong. Bazarov really does not give his parents the pleasure that these good old people expect from his stay with them, but there is not a single point of contact between him and his parents. His father is an old county doctor who has completely sunk into the colorless life of a poor landowner; his mother is an old-style noblewoman who believes in all the omens and knows only how to perfectly cook food. Bazarov can neither talk with his father nor with his mother the way he talks with Arkady, nor even argue the way he argues with Pavel Petrovich. He is bored with them, empty, hard. He can live with them under the same roof only on the condition that they do not interfere with his work. It is, of course, difficult for them; He intimidates them, like a creature from another world, but what can he do about it? After all, it would be merciless in relation to himself if Bazarov wanted to devote two or three months to amuse his old people; for this, he would have to put aside all sorts of activities and spend whole days with Vasily Ivanovich and with Arina Vlasyevna, who, in joy, would chatter all sorts of nonsense, weaving each in his own way and county gossip, and city rumors, and remarks about the harvest, and stories of some holy fool, and Latin maxims from an old medical treatise. A young, energetic man, full of his own personal life, would not have endured two days of such an idyll and, like a madman, would have escaped from this quiet corner, where he is so loved and where he is so terribly bored. I don't know if the old Bazarovs would feel good if, after two days of bliss, they heard from their beloved son that unforeseen circumstances were forcing him to leave. I don’t know at all how Bazarov could fully satisfy the requirements of his parents without completely abandoning his personal existence. If, in one way or another, he certainly had to leave them unsatisfied, then there was nothing to arouse in them such hopes that could not be realized. When two people, who love each other or are connected with each other by some kind of relationship, diverge among themselves in education, in ideas, in inclinations and habits, then discord and suffering of one side or the other, and sometimes both together, become so inevitable. that it becomes even useless to bother to eliminate them. But Bazarov's parents are suffering from this disorder, and Bazarov is not even a mustache; this circumstance naturally disposes the compassionate reader in favor of the elderly; some will even say: why is he torturing them? After all, they love him so much! - And what, let me ask you, does he torment them? Is it perhaps that he does not believe in omens or misses their chatter? But how can you believe him, and how can you not get bored? If the person closest to me would be distressed because I have more than two and a half, and not one and a half, arshins in height, then, with all my desire, I could not console him; probably even I would not have consoled him, but simply would have shrugged my shoulders and stepped aside. I foresee, however, one rather curious circumstance: if Bazarov also suffered from the inability to get along with his parents, then compassionate readers would make peace with him and would look at him as an unfortunate victim of the historical process of development. But Bazarov does not suffer, and therefore many will attack him and call him an insensitive person with indignation. These many treasure the beauty of feeling very much, although this beauty has no practical significance. Suffering from separation from their parents seems to them a devil, necessary for the beauty of feeling, and therefore they demand that Bazarov suffer, not paying attention to the fact that this would not improve matters in the least and that this would not make it easier for Vasily Ivanovich and Arina Vlasyevna ... If Bazarov's relationship to his parents can only harm him in the opinion of compassionate readers, then Turgenev cannot be blamed for injustice or exaggeration, because those people whose sensitivity takes a decisive advantage over criticism of the mind will generally not like all the essential, basic features of the Bazarov type ... They would not like the sobriety of thought, the ruthlessness of criticism, or the firmness of character, they would not like these properties even if the author of the novel wrote an enthusiastic eulogy to these properties; therefore, here, as elsewhere, not artistic treatment, but the very material, the very phenomenon of reality, would arouse hostile feelings. By portraying Bazarov's relationship with the elderly, Turgenev does not at all turn into an accuser deliberately choosing dark colors; he remains, as before, a sincere artist and depicts the phenomenon as it is, not sweetening or brightening it up at his own will. Turgenev himself, perhaps, by his nature fits the compassionate people of whom I spoke above; he sometimes gets carried away with sympathy for the naive, almost unconscious sadness of the old woman's mother and for the restrained, bashful feeling of the old man's father, is carried away to such an extent that he is almost ready to reproach and accuse Bazarov; but in this hobby one cannot look for anything deliberate and calculated. Only the loving nature of Turgenev himself is reflected in him, and in this property of his character it is difficult to find anything reprehensible. Turgenev is not to blame for pitying the poor old people and even sympathizing with their irreparable grief. There is no reason for Turgenev to hide his sympathies for the sake of this or that psychological or social theory. These sympathies do not force him to bend his soul and disfigure reality, therefore, they do not harm either the dignity of the novel or the personal character of the artist. Bazarov and Arkady go to the provincial town, at the invitation of one of Arkady's relatives, and meet two highly typical personalities. These personalities - the young man Sitnikov and the young lady Kukshina - represent a splendidly executed caricature of a brainless progressist and an emancipated woman in Russian. Lately there have been countless Sitnikovs and Kukshins; picking up other people's phrases, distorting someone else's thought and dressing up as a progressist is now just as easy and profitable as it was under Peter the Great to dress up as a European. There are very few true progressives, that is, people who are really smart, educated and conscientious, we have very few decent and developed women - even less, but you cannot reiterate that myriad of different-sized bastards who amuse themselves with progressive phrases, like a fashionable thing, or draped in them to close their vulgar inclinations. We can say that every idle talker looks like a progressist, crawls into progressive people, creates his own theory from other people's scraps, and even often tries to declare it in literature. Russkiy Vestnik looks at this circumstance with heartfelt grief, which often turns into loud indignation. This clamorous indignation provokes a rebuff. “What are you doing?” Many people say to Russkiy Vestnik: “You scold progressives, you harm the cause and the idea of ​​progress.” - “Russkiy Vestnik” probably took on its pages with special delight those scenes of Turgenev’s novel in which Sitnikov and Kukshin act: here, he thinks, all pseudo-progressiveists will look back at themselves with horror and disgust! Many of the literary opponents of the Russian Bulletin will angrily attack Turgenev for these scenes. "He ridicules our shrine," they will shout with frantic gestures, "he is going against the direction of the century, against the freedom of women." This dispute between supporters and opponents of the "Russian Bulletin", like many literary and non-literary disputes in general, does not at all touch upon the subject over which the disputing parties are agitated. Neither the indignation of the Russkiy Vestnik against the Sitnikovs, and the indignation of many magazines against the exclamations of the Russkiy Vestnik, do not have the slightest sense. Resentment against stupidity and meanness is generally understandable, although, incidentally, it is as fruitful as resentment against autumn dampness or winter cold. But indignation against the form in which stupidity or meanness is expressed becomes completely absurd. Neither government orders nor literary theories will ever destroy stupid and petty people; these stupid and petty people put on this or that costume, but no headdress can cover their donkey ears. Whatever Sitnikov is - a Byronist (like Grushnitsky), a Hegelist (like Shamilov) 11 or a nihilist (which he is), he will nevertheless remain a vulgar person. Consequently, does it really matter how he calls himself - a conservative or a progressive? Best of all is the position that makes a stupid person as harmless as possible, but it must be true that the stupid progressist is one of the most harmless creatures. In the old days Sitnikov would have been able to beat coachmen at post stations out of daring; now he will deny himself this pleasure, because it is not accepted and because I am a progressive. This is good, and for that thanks to the national progress. What is there to be indignant against, and why not allow Sitnikov to call himself a progressive and a leader? Who is it harming? Who hurts from this? But, of course, the Sitnikovs need to know their real value, and one should not expect miracles of civic and human valor from such a society in which more than half of them themselves do not know what she says and what she wants. Therefore, the artist who draws before our eyes a strikingly vivid caricature, ridiculing the distortion of great and beautiful ideas, deserves our full gratitude. Many ideas became common coins and, traveling from hand to hand, darkened and rubbed like an old fifty dollar; something that belongs exclusively to its ugly manifestation, something that has stuck to it by chance from the touch of dirty hands, is thrown onto the idea; in order to purify an idea, it is necessary to present the ugly manifestation in all its ugliness and thus strictly separate the basic essence from arbitrary impurities. There is nothing in common between Kukshina and the emancipation of women; there is not the slightest similarity between Sitnikov and the humane ideas of the 19th century. To call Sitnikov and Kukshina a product of time would be highly absurd. Both of them borrowed from their era only the upper drapery, and this drapery is still better than all the rest of their intellectual property. So, what sense would there be in the indignation of theorists 12 against Turgenev for Kukshina and Sitnikov? Well, would it be better if Turgenev presented a Russian woman, emancipated in the best sense of the word, and a young man imbued with high feelings of humanity? Why, that would be a pleasant self-delusion! It would be a sweet lie, and a lie in the highest degree unfortunate. The question arises, where would Turgenev take paints for depicting such phenomena that do not exist in Russia and for which there is neither soil nor space in Russian life? And what significance would this arbitrary invention have? Probably, it would arouse in our men and women a virtuous desire to imitate such lofty standards of moral perfection! .. No, Turgenev's opponents will say, let the author not invent unprecedented phenomena! Let him only destroy the old, rotten and not touch those ideas from which we expect abundant, beneficial results. Oh! yes, that's understandable; this means: do not touch ours! But how, gentlemen, not to touch if there is a lot of rubbish among ours, if the firm of many ideas is used by the very scoundrels who, a few years ago, were the Chichikovs, Nozdrevs, Molchalin and Khlestakovs? Is it possible not to touch them as a reward for the fact that they have defected to our side, is it really possible to encourage them for their desertion, just as they are encouraged in Turkey for accepting Islamism? No, that would be too ridiculous. It seems to me that the ideas of our time are too strong in their own inner meaning to need an artificial support. Let only those who are really convinced of their fidelity accept these ideas, and let him not think that the title of progressist in itself, like an indulgence, covers up the sins of the past, present and future. The Sitnikovs and Kukshins will always remain funny personalities; no prudent person will rejoice at the fact that he is with them under the same banner, and at the same time will not attribute their ugliness to the motto that is written on the banner. Look at how Bazarov treats these idiots; he, at the invitation of Sitnikov, goes to Kukshina to see people, has breakfast, drinks champagne, does not pay any attention to Sitnikov's efforts to show off his courage of thought and to Kukshina's efforts to call him, Bazarov, to an intelligent conversation and, finally, leaves, not even saying goodbye to the hostess. Sitnikov jumped out after them. - Well, what? - he asked, obsequiously running now from the right, now from the left, - after all, I told you: a wonderful person! Here are some more women for us! She is a kind of highly moral phenomenon! - And this institution of your father is also a moral phenomenon? said Bazarov, jabbing his finger at the tavern, past which they were passing at that moment. Sitnikov laughed again with a squeal. He was very ashamed of his origin and did not know whether to feel flattered or offended by the unexpected poking of Bazarov 13. In the city, Arkady meets a young widow, Anna Sergeevna Odintsova, at the governor's ball; he dances a mazurka with her, among other things he starts talking to her about his friend Bazarov and interests her with an enthusiastic description of his brave mind and decisive character.] She invites him to her place and asks to bring Bazarov with her. Bazarov, who noticed her as soon as she appeared at the ball, talks about her with Arkady, involuntarily intensifying the usual cynicism of his tone, partly in order to hide from himself and from his interlocutor the impression made on him by this woman. He gladly agrees to go to Madame Odintsova with Arkady and explains to himself and to him this pleasure with the hope of starting a pleasant intrigue. Arkady, who did not hesitate to fall in love with Odintsov, is jarred by Bazarov's joking tone, and Bazarov, of course, does not pay the slightest attention to this, continues to talk about Odintsova's beautiful shoulders, asks Arkady if this lady is really - oh, oh, oh! - says that there are devils in the still waters and that cold women are like ice cream. ^ Approaching Madame Odintsova's apartment, Bazarov feels some excitement and, wishing to break himself, at the beginning of the visit behaves unnaturally cheeky and, as Turgenev remarks, collapses in an armchair no worse than Sitnikov. Odintsova notices Bazarov's excitement, partly guesses its reason, calms our hero with an even and quiet friendliness of his address and spends three hours with young people in a leisurely, varied and lively conversation. Bazarov treats her with particular respect; it is clear that he does not care how they think of him and what impression he makes, he, contrary to his custom, talks quite a lot, tries to occupy his interlocutor, does not make harsh antics and even, carefully keeping out of the circle of common beliefs and views, talks about botany, medicine and other subjects well known to him. Saying goodbye to the young people, Odintsova invites them to her village. Bazarov bows silently in agreement and blushes at the same time. Arkady notices all this and is surprised at all this. After this first meeting with Madame Madame Odintsova, Bazarov still tries to talk about her in a joking tone, but in the very cynicism of his expressions there is some kind of involuntary, hidden respect. It can be seen that he admires this woman and wants to get closer to her; he jokes about her because he doesn't want to talk seriously with Arkady either about this woman or about those new sensations that he notices in himself. Bazarov could not fall in love with Odintsova at first sight or after the first date; so generally only very empty people in very bad novels fell in love. He just liked her beautiful, or, as he puts it, rich body; the conversation with her did not break the general harmony of the impression, and this was enough for the first time to support in him the desire to get to know her shorter. Bazarov did not form any theories about love. His student years, about which Turgenev does not say a word, probably did not go without adventures in the heart; Bazarov, as we will see later, turns out to be an experienced person, but, in all likelihood, he was dealing with women who were completely undeveloped, far from graceful and, therefore, unable to greatly interest his mind or stir his nerves. He was used to looking down on women too; When meeting with Madame Madame Odintsova, he sees that he can talk to her as an equal with an equal, and anticipates in her a share of that flexible mind and firm character that he is aware of and loves in his person. Speaking to each other, Bazarov and Odintsova, mentally, know how to somehow look into each other's eyes, through the head of Arkady's nestling, and these inclinations of mutual understanding bring pleasant sensations to both actors. Bazarov sees a graceful form and involuntarily admires it; under this graceful form, he guesses the self-arising power and unconsciously begins to respect this power. As a pure empiricist, he enjoys a pleasant sensation and is gradually drawn into this pleasure, and is drawn into such an extent that when the time comes to break away, then it becomes hard and painful to break away. Bazarov has no analysis in love, because there is no distrust of himself. He goes to the village to Odintsovaya with curiosity and without the slightest fear, because he wants to take a closer look at this pretty woman, he wants to be with her, to spend a few pleasant days. Fifteen days pass unnoticed in the village; Bazarov talks a lot with Anna Sergeevna, argues with her, speaks out, gets irritated and, finally, becomes attached to her with some kind of vicious, painful passion. Such a passion is most often instilled in energetic people by beautiful, smart and cold women. The beauty of a woman excites the blood of her adorer; her mind gives her the opportunity to understand with her head and discuss with a subtle psychic analysis such feelings that she herself does not share and for which she does not even sympathize; coldness insures her against infatuation and, strengthening obstacles, at the same time increases the desire in a man to overcome them. Looking at such a woman, a man involuntarily thinks: she is so good, she speaks so cleverly about feeling, sometimes she is so animated, expressing her subtle psychological remarks or listening to my warmly felt speeches. Why is sensuality so stubbornly silent in her? How to touch her for a living? Is her whole life concentrated in the brain? Is she really just amused by impressions and is not able to get carried away by them? Time is running out in strenuous efforts to unravel a living riddle; the head works together with sensuality; are heavy, painful sensations; the whole romance of the relationship between a man and a woman takes on some strange character of struggle. Getting acquainted with Madame Madame Odintsov, Bazarov thought to amuse himself with a pleasant intrigue; when he got to know her shorter, he felt respect for her and at the same time saw that there was very little hope of success; if he had not had time to become attached to Madame Odintsov, then he would have simply waved his hand and immediately consoled himself with the practical remark that the earth did not come together in a wedge and that there are many women in the world who are easy to deal with; he tried to do the same here, but he did not have the strength to wave his hand at Madame Odintsov. Practical prudence advised him to drop the whole business and leave so as not to torment himself in vain, and the thirst for pleasure spoke louder than practical prudence, and Bazarov remained, and got angry, and realized that he was doing stupidity, and nevertheless continued to do it, because the desire to live pleasure was stronger than the desire to be consistent. This ability to do deliberately stupid things is an enviable advantage of people who are strong and smart. An impassive and dry person always acts as logical calculations tell him to do; a timid and weak person tries to deceive himself with sophisms and assure himself of the correctness of his desires or actions; but Bazarov does not need such tricks; he says directly to himself: this is stupid, but I still act as I want, and I do not want to break myself. When the need arises, then I will have time and will be able to turn myself properly. A solid, strong nature is reflected in this ability to get carried away greatly; a healthy, incorruptible mind is expressed in this ability to call stupidity the very hobby that at a given moment covers the entire body. Bazarov's relationship with Odintsova ends in a strange scene between them. She summons him to a conversation 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 touch of involuntary tenderness; then, when he, stunned by a sudden influx of sensations and new hopes, rushes to her and presses her to his chest, she jumps back in fright to the other end of the room and assures him that he misunderstood her, that he was mistaken. Bazarov leaves the room, and thus the relationship ends, he leaves the next day after this incident, then he sees Anna Sergeevna twice, even visits her with Arkady, but for him and for her, the past events turn out to be really irrevocable past, and they watch each other to each other calmly and speak among themselves in the tone of reasonable and respectable people. And yet Bazarov is sad to look at the relationship with Madame Odintsova as an episode he has experienced; he loves her and, not giving himself the will to whine, suffer and play the unfortunate lover, however, becomes somehow uneven in his way of life, then rushes to work, then falls into inaction, then he just gets bored and grumbles at the people around him. He does not want to speak to anyone, and he himself does not admit to himself that he feels something akin to melancholy and fatigue. He is somehow angry and oxidized from this failure, it is annoying to him to think that happiness beckoned to him and passed by, and it is annoying to feel that this event makes an impression on him. All this would soon be processed in his body; he would have got down to business, cursed in the most energetic way the accursed romanticism and the unapproachable lady who led him by the nose, and he would have healed as before, cutting frogs and caring for less invincible beauties. But Turgenev did not get Bazarov out of his heavy mood. Bazarov suddenly dies, of course not from chagrin, and the novel ends, or rather, abruptly and unexpectedly ends. While Bazarov is moping in his father's village, Arkady, who also fell in love with Odintsova since the governor's ball, but did not even have time to interest her, becomes close to her sister, Katerina Sergeevna, an 18-year-old girl, and, without noticing it, becomes attached to her, forgets his former passion and finally proposes to her. She agrees, Arkady marries her, and now, when he has already been declared the groom, the following short but expressive conversation takes place between him and Bazarov, who is leaving for his father. Arkady threw himself on the neck to his former mentor and friend, and tears gushed from his eyes. - What does youth mean! - said Bazarov calmly: - Yes, I hope for Katerina Sergeevna. See how vividly she will comfort you. - Goodbye, brother! - he said to Arkady, having already climbed onto the cart, and, pointing to a couple of jackdaws sitting side by side on the roof of the stable, added: - Here you go, study it! -- What does it mean? - asked Arkady. -- How? are you so bad at natural history, or have you forgotten that the jackdaw is the most respectable family bird? An example for you! .. Farewell, Signor! The cart rattled and rolled 14. Yes, Arkady, in the words of Bazarov, fell into jackdaws and, directly from the influence of his friend, passed under the soft power of his young wife. But, be that as it may, Arkady built a nest for himself, found himself some kind of happiness, and Bazarov remained a homeless, unwarmed wanderer. And this is not a whim of the novelist! This is not an accidental circumstance. If you, gentlemen, somehow understand the character of Bazarov, then you will be forced to agree that it is very tricky to attach such a person and that he cannot, without changing in the basic features of his personality, become a virtuous family man. Bazarov can only fall in love with a very intelligent woman; having fallen in love with a woman, he will not subordinate his love to any conditions; he will not cool and restrain himself, and in the same way he will not artificially heat up his feelings when it cools down after complete satisfaction. He is incapable of maintaining a binding relationship with a woman; his sincere and wholehearted nature does not compromise or make concessions; he does not buy a woman's favor with known commitments; he takes it when it is given to him completely voluntarily and unconditionally. But smart women in our country are usually cautious and calculating. Their dependent position makes them afraid of public opinion and not give vent to their desires. They are afraid of an unknown future, they want to insure it, and therefore a rare smart woman will dare to throw herself on the neck of her beloved man, without first binding him with a strong promise in the face of society and the church. Dealing with Bazarov, this intelligent woman will understand very soon that no strong promise will bind the unbridled will of this wayward man and that he cannot be obliged to be a good husband and a gentle father of a family. She will understand that Bazarov will either not give any promise at all, or, having given it in a moment of complete enthusiasm, will break it when this infatuation dissipates. In a word, she will understand that Bazarov's feeling is free and will remain free, regardless of any vows and contracts. In order not to recoil from an unknown perspective, this woman must completely submit to the attraction of feelings, rush to her beloved person headlong and not asking about what will happen tomorrow or in a year. But only very young girls, completely unfamiliar with life, completely untouched by experience, are able to get carried away in this way, and such girls will not pay attention to Bazarov or, frightened by his harsh way of thinking, will lean back to such personalities, from which venerable jackdaws are developed over time. Arkady has a much better chance of being liked by a young girl, despite the fact that Bazarov is incomparably smarter and more remarkable than his young comrade. A woman capable of appreciating Bazarov will not surrender to him without preconditions, because such a woman is usually on her mind, knows life and preserves her reputation by calculation. A woman who is capable of being carried away by feeling, like a naive creature who has given little thought, will not understand Bazarov and will not love him. In a word, for Bazarov there are no women capable of evoking a serious feeling in him and, for their part, ardently respond to this feeling. At the present time there are no women who, being able to think, would be able at the same time, without looking back and without fear, to surrender to the attraction of the dominant feeling. As a being dependent and passive, the modern woman brings out from the experience of life a clear consciousness of her dependence and therefore thinks not so much about enjoying life as about not getting into some unpleasant alteration. Smooth comfort, absence of gross insults, confidence in the future are dear to them. They cannot be blamed for this, because a person exposed to serious dangers in life involuntarily becomes prudent, but at the same time it is difficult to blame those men who, not seeing energy and determination in modern women, forever abandon serious and lasting relationships with women. and are supplemented by empty intrigues and easy victories. If Bazarov had dealt with Asei, or with Natalya (in "Rudin"), or with Vera (in "Faust"), then, of course, he would not have retreated at the decisive moment, but the fact is that women like Ase , Natalya and Vera, are carried away by sweet-spoken phrase-mongers, and before strong people like Bazarov they feel only shyness, close to antipathy. Such women must be fondled, but Bazarov does not know how to fondle anyone. I repeat, at the present time there are no women capable of seriously responding to Bazarov's serious feeling, and - while the woman is in her present dependent position, while her every step will be watched by herself, and gentle parents, and caring relatives, and then, what is called public opinion, as long as the Bazarovs will live and die as boars, until then the warming tender love of an intelligent and developed woman "will be known to them only from rumors and from novels. Bazarov does not give a woman any guarantees; he gives her only his special direct pleasure, in the event that his person is liked; but at the present time a woman cannot surrender herself to direct pleasure, because behind this pleasure a formidable question is always raised: what then? Love without guarantees and conditions is not used, but love with guarantees and Bazarov does not understand the terms. Love is so love thinks, bargaining is so bargaining, "and mixing these two crafts" 15, in his opinion, is inconvenient and unpleasant ... Unfortunately, I must notice that immoral and harmful Bazarov's convictions find conscious sympathy in many good people. Let me now consider three circumstances in Turgenev's novel: 1) Bazarov's attitude towards the common people, 2) Bazarov's courtship of Fenechka, and 3) Bazarov's duel with Pavel Petrovich. In Bazarov's relations with the common people, one should note, first of all, the absence of any pretentiousness and any sweetness. The people like it, and that is why the servants love Bazarov, they love the children, despite the fact that he doesn’t use them at all and doesn’t give them money or gingerbread. Noticing in one place that ordinary people love Bazarov, Turgenev says in another place that the men look at him like a pea jester. These two testimonies do not contradict each other at all. Bazarov behaves simply with the peasants, does not show any lordship, nor a luscious desire to imitate their dialect and teach them wisdom, and therefore peasants, speaking to him, are not shy and are not shy; but, on the other hand, Bazarov is completely at odds with both them and with those landowners whom the peasants are accustomed to seeing and listening to in terms of their appeal, language, and concepts. They look at him as a strange, exceptional phenomenon, neither one nor the other, and will thus look at gentlemen like Bazarov until there are more of them divorced and until they have time to get accustomed to them. The peasants have a heart for Bazarov, because they see in him a simple and intelligent person, but at the same time this person is a stranger to them, because he does not know their way of life, their needs, their hopes and fears, their concepts of beliefs and prejudices ... After his failed romance with Odintsova, Bazarov again comes to the Kirsanovs' village and begins to flirt with Fenechka, Nikolai Petrovich's mistress. He likes Fenechka as a plump young woman; She likes him as a kind, simple and cheerful person. One fine July morning, he manages to print a full-bodied kiss on her fresh lips; she resists weakly, so that he manages to "renew and prolong his kiss" 16. At this point, his love affair ends; he, apparently, had no luck at all that summer, so that not a single intrigue was brought to a happy ending, although they all began with the most favorable omens. Following this, Bazarov leaves the village of the Kirsanovs, and Turgenev admonishes him with the following words: "It never occurred to him that he had violated all the rights of hospitality in this house." Seeing that Bazarov kissed Fenechka, Pavel Petrovich, who had long had a hatred for the "doctor" and a nihilist and, moreover, not indifferent to Fenechka, who for some reason reminds him of his former beloved woman, challenges our hero to a duel. Bazarov shoots with him, wounds him in the leg, then he bandages the wound himself and leaves the next day, seeing that after this story it is uncomfortable for him to stay in the Kirsanovs' house. A duel, according to Bazarov, is absurdity. The question is, did Bazarov act well in accepting Pavel Petrovich's challenge? This question boils down to another, more general question: is it generally permissible in life to deviate from one's theoretical convictions? Various opinions prevail about the concept of conviction, which can be reduced to two main shades. Idealists and fanatics are ready to break everything in front of their convictions - and someone else's personality, and their own interests, and often even immutable facts and laws of life. They shout about beliefs without analyzing this concept, and therefore they resolutely do not want and do not know how to understand that a person is always dearer than a cerebral inference, by virtue of a simple mathematical axiom that tells us that the whole is always greater than a part. Idealists and fanatics will say in this way that it is always shameful and criminal to deviate from theoretical beliefs in life. This will not prevent many idealists and fanatics from being cowardly and backing on occasion, and then reproaching themselves for practical inconsistency and engaging in remorse. There are other people who do not hide from themselves that they sometimes have to do absurdities, and do not even want to turn their lives into a logical calculation. Bazarov belongs to such people. He says to himself: “I know that a duel is absurd, but at this moment I see that I am decisively uncomfortable to refuse it. from Pavel Petrovich's cane ". The Stoic Epictetus, of course, would have acted differently and would have even decided to suffer with particular pleasure for his convictions, but Bazarov is too smart to be an idealist in general and a stoic in particular. When he thinks, then he gives his brain complete freedom and does not try to come to pre-determined conclusions; when he wants to act, then he, at his discretion, applies or does not apply his logical conclusion, sets it in motion or leaves it hidden. The fact is that our thought is free, and our actions take place in time and space; there is the same difference between a right thought and a prudent act as between a mathematical and a physical pendulum. Bazarov knows this and therefore in his actions he is guided by practical meaning, wit and skill, and not by theoretical considerations. At the end of the novel, Bazarov dies; his death is an accident; he dies from surgical poisoning, that is, from a small cut made during the dissection of the corpse. This event is not related to the general thread of the novel; it does not follow from previous events, but it is necessary for the artist to finish painting the character of his hero. The novel is set in the summer of 1859; during 1860 and 1861 Bazarov could not have done anything that would have shown us the application of his world outlook to life; he would still slaughter frogs, tinker with a microscope and, mocking various manifestations of romanticism, would use the blessings of life to the best of his ability and opportunity. All these would be only inclinations; it will be possible to judge what will develop from these inclinations only when Bazarov and his peers have blown about fifty years old and when a new generation comes to replace them, which in turn will be critical of their predecessors. People like Bazarov are not completely defined by one episode snatched from their lives. This kind of episode gives us only a vague idea that colossal forces are hidden in these people. How will these forces be expressed? This question can only be answered by the biography of these people or the history of their people, and the biography, as you know, is written after the death of the activist, in the same way as history is written when the event has already taken place. From the Bazarovs, under certain circumstances, great historical figures are developed; such people remain young, strong and fit for any work for a long time; they do not go into one-sidedness, do not get attached to theory, do not grow into special studies; they are always ready to exchange one field of activity for another, wider and more entertaining; they are always ready to leave the study and laboratory; they are not workers; delving into thorough studies of special questions of science, these people never lose sight of the great world that contains their laboratory and themselves, with all their science and with all their instruments and apparatus; when life seriously moves their brain nerves, then they throw away the microscope and scalpel, then they will leave unfinished some form of the most learned research on bones or membranes, Bazarov will never become a fanatic, a priest of science, never elevate her to an idol, never doom his life to her ministry; constantly maintaining a skeptical attitude towards science itself, he will not allow it to acquire independent significance; he will do it either in order to give work to his brain, or in order to squeeze out of it direct benefits for himself and for others. He will be engaged in medicine partly for the passing of time, partly as a grain and useful craft. If another occupation presented itself, more interesting, more nutritious, more useful, he would leave medicine, just as Benjamin Franklin left the printing press. Bazarov is a man of life, a man of action, but he will get down to business only when he sees the opportunity to act non-mechanically. He will not be bribed by deceptive forms; external improvements will not defeat his stubborn skepticism; he will not mistake an accidental thaw for the onset of spring and will spend his entire life in his laboratory, unless significant changes occur in the consciousness of our society. If, however, the desired changes occur in the consciousness, and therefore in the life of society, then people like Bazarov will be ready, because constant work of thought will not let them get lazy, stale and rusty, and constantly awake skepticism will not allow them to become fanatics of their specialty or sluggish adherents of one-sided doctrine. Who dares to guess the future and throw hypotheses to the wind? Who will dare to draw a type that is just beginning to take shape and designate and which can only be completed by time and events? ^ Unable to show us how Bazarov lives and acts, Turgenev showed us how he dies. This is enough for the first time to form an idea of ​​Bazarov's forces, of those forces whose full development could be indicated only by life, struggle, actions and results. That Bazarov is not a phrase-monger - everyone will see it, peering into this person from the first minute of its appearance in the novel. That the denial and skepticism of this person are conscious and felt, and not put on for a whim and for greater importance - this is what convinces every impartial reader of this immediate sensation. In Bazarov there is strength, independence, energy, which phrase-mongers and imitators do not have. But if someone wanted not to notice and not feel the presence of this force in him, if someone wanted to question it, then the only fact that solemnly and categorically refutes this absurd doubt would be the death of Bazarov. His influence on the people around him proves nothing; after all, Rudin also had influence; fish bezrybe and cancer, and people like Arkady, Nikolai Petrovich, Vasily Ivanovich and Arina Vlasyevna, it is not difficult to make a strong impression. But to look death in the eye, to foresee its approach, without trying to deceive oneself, to remain true to oneself until the last minute, not to weaken and not become cowardly - this is a matter of a strong character. To die as Bazarov died is the same as to accomplish a great feat; this feat remains without consequences, but the dose of energy that is spent on feat, on a brilliant and useful deed, was spent here on a simple and inevitable physiological process. Because Bazarov died firmly and calmly, no one felt either relief or benefit, but such a person who knows how to die calmly and firmly will not retreat in front of an obstacle and will not shy away from danger. Description of the death of Bazarov is the best place in Turgenev's novel, I doubt even that in all the works of our artist there was anything more remarkable. I consider it impossible to write out any excerpt from this magnificent episode; this would be to disfigure the wholeness of the impression; really should have written ten whole pages 19, but space does not allow me to do this; in addition, I hope that all my readers have read or will read Turgenev's novel, and therefore, without extracting a single line from it, I will try only to trace and explain from the beginning to the end of the illness Bazarov's mental state. Having cut off his finger when dissecting a corpse and not having the opportunity to immediately cauterize the wound with lapis or iron, four hours after this event, Bazarov comes to his father and cauterizes his sore spot, not hiding from himself or from Vasily Ivanovich the uselessness of this measure in that case, if the pus of a decaying corpse has penetrated the wound and mixed with the blood. Vasily Ivanovich, as a doctor, knows how great the danger is, but he does not dare to look her in the eye and tries to deceive himself. Two days pass. Bazarov strengthens himself, does not go to bed, but feels fever and chills, loses his appetite and suffers from a severe headache. His father’s participation and questions annoy him, because he knows that all this will not help and that the old man only cherishes himself and consoles himself with empty illusions. He is annoyed to see that a man, and, moreover, a doctor, does not dare to see the matter in the real light. Arina Vlasyevna Bazarov takes care of; he tells her that he has a cold; on the third day he goes to bed and asks to send him linden tea. On the fourth day, he turns to his father, directly and seriously tells him that he will soon die, shows him red spots that have appeared on his body and serve as a sign of infection, gives him the medical term for his illness and coldly refutes the timid objections of the confused old man. And yet he wants to live, it's a pity to say goodbye to self-awareness, to his thought, to his strong personality, but this pain of parting with a young life and unworn strength is expressed not in soft sadness, but in a bilious, ironic annoyance, in a contemptuous attitude towards himself. as to a powerless creature, and to that gross, ridiculous accident that crushed and crushed him. The nihilist remains true to himself until the last minute. As a physician, he saw that infected people always die, and he does not doubt the immutability of this law, despite the fact that this law condemns him to death. In the same way, at a critical moment, he does not change his gloomy world outlook for another, more gratifying one; as a physician and as a person, he does not console himself with mirages. The image of the only creature who aroused a strong feeling in Bazarov and inspired him with respect comes to his mind at the time when he is about to say goodbye to life. This image was probably worn before his imagination before, because the forcibly squeezed feeling had not yet had time to die, but here, saying goodbye to life and feeling the approach of delirium, he asks Vasily Ivanovich to send a messenger to Anna Sergeevna and announce to her that Bazarov is dying and ordered her to bow. Whether he hoped to see her before his death, or simply wanted to give her a message about himself, it is impossible to decide; maybe it was pleasant for him, pronouncing the name of his beloved woman in front of another person, more vividly to imagine her beautiful face, her calm, intelligent eyes, her young, luxurious body. He loves only one creature in the world, and those tender motives of feeling that he crushed in himself, like romanticism, now surface, this is not a sign of weakness, this is a natural manifestation of feeling released from the yoke of rationality; Bazarov does not betray himself; the approach of death does not regenerate him; on the contrary, he becomes more natural, more human, more relaxed than he was in full health. A young, beautiful woman is often more attractive in a simple morning blouse than in a rich ball gown. That's right (the dying Bazarov, who has let go of his nature, given himself full will, arouses more sympathy than the same Bazarov, when he controls his every movement with a cold mind and constantly catches himself in romantic inclinations. If a person, weakening control over himself, becomes better and more human, it serves as an energetic proof of the wholeness, completeness and natural wealth of nature.Bazarov's rationality was in him a forgivable and understandable extreme; this extreme, forcing him to be wise over himself and break himself, would disappear from the action of time and life; it disappeared as if also during the approach of death. He became a man, instead of being the embodiment of the theory of nihilism, and, as a man, he expressed a desire to see his beloved woman. Anna Sergeevna arrives. Bazarov speaks to her affectionately and calmly, without hiding a slight shade of sadness, admires her, asks her for the last kiss, closes his eyes and falls into unconsciousness. He remains indifferent to his parents as before, and does not bother to pretend. About his mother, he says: "Poor mother! Will she feed someone with her amazing borscht now?" He pre-genially advises Vasily Ivanovich to be a philosopher. I do not intend to follow the thread of the novel after the death of Bazarov. When such a person as Bazarov died, and when such an important psychological problem was solved by his heroic death, a sentence was pronounced over a whole line of ideas, then is it worth following the fate of people like Arkady, Nikolai Petrovich, Sitnikov et tutti guanti? .. (And everyone other (it.). - Ed.) I will try to say a few words about the relationship of Turgenev to the new, created by him type. Coming to the construction of Insarov's character, Turgenev at all costs wanted to present him as great and instead made him funny. In creating Bazarov, Turgenev wanted to smash him to dust and instead paid him full tribute of just respect. He wanted to say: our young generation is on the wrong road, and he said: in our young generation all our hope is. Turgenev is not a dialectician, not a sophist, he cannot prove a preconceived idea with his images, no matter how abstractly this idea seems to him to be true or practically useful. First of all, he is an artist, a man unconsciously, unwittingly sincere; his images live their own lives; he loves them, he is carried away by them, he becomes attached to them during the creative process, and it becomes impossible for him to push them around at his whim and turn the picture of life into an allegory with a moral purpose and with a virtuous denouement. The artist's honest, pure nature takes its toll, breaks down theoretical barriers, triumphs over the delusions of the mind and redeems everything with its instincts - both the incorrectness of the basic idea, and the one-sidedness of development, and obsolescence of concepts. Looking at his Bazarov, Turgenev as a person and as an artist grows in his novel, grows before our eyes and grows to a correct understanding, to a fair assessment of the type created. Turgenev began his last work with an unkind feeling. From the first time he showed us in Bazarov an angular appeal, pedantic arrogance, callous rationality; with Arkady, he behaves despotically-carelessly, he treats Nikolai Petrovich unnecessarily with mockery, and all the artist's sympathy lies on the side of those people who are offended, those harmless old people who are told to swallow the pill, saying that they are retired people. And so the artist begins to look for a weak spot in the nihilist and merciless denier; he puts him in different positions, turns him around and finds only one accusation against him - the accusation of callousness and harshness. He peers into this dark spot; the question arises in his head: who will this person love? In whom will his needs be satisfied? Who will understand him through and through and not be afraid of his clumsy shell? He brings an intelligent woman to his hero; this woman looks with curiosity at this peculiar personality; the nihilist, for his part, peers into her with increasing sympathy and then, seeing something similar to tenderness, to affection, rushes to her with the uncalculated impetuosity of a young, ardent, loving being, ready to surrender completely, without bargaining, without concealing, without back thought. So cold people do not rush, so callous pedants do not like. The merciless denier turns out to be younger and fresher than the young woman with whom he is dealing; a frenzied passion boiled over and burst out in him at a time when something like a feeling was just beginning to ferment in her; he rushed, frightened her, confused her, and suddenly sobered her; she stumbled back and told herself that calmness was best. From that moment on, all the author's sympathy goes over to Bazarov's side, and only some rational remarks that do not fit with the whole remind Turgenev's former, unkind feeling. The author sees that Bazarov has no one to love, because everything around him is shallow, flat and flabby, and he himself is fresh, smart and strong; the author sees this and in his mind removes from his hero the last undeserved reproach. Having studied the character of Bazarov, pondering over its elements and the conditions of development, Turgenev sees that for him there is neither activity nor happiness. He lives as a bearer and will die as a bearer, and, moreover, as a useless bean, he will die like a hero who has nowhere to turn, has nowhere to breathe, has nowhere to put his gigantic strength, there is no one to fall in love with with strong love. And there is no need for him to live, so he must see how he will die. The whole interest, the whole point of the novel was in the death of Bazarov. If he had been a coward, if he had betrayed himself, his whole character would have been illuminated differently; there would appear an empty braggart, from whom one cannot expect, in case of need, neither steadfastness nor determination; the whole novel would have turned out to be a slander against the younger generation, an undeserved reproach. With this novel, Turgenev would say: look, young people, here is the best, smartest of you - and he is no good! But Turgenev, as an honest man and sincere artist, did not turn his tongue to utter such a sad lie now. Bazarov did not fail, and the meaning of the novel came out as follows: today's young people are carried away and go to extremes, but in the very hobbies fresh strength and incorruptible mind are reflected; this strength and this mind, without any extraneous aids and influences, will lead young people onto a straight path and support them in life. Whoever read this wonderful idea in Turgenev's novel cannot but express his deep and ardent gratitude as a great artist and an honest citizen of Russia. And the Bazarovs still feel bad to live in the world, even though they hum and whistle 20. There is no activity, there is no love - therefore, there is no pleasure either. They do not know how to suffer, they will not whine, and sometimes they only feel that it is empty, boring, colorless and meaningless. What can you do? After all, do you deliberately infect yourself in order to have the pleasure of dying beautifully and calmly? No! What to do? To live while one lives, to eat dry bread, when there is no roast beef, to be with women, when it is impossible to love a woman, and not to dream of orange trees and palms at all, when there are snowdrifts and cold tundra underfoot. 1862 March.

NOTES

This three-volume edition consists of selected literary-critical articles by DI Pisarev. Most of these works were originally published in various journals and collections of the 1860s (Rassvet, Russkoe Slovo, Luch, Delo, Otechestvennye zapiski). Then, along with some new articles, they were included in the first edition of the works of DI Pisarev, undertaken by the progressive publisher FF Pavlenkov, close to Pisarev. Later, in the 1870s, the second edition was published in the same composition (however, due to censorship reasons it was not fully implemented). From 1894 Pavlenkov began to publish a more complete, six-volume collection of Pisarev's works (five, and for some volumes - six editions); the last, the most complete and free from censorship omissions and distortions - in 1909-1912, with an additional issue (its first edition - 1907, the third - 1913), containing articles that were not previously published or prosecuted by censorship. In Soviet times, the most significant in composition (although far from complete) was the publication of the works of DI Pisarev in four volumes (Moscow, 1955-1956). The texts in it were checked against the most authoritative sources, primarily with the first edition, free from censorship gaps and distortions (it came out without prior censorship) and from stylistic "corrections" that took place in Pavlenkov's later editions. Separate omissions and errors of the first edition are corrected according to the first printed journal texts (autographs of articles included in this edition, like almost all other works of Pisarev, have not reached us). All other most significant discrepancies in the journal text are given in the notes. The texts are reproduced with the preservation of those peculiarities of spelling and punctuation that reflect the norms of the literary language of the 1860s and the individual characteristics of Pisarev's style. For this edition, the texts are revised against the first edition; some correcting errors were corrected and inconsistencies in the text of previous publications were eliminated. The following abbreviations are adopted in the notes: 1) Belinsky - Belinsky V.G. Sobr. op. in 9 volumes, vols. 1-6. M 1976-1981 (ed. Continuation); 2) Herzen - Herzen A.I. op. in 30 volumes. M., 1954-1965; 3) Dobrolyubov - Dobrolyubov N.A. op. in 9 volumes. M.-L., 1961-1964; 4) 1st ed. - Pisarev D.I. F. Pavlenkov in 10 hours. St. Petersburg, 1866-1869; 5) Pisarev (Pavl.) - Pisarev D.I. in 6 volumes. Ed. 5th F. Pavlenkov. SPb., 1909-1912; 6) Pisarev - Pisarev D.I. in 4 volumes. M., 1955-1956; 7) Saltykov-Shchedrin - Saltykov-Shchedrin M.E.Sobr. op. in 20 volumes. M., 1965-1974; 8) TsGAOR - Central State archive of the October Revolution; 9) Chernyshevsky - Chernyshevsky N.G. Complete. collection op. in 15 volumes. M., 1939-1953.

"FATHERS AND CHILDREN", ROMAN I. S. TURGENEVA

For the first time - "Russian Word", 1862, No 3, dep. II "Russian Literature", p. 1-54. Then - Part I of the 1st ed. (1866), p. 126-172. The date under the article is in the 1st ed. The article - one of the first critical reviews of the novel "Fathers and Children" - appeared after its publication in the journal "Russian Bulletin" (1862, No. 2; in the journal text of the article - direct links to this publication, removed by Pisarev in edition). Of all the first responses, Pisarev's article stood out both for its complete sympathy for the image of Bazarov and for its recognition of the overall artistic objectivity of the author of the novel. Publishing the novel in his journal, Katkov counted on it as a weapon in the fight against the revolutionary democratic trend. However, he still considered Turgenev's attitude to the image of the "nihilist" Bazarov insufficiently consistent. Turgenev was condemned for his desire to be impartial. Changes were made to the text of the novel in the journal by Katkov that belittled the image of the hero (see note 17); these amendments were eliminated by Turgenev already in the first separate edition of the novel. The reactionary critic V. I. Askochensky assessed the image of Bazarov as the debunking of the younger generation in an article published in the magazine Domashnyaya Bechaska (1862, No. 19). In the article published in the journal Sovremennik (1862, No. 3) almost simultaneously with Pisarev's article, MA Antonovich's article Asmodeus of Our Time, the novel was also given a harsh assessment, the image of Bazarov was viewed as a caricature of a revolutionary leader. It is characteristic that Chernyshevsky, in his memoirs written much later (in 1884), considered the novel "an open statement of Turgenev's hatred of Dobrolyubov" (Chernyshevsky, vol. 1, p. 737). This decisive discrepancy between critics of the two leading democratic bodies was noted and used for polemical purposes in an article by Katkov's "Russian Bulletin" "Roman Turgenev and his criticism" (1862, vol. 39, pp. 393-424). Later, it served as one of the main reasons for the emergence of a sharp and prolonged polemic between "Russian Word" and "Sovremennik" in 1864 - in this volume, "Realists" - in volume 2 of this edition). 1 Bazarov's words from Ch. XXI novel "Fathers and Sons". 2 Quote from chap. XXI; words that introduce direct speech belong to Pisarev. 3 Lines from Ch. I, stanzas XXV "Eugene Onegin". 4 Indivisible - see note. 8 to the article "Standing water". 5 ... society ... even began to peer into the audience ... - In 1859-1860. lectures at St. Petersburg University and at the Medical-Surgical Academy began to be attended by volunteers. 6 Quote from chap. X novel with minor deviations from the text; words in brackets, as well as italics, belong to Pisarev. Regarding this allocation (it took place both in the journal text of the article and in the 1st ed.) In a letter from the censorship committee dated March 22, 1866 to the General Directorate of Press in connection with the publication of Part I of the 1st ed. ... it was said: "In relation to religion, Pisarev bypasses all cases, even Bazarov's dying moments, as if this subject was not worth talking about. Only in one place ... in Bazarov's conversation with Arkady's uncle, Bazarov's words:" When the grossest superstition strangles us. " - the author ordered to print ... in italics, obviously not without intention. And this, without a doubt, an allusion to the authority of the church "(see Evgeniev-Maksimov V. Ye. D. I. Pisarev and the Guardians, p. 145). 7 Quote from chap. VII with slight changes in the text. 8 A hint at the anti-serfdom orientation of the "Notes of a Hunter". 9 Quote from chap. IX of the novel. 10 Wed Bazarov's answer (Chapter XXI) to Arkady's question whether he has a high opinion of himself: "When I meet a person who would not pass up in front of me ... then I will change my opinion about myself." 11 Shamilov is the hero of the novel "The Rich Bridegroom" by AF Pisemsky. See about him in chap. IV article "Pisemsky, Turgenev and Goncharov". 12 Theorists ironically called the liberal-protective press of the 1860s. revolutionary democratic publicists, in particular - Chernyshevsky and his followers. 13 End of chap. XIII with one deviation from the text of the novel. 14 From Ch. XXVI novel. 15 Wed Chatsky's remark: When in business - I'm hiding from fun, When fooling around - I'm fooling around, And to mix these two crafts There are a lot of artisans, I'm not one of them. ("Woe from Wit", file III, manifest. 3), 16 In Turgenev (chapter XXIII of the novel): "And he could renew and prolong his kiss." 17 These words have been inserted into the text of chap. XXIV (scene of Bazarov's departure from Maryino - the Kirsanovs' estate) by Katkov during the publication of the novel in the Russian Bulletin (1862, vol. 37, p. 623; Pisarev quotes this passage with one minor omission). 18 If there is another occupation, more interesting ... - A hint of active intervention in the social struggle in the event of revolutionary events. Franklin worked as a typesetter before fighting for the independence of the British colonies in North America, and then was the owner of a printing house. 19 In the "Russian Word" pages are indicated here according to the text of vol. 37 of the "Russian Bulletin" (pp. 648-658), which corresponds to most of chapter XXVII of the novel (from the words: "Once a peasant from a neighboring village brought. .. his brother, sick with typhus "until the end of the chapter.) 20 About the special use of the verb whistle and its derivatives in journalism in the 1860s, see note 11 to the article" Female types in the novels and stories of Pisemsky, Turgenev and Goncharova ".

The Bazarovs are filled with their own lives and do not want to let anyone into it. But let us continue to develop the topic further, consider what else Pisarev's article "Bazarov" tells us. The summary of the famous critic's work also indicates that at first, perhaps, the main character felt quite confident and comfortable, but then, as time has shown, he did not find himself happy in his nihilistic image, except for his “inner life”.

Pisarev writes that life in the world is not so good for Bazarov with his principles and ideas. After all, where there is no activity, there is no love, there is no pleasure. What to do then? To this question, Pisarev, who did not share revolutionary views, gives an interesting answer. He writes that in this case one must "live while one lives, if there is no roast beef, eat dry bread, and be with women, since it is impossible to love a woman." In general, do not dream of something like orange trees and palms, but realistically be content with snowdrifts and cold tundra, not wanting more.

What to do?

Pisarev's short article "Bazarov" tells that the critic himself perfectly understands that all representatives of his contemporary young generation in their views and aspirations absolutely can recognize themselves in the image of the hero Turgenev. But this applies not only to them. Those who followed Pisarev could also recognize themselves in Bazarov. But those who followed such a leader of the revolution as Chernyshevsky are unlikely. For them Bazarov would have been the spokesman for ideas, but no more. The point is that revolutionary democracy approached the people and the political struggle in an absolutely opposite way.

That is why criticism of Sovremennik reacted very sharply both to the novel Fathers and Sons and to Pisarev's interpretation of the image of Bazarov's hero. The images in which the then revolutionary democracy recognized itself were in Chernyshevsky's novel "What is to be done?" It was in this work that a different answer was given to the main question, different from the one that Pisarev proposed at the end of his article. After all, the critic continued to pay much attention to Bazarov in other articles: "Realists" (1864), "The Thinking Proletariat" (1865), "Let's See!" (1865).

In addition to all the material presented by Pisarev's article "Bazarov", its summary continues with the thought of the appearance in society of new people with a forgivable and understandable extreme.

New people

Pisarev speaks of Bazarov as a new type of person, but, however, further, over time, his interpretation has already begun to change, in accordance with the changes in the socio-political views of the author. In the article "Realists" he already considers Bazarov's egoism in a different way. He says that such consistent realists live by a "higher guiding idea." She gives them great strength in the fight. Such egoists have their own "personal calculation" that does not hinder their struggle for lofty goals. And they at that time consisted in the elimination of the begging of the working people. The critic already writes that it is precisely this egoism that finds in itself the satisfaction of this activity, leading to the realization of the set goal.

How does Pisarev's article "Bazarov" end? Its summary says that Turgenev himself is not very sympathetic to his hero. His vulnerable and loving nature is jarred and corroded by realism, and the slightest manifestations of cynicism offend his subtle aesthetic instinct. Without showing us how he lived, the author paints a very vivid picture of how his hero dies. This is quite enough in order to understand what power this person possessed. However, unfortunately, it did not find its application for a useful and dignified life.

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