Ivan Sergeevich Turgenev was a nobleman whose condition was not regrettable. He had a stable, permanent income and was engaged in writing for his own self-fulfillment.

For a long time, the author limited himself to writing stories and short stories. He seemed to be gathering strength and life experience for his novels, which brought him worldwide fame. The writer initially defined even his first novel, “Rudin,” as a story. Later, everything began to work out for the author with novels, and he wrote six works one after another in ten years.

The history of the creation of the novel “Fathers and Sons”

Turgenev began publishing his novels starting in 1856, and all of his works became an integral and important part of Russian literature.

Turgenev's novel "Fathers and Sons" became the fourth novel in literary activity writer. The years of its creation were 1860-1861, when the writer began to feel more confident. This novel is rightfully considered the pinnacle of his work, where all the writer’s manners are perfectly visible. And to date this novel is the most famous work Ivan Turgenev, and his popularity is still growing, since the plot raises very important issues that are relevant today.

The author tried to convey a lot to the reader. He perfectly depicted how relationships develop between people belonging to different social strata. I tried to reflect modern reality and touched on topics that still interest people. But then Ivan Sergeevich himself more than once emphasized that it was very important for him to show his writing skills in the book, and not just to gain fame and popularity by discussing pressing problems.

A striking example of this is his novel “Fathers and Sons,” which was published already in 1862. At this time, the political situation in the country was tense. It was finally cancelled. serfdom, Russia and Europe began to move closer. Hence the various philosophical movements that began to emerge in Russia.

However, the main action of the novel dates back to the time before reforms took place in Russia. Approximately the action of Turgenev's novel can be dated back to 1859. It was Ivan Turgenev who first introduced such a concept as “nihilism”, which became a new direction in public life countries and gains popularity.

The main character of Turgenev's novel is Evgeny Bazarov. He is precisely a nihilist. Young people of that time took him as a role model, highlighting in him such moral qualities as

uncompromisingness, lack of any respect or admiration for what older or authoritative people say.

Turgenev's hero puts his views above all else. Everything that can be useful or beautiful, but does not coincide with his worldview, everything recedes into the background. This was unusual for the literature of that time, which is why the phenomenon depicted by the author found such a lively response among readers.

The plot of Turgenev's work "Fathers and Sons"

The action takes place in 1859. Two nihilist friends come to the Kirsanovs’ estate, which is located in Maryino. Arkady met his new friend Evgeny Bazarov at the institute where he studied to become a doctor. Nikolai Petrovich was looking forward to this arrival, who missed his son greatly. But unfortunately, Evgeny’s relationship with the elder Kirsanovs does not go well, and Evgeny decides to leave their hospitable home and moved to a small town in the province.

Arkady leaves with him. Together they have a great time in the company of young people and beautiful girls. But one day at a ball they meet Odintsova, both fall in love with her and go to her estate, accepting the invitation. They live in Nikolskoye for some time, but Evgeniy’s explanations are not reciprocated, so he leaves. This time he goes to his parents, and Arkady goes with him. But the love of the old Bazarovs soon begins to irritate Evgeny, so they again return to Maryino to the Kirsanov family. Bazarov, who is trying to find a way out of the love he has for Anna Sergeevna, kisses Fenechka. Pavel Petrovich sees this and challenges him to a duel. All this led to a scandal, and the friends parted ways.

But Arkady, who has been visiting Nikolskoye for a long time and is infatuated with Katenka, one day meets Bazarov there too. After Arkady's explanation and his declaration of love to Katenka, Bazarov returns to his parents. He decides to forget Odintsova, so he begins to act decisively and helps his father treat patients with typhus. Once he became infected when he opened up a peasant who had died of typhus. He tried to invent a drug that could cure everyone. He gets sick for a long time and then dies. Just before his death, he asks Odintsova to come and she fulfills his request. Arkady marries Odintsova's sister, and Nikolai Kirsanov finally decides to legitimize his relationship with Fenechka. His older brother leaves the country forever and settles abroad.

Heroes of Turgenev's novel "Fathers and Sons"

Turgenev's novel "Fathers and Sons" has a large number of heroes. Among them there are main characters who influence the entire plot of the novel. There are episodic ones that add color and allow the author to express his thoughts even brighter and more accessible.

The main characters of the work “Fathers and Sons” include the following persons:

★ Bazarov.
★ Kirsanov brothers: Nikolai Petrovich and Pavel Petrovich.
★ Arkady Kirsanov.

Bazarov is a student, a nihilist. He plans to become a doctor in the future. Evgeniy Vasilyevich has practically no friends. But then he meets the Kirsanov family. So, he first meets Arkady, who is easily influenced, so he tries to impose his nihilist views on him. He does not understand and does not at all want to accept people of the older generation, and does not take into account the opinions of his parents. Bazarov is a commoner, that is, a person who has broken away from his previously familiar environment. But falling in love with Odintsova, he suddenly changes his views, and it soon becomes clear that a real romantic lives in his soul. After his death, a religious ceremony is performed over his body, like a simple and ordinary person.

Nikolai Petrovich is one of the main characters of Turgenev’s novel. Kirsanov is a landowner and Arkady's father. He adheres to conservative views, and therefore does not accept Bazarov’s nihilism. His wife died long ago, but there is another love in his life - for Fenechka, a peasant woman. At the end of the novel, he, despite all the conventions of society, marries her. He is romantic, loves music and has a good attitude towards poetry. His elder brother, Pavel Petrovich, is very different in character. Pavel Petrovich was once an officer, but is now retired. He is aristocratic, self-confident, proud. He loves to talk about art and science. He was once in love, but the love ended in tragedy. His attitude towards other heroes is different: he loves his nephew and brother. He also treats Fenechka well, because she resembles that woman, the princess, with whom he was once in love. But he openly hates Bazarov both for his views and behavior, and even challenges him to a duel. In this battle, Pavel Petrovich was slightly wounded.

Arkasha Kirsanov is Bazarov’s friend and son little brother Kirsanov. He, too, will become a doctor in the future, but for now he is only a student. The nihilist Bazarov has a huge influence on him and for some time he adheres to his views and ideas, but, having fallen into parents' house, refuses them.

There are others in Turgenev's novel characters, which cannot be classified as episodic, but also main role to reveal the plot they do not have:

⇒ Bazarov, father of the nihilist Evgeniy. Vasily Ivanovich was once a surgeon in the army, and is currently retired. He is educated and smart, but not rich. He loves his son, but does not share his views, still adhering to conservative ideas.

⇒ Arina Vlasyevna is a pious woman, Bazarov’s mother. She has a small estate, which is managed by her husband and 10-15 serfs. Superstitious and suspicious, she is very worried about her son.

⇒ Odintsova. Anna Sergeevna prefers a calm and measured life. When she listens to a declaration of love from Bazarov, she refuses him, although she still liked him. She is rich and inherited this wealth from her husband.

⇒ Katenka Lokteva – quiet and practically inconspicuous girl, always in the shadow of her sister Odintsova. Arkady is in love with her, but he was not immediately able to sort out his feelings because of Odintsova’s infatuation with Anna. Katenka will marry Arkady.

There are many episodic persons in Turgenev’s novel:

Viktor Sitnikov is an adherent of nihilism.
Kukshina is a nihilist, but Eudoxia adheres to these ideas only for his own good.
Fenechka. She gave birth to a child for her master, and then became his wife. The eldest of the Kirsanovs and Bazarovs is fighting because of her.
Dunya, Fenechka's servant.
Peter, a servant in the Kirsanovs' house.
Princess Nellie R, with whom the elder Kirsanov was once in love.
Kolyazin is a city official.
Loktev is the father of two young and beautiful heroines of Turgenev’s novel.
Avdotya Stepanovna is the aunt of the young heroines, a princess, but an evil and very harmful old woman.
Timofeevich, clerk.

Critical reviews and ratings

Turgenev's work was perceived differently. For example, readers did not approve of the main character of Turgenev’s novel, who crossed many values. But the youth, on the contrary, tried their best to support him, believing that main character works are a vivid reflection of the world in which they live.

The opinions of the censors were also divided. An unusual and heated debate flared up on the pages of the Sovremennik magazines and the famous Russian Word. At this time, riots broke out in the city on the Neva, when unknown aggressive young people staged a pogrom. People died as a result of the riots. Many believed that Ivan Turgenev, who wrote the novel “Fathers and Sons,” was also to blame for this, because only his new phenomenon, like nihilism, could lead to such a result. Some even believed that Turgenev's novel could not be called a work of art.

But there were also those who defended the writer and his novel, believing that these riots would have taken place without Turgenev’s work.

The critics agreed on one thing - the novel was written very worthy, from the point of view of artistic literary language. That is why the novel, written by Ivan Sergeevich Turgenev a century and a half ago for his contemporaries, remains relevant today.

Supporting heroes. Satirical images.“When a man like Bazarov died<…>, a verdict has been pronounced on a whole trend of ideas,<…>Is it worth following the fate of people like Arkady, Nikolai Petrovich, Sitnikov?..” asks Pisarev in his article. The answer is obvious to him. But we’ll try to take a closer look at the named heroes, maybe they’ll suggest something that will help us understand Bazarov.

Nikolai Petrovich is the first person we meet on the pages of the novel. The author presents him as a “gray-haired, plump and slightly hunched” man. Next to him, a “fat rock dove” appears as a kind of double. With a superficial understanding, it is easy to accept “Bazarov’s view” of Nikolai Petrovich: “a retired man, his song is over.” And following Bazarov, take an ironic view of his attempts to learn to play the cello - “at forty-four years old.”

Let's give the floor to the hero himself. In a conversation with his brother, Nikolai Petrovich bitterly complains: “It seems that I do everything to keep up with the times:<…>I read, study, and generally try to keep up with the time demands.” The author confirms the veracity of Nikolai Petrovich’s words. Next to his son, he spent three winters in the capital, listening to the “ebullient speeches” of young people and even tried to participate in discussions. Not only that. The great ideas of the century, discussed in student classrooms, are boldly put into practice by the provincial landowner. From the further speech we learn how Nikolai Petrovich “organized the peasants, started a farm, so that even I am called red throughout the province...”. Let us remember that according to the novel calendar the year is 1859, but officially “emancipation” began in 1861! The modest landowner is ahead of reforms on a state scale by almost two years!

Moreover, the reforms are being carried out quite disinterestedly. It is not for nothing that the author devotes so much space to describing Kirsanov’s new estate, for which “four acres of flat and bare field” are allotted, and barren ones at that. Where the water in the ponds does not hold, where the park needed by the estate does not grow well. Needless to say, the owner of the estate could, during demarcation, assert for himself the most better land(which happened quite often during the nationwide “emancipation”). With many seemingly fleeting features, the author seeks to emphasize the democracy of Nikolai Petrovich, unprecedented for his time. The landowner is ashamed to call himself the owner of two hundred serf souls. The elder Kirsanov recognizes himself as having power only over acres of land, and, not without pride, calls the estate a “farm.” He calls his servant “Peter” and not “Petrushka”, as most landowners would have done in his place. In the arrival scene, Peter “as the newest servant” bowed to the masters from afar, rather than bowing to the hand. Further, when the Kirsanovs’ carriage rolls up to the porch, “the crowd of servants did not pour out onto the porch to greet the gentlemen.” Nikolai Petrovich obviously does not tolerate the picture of false servility. The writer does not want to hide reverse side what's happening. Perestroika in Maryino, like any undertaking, is not without difficulties. It’s hard for the gentleman, unusual for a man: “Recently started on new way the farm creaked like an unoiled wheel...", "everyone came running<…>, climbed up to the master, often with beaten faces, in a drunken state, and demanded trial and punishment.” These mistakes, this disorganization of the business that has just begun, become the subject of Bazarov’s malicious pleasure: “...And the good peasants will deceive your father...” He wants the landowner to “test it in practice” and be convinced of the need for a general breakup, and not gradual changes. In addition, the soft Nikolai Petrovich not only lacks “principles” - even “principles”. But there is humanity and patience. In his next novel “Smoke”, speaking about reforms, Turgenev will say: “Patience was required above all, and patience is not passive, but active, persistent, not without dexterity, not without cunning sometimes...” Such patience is endowed with the modest Nikolai Petrovich, who uses the wise proverb: “If it grinds, there will be flour.”

Among such household worries, the hero finds time to make music. He finds moments to communicate with the classics, and his lyrical passages are by no means mediocre: “...I played Schubert’s “Waiting” with feeling, albeit with an inexperienced hand, and a sweet melody spread through the air like honey.” Through the eyes of Nikolai Petrovich we see a poetic picture of a summer sunset, which in itself is capable of refuting any attempts to proclaim nature only as a “workshop” and not as a “temple.” Why doesn’t he protest when his son, with a “sympathetic smile,” hands over “Matter and Strength” instead of his beloved Pushkin? Why doesn’t he speak out against Bazarov? We can say that Nikolai Petrovich is wise as a person. The wisdom that Pyotr Ivanovich Aduev (“ An ordinary story") comprehends only in the final life path. He understands that it is impossible to make someone fall in love with music, nature, or art. It is impossible to logically explain the beauty of the world around us.

The hero has a softening, reconciling effect on his brother and Bazarov, but at the same time he is not afraid to tell his brother the bitter truth for him: “Bazarov is smart and knowledgeable.” Nikolai Petrovich in highest degree characterized by conscientiousness and delicacy. For a long time he refuses his cherished desire - marriage with Fenechka, fearing to offend the memory of his mother in the eyes of his son and embarrass the same Pavel Petrovich. “Blessed are the meek, for they will inherit the earth.” These biblical words involuntarily come to mind when reading the final pages. Kirsanov’s “nest did not go out of order”: Mitya grows up, Kolya is born. Between generations in the Kirsanov estate there is not confrontation, but cooperation. When “father and son” began to work together, “their affairs began to improve.” “Arkady has become a zealous owner, and the “farm” is already generating significant income.” This is how it should be, according to the writer. In this cooperation of generations, wisdom and experience on the one hand, young energy on the other, lies, according to Turgenev, the key to the success of all reforms.

His very name (happy) speaks about Arkady. Arkady really has the talent to be happy in the present. Like his father, he is naturally delicate. This delicacy of his brought many pleasant moments to the old Bazarovs, for whom he partially replaced his cold and unapproachable son with his stories. From the lips of Arkady we learn a lot about Bazarov; His role in the compositional cohesion of the work is no less important: he brings Bazarov to his parents’ estate, he awakens Odintsova’s curiosity with his stories about his friend, thanks to him Bazarov and Anna Sergeevna meet again (second and third dates). Despite his outward gentleness and invisibility, his role as a kind of squire to a friend is very important for understanding the main character.

At the beginning of the novel, he is completely under the authority of his older friend. Pavel Petrovich, discussing “what inexperienced hearts submit to,” indignantly points Bazarov to his nephew: “Look, one of them is sitting next to you, because he is almost praying for you, admire it.” His admiration is sincere and naive, sometimes to the point of ridiculousness. He “lazyly” agreed to Bazarov’s offer to go to the city. “In his heart he was very happy at his friend’s offer,” Turgenev comments, “but he considered it his duty to hide his feeling. No wonder he was a nihilist!” Arkady's naivety highlights the seriousness of feelings and the true severity of Bazarov. But there is a trait in Bazarov that instinctively repels his “student”. Although he agreed, on his advice, to take away the “unnecessary” book from his father, when Bazarov began to “laugh” at Nikolai Petrovich, “Arkady, no matter how much he revered his teacher, this time did not even smile.” 10th grade student in essay “Evgeny Bazarov and Arkady Kirsanov are the sons of their fathers” astutely notes that “Arkady’s cold attitude towards Nikolai Petrovich is only for show. This attitude appears under the “nihilistic” influence of Bazarov. But Arkady is trying, as it were, to justify himself to his father, and his “nihilistic” attitude is manifested insincerely.” He also tries to soften Bazarov’s categorical assessments of his uncle by telling the story of Princess R. Subsequently, it comes to Bazarov’s clashes with his “pupil”:

– What did you call Pavel Petrovich?

“I called him properly, an idiot.”

“This, however, is unbearable!” exclaimed Arkady.

Bazarov is inclined to explain Arkady’s behavior by the remnants of an outdated, in his eyes, “family feeling.” Arkady rightly objects: it speaks of a “simple sense of justice.” The “sense of justice” is shocked in Arkady and by Bazarov’s relationship with his own parents. He wholeheartedly praises both Vasily Ivanovich and Arina Vlasyevna; finally, he asks a direct question: does Bazarov love his parents? "They love you so much." Hidden in the soul of the kind-hearted Arkady is a kind of moral guideline that unmistakably shows when Bazarov’s severity turns into cruelty. Arkady is a student, a devoted admirer. But not a slave. He gently but finally frees himself from the power of his friend, sensing in their relationship a hint of despotism and rudeness. We even know exactly when this happens - all in the same scene under the haystack. “Oh, my friend, Arkady Nikolaich!.. I ask you one thing: don’t speak beautifully,” an irritated Bazarov turns to Arkady. “I speak as best I can... And finally, this is despotism. A thought occurred to me; Why not express it?” - Arkady is rightly indignant at Bazarov’s habit of subjugating people’s actions. Again Turgenev repeats the idea that each person is interesting and valuable in his own way.

Having learned about Arkady and Katya's engagement, Bazarov ironically congratulates him. And he immediately breaks up with a person with whom he is now not on the same path. “You were not created for our bitter, tart, bean life,” Bazarov rightly notes. “Our dust will eat into your eyes, our dirt will stain you, and you haven’t grown up to us...” The attentive reader will notice that with this monologue the bazaars “execute” not only a friend, but all the “liberal nobles.” The hero admits that he “has other words”; he obviously would like to part with his old friend more warmly - “only I won’t express them, because this is romanticism - it means: falling apart.” Arkady's decision has its own strength and weakness. Yes, he chose a different path in life, easier than his friend. But this is his way. No one, no one's power will force Arkady to submit.

The same can be said about Katya, “a girl of about eighteen, black-haired and dark-skinned, with a somewhat round but pleasant face, with small dark eyes.” Katya has the qualities that we are used to seeing, which give the charm to Turgenev’s girl. When she first appears, she "holds a basket filled with flowers" and befriends a "beautiful greyhound dog with a blue collar." The girl is kind to her aunt: “Katya put a bench under her feet,” although the evil old woman “didn’t even look at her.” Katya loves Mozart’s music: “She played very well<…>, clenching her teeth tightly... and only towards the end of the sonata her face flared up and a small strand of developed hair fell on her dark eyebrow.” Like Arkady, she was influenced by a strong nature and was even a little “intimidated” by her sister; she is timid and afraid when Anna Sergeevna “caressed” her. There is no secularism in Katya, she is “not a flirt”, she does not dream of new shoes. “Simply, without being ashamed or showing off,” she tells Arkady, who financially depends on her sister. The girl is not at all weak-willed. She has both character and pride. “Some young ladies are considered smart only because they sigh intelligently; and yours will stand up for itself...” notes Bazarov. She will not agree, like her sister, to sell herself into marriage with a rich man, “because the song says about unevenness.”

Katya can be called a Turgenev girl with some reservations. There is no desire for self-sacrifice in her, no dream of going “to a difficult feat,” as in Natalya or Asa. Calmly and somewhat busily, she prepares herself for the main work of life: marriage and raising children. Arkady, as Bazarov predicted, soon falls under her influence; but this influence is beneficial for him. He leaves the habit of “being sybaritic” and “zealously gets down to business” - the business to which his soul lies. No less than leaders, the world needs simple workers, modest leaders. People cannot be manipulated.

I. S. Turgenev's novel "Fathers and Sons" is a multi-themed work. Already in the name it sounds main topic the novel is a problem of generations, eternal problem classical literature. In addition to this problem, the work raises other issues - the conflict of two socio-political forces operating in Russia in the 60s, liberals and democrats.
The novel depicts nobles and commoners of two generations - “fathers” and “children”. Turgenev wants to show us how a commoner democrat will behave in an environment alien to him. In Maryino, where Bazarov arrived with Arkady, Evgeny is a guest who differs in his democratic appearance from his landowner owners. And he disagrees with his friend Arkady on the main thing - his idea of ​​​​life. Throughout the entire novel, we observe the subordination of a weak nature to a stronger one: Arkady to Bazarov. But still, Arkady gradually acquires his own opinion. He no longer blindly repeats Bazarov’s nihilist judgments: in the dispute, Kirsanov Jr. expresses his own point of view. One day their argument almost led to a fight.
The difference between the characters can be seen already from their behavior in Kirsanov’s house. Evgeny studies nature, and Arkady does practically nothing. Judging by the red color of Bazarov’s hand, one can guess that he is a man of action. And indeed, wherever he is, Evgeniy tries to get busy. His vocation is natural sciences. He studies nature and tests theoretical discoveries in practice.
Note that interest in science is a typical feature cultural life Russia in the 60s, which means that Bazarov keeps up with the times. Arkady is the complete opposite of Bazarov. He doesn't do anything, and nothing captivates him. The main thing for Arkady is comfort and peace, and for Bazarov it is to work and not sit idly by.
Friends have different opinions regarding literature. For example, Bazarov denies Pushkin’s poetry, and completely unfoundedly. Arkady, on the contrary, admires the poet. Arkady is always well dressed and has aristocratic manners. Bazarov does not follow the rules of good manners, he simply does not consider it necessary. This is visible in all his actions, habits, manners, speeches, appearance. He does not like, for example, a “beautiful” phrase. “Oh, my friend, Arkady Nikolaevich,” he says to his young admirer, “I ask one thing, don’t talk so beautifully!”
Bazarov is shown as a simple man, alien to any brokenness and, at the same time, strong, powerful in soul and body. He is distinguished by firmness and directness of judgment.
Arkady is naive in the consciousness of his mental superiority over the concepts of his father and uncle. He good-naturedly regrets their backwardness. How quickly he resolves all issues, how easily he copes with everything, how it costs him nothing to break and destroy anything out of pure nihilism. Arkady is not the person he wants to seem. The opinions he flaunts do not penetrate deep inside him; they can disappear like the morning fog. All his impulses are explained by the desire to be like Bazarov, to be the same firm and tough person.
But gradually Arkady realizes the futility of his aspirations. The "student" leaves the power of the "teacher". Arkady's resistance to Bazarov is already evident from the conversation about the role of nature in human life.
Arkady has no enemies, but Bazarov hates many. "You, gentle soul", a weakling," says Bazarov, realizing that Arkady can no longer be his associate. The “disciple” cannot live without principles. In this way, he is very close to his liberal father and Pavel Kirsanov. But Bazarov appears before us as a man of a new generation, which replaced the “fathers” who were unable to solve the problems of the era. Arkady belongs to the old generation, the generation of “fathers”.
Arkady wants to be the son of his age and “puts on” Bazarov’s ideas, which absolutely cannot merge with him. He belongs to the category of people who are always looked after and who always do not notice the care. Bazarov treated him patronizingly and almost always mockingly; he understood that their paths would diverge.
In addition to the main male characters, the novel also presents female images, belonging to the generation of “children”.
So, Anna Sergeevna and Katerina Sergeevna in the novel are opposites. Anna is flirtatious and talkative, while Katerina is timid, silent, “constantly blushes and quickly takes a breath.” She loves to read, think about life, about books, about people, than to dance at balls.
Odintsova had suffered enough in life (“grated kalach”) and now it was as if she only wanted to take a break from her past. More than once in conversations with Bazarov she called herself old. Anna Sergeevna has a strong character, so she suppressed her younger sister a little. Katya is a nice girl, and although at first she is perceived as a pale shadow of Odintsova, she still has character. The individuality of this heroine is gradually revealed, and it becomes clear that in alliance with Arkady Kirsanov she will be the main one.
Thus, in Turgenev’s novel “Fathers and Sons” a whole gallery of images of “children” is presented. Each of the heroes is diverse and individual, however, they are also divided into those who accept “eternal” values ​​and are guided by them, and those who, by denying, come to self-destruction.

In 1862, Turgenev wrote the novel Fathers and Sons. During this period, a final break was outlined between two social camps: liberal and revolutionary-democratic. In his work, Turgenev showed a man new era. This is the democrat commoner Bazarov. Throughout almost the entire novel, Bazarov is accompanied by his friend Arkady. By origin, and by social status, they belong to different social classes. According to his convictions, Bazarov is “a democrat to the core.” The friends study together at university and have been friends for several years.

At first, Arkady falls under the influence of Bazarov, he wants to be like Evgeny, and at the same time he sincerely shares the views of his older and more authoritative comrade. Arkady is forced to join the nihilists by “young courage and youthful enthusiasm.” But he is not guided by Bazarov’s ideas in life. They do not become an organic part of him, which is why he will so easily abandon them later. Later, Bazarov says to Arkady: “Our dust will eat your eyes, our dirt will stain you.” That is, Arkady is not ready for the “tart, bitter, bourgeois life” of a revolutionary.

Bazarov, assessing the life of a revolutionary, is both right and wrong. The destruction of established foundations, traditions, and views always causes fierce resistance from the old world, and it is hard for the progressive fighters. The revolutionary democratic ideal of happiness is revolutionary activity for the benefit of the people, despite personal adversity.

Arkady, of course, is not ready for this, since he is, in Evgeniy’s words, “a soft liberal barich.” In their “youthful enthusiasm,” liberals do not go beyond noble ebullience, but for Bazarov this is “nonsense.” Liberals do not “fight,” but “imagine themselves to be great; revolutionaries want to fight.” Giving an assessment of Arkady, Bazarov identifies him with the entire liberal camp. Spoiled by life in a noble estate, Arkady “involuntarily admires himself,” he enjoys “scolding himself.” This is boring for Bazarov, he “needs to break others.” Arkady just wanted to seem like a revolutionary; there was a lot of youthful posturing in him, but in his soul he always remained a “liberal gentleman.”

But Arkady doesn’t understand this yet. For the time being, he considers himself a “fighter” and appreciates Bazarov for his willpower, energy, and ability to work. At the Kirsanov estate, Bazarov is initially received cordially. Arkady asks his family to take care of Bazarov. But Bazarov’s revolutionary democracy does not fit in at all with the liberal aristocracy of the Kirsanov house. He does not fit into their life, full of idleness. And here, as a guest, Bazarov continues to work. The way of life of friends on the estate is expressed in the author’s phrase: “Arkady was a sybaritist, Bazarov worked.” Bazarov conducts experiments, reads special books, collects collections, treats village peasants. According to Bazarov, work is a necessary condition of life. Arkady is never shown at work. Here, on the estate, Bazarov’s attitude to both nature and the people is also revealed.

Bazarov considers nature not a temple, but a workshop, and a person in it as a worker. For Arkady, as for the rest of the Kirsanovs, nature is an object of admiration and contemplation. For Bazarov, such an attitude means lordship. He objects to prayerful contemplation of nature, meaningless from his point of view, enjoying its beauty. It requires an active attitude towards nature and the surrounding world. Himself. treats nature as a caring owner. Nature pleases him when he sees the fruits of active intervention in it. And here, too, the points of view of Arkady and Bazarov diverge, although Arkady is not talking about this yet.

Bazarov and Arkady have different attitudes towards both love and women. Bazarov is skeptical about love. He says that only a fool can feel free with a woman. But meeting Odintsova changes his views on love. She impresses Bazarov with her beauty, charm, and ability to carry herself with dignity and tact. He develops feelings for her when spiritual communication begins between them.

Odintsova is smart, able to understand Bazarov’s originality. Evgeny, despite his outward cynicism, discovers in love an aesthetic feeling, high spiritual needs, and respect for the woman he loves. But Odintsova is essentially an epicurean lady. Peace is above all else for her. Therefore, she extinguishes the emerging feeling for Bazarov. And in this situation, Bazarov behaves with dignity, does not become limp and continues to work. The mention of love for Odintsova causes Bazarov to admit that he is “broken,” and he does not want to talk about it,

Arkady meets Katya, younger sister Odintsova, reveals that his ideal is “closer,” that is, he is in the family, on the estate. Arkady realized that he was “no longer that arrogant boy”, that he was still “asking himself tasks that were beyond his strength,” that is, Arkady admits that the life of a revolutionary is not for him. And Katya herself says that Bazarov is “predatory”, and Arkady is “tame”.

Bazarov is close to serfs. For them he is “a brother, not a master.” This is confirmed by Bazarov’s speech, in which there is a lot folk proverbs and sayings, and his simplicity in communicating with ordinary people. Although on his father’s estate the peasants treat Bazarov as a master, in all other episodes of the novel he is more “at home” with the people than any of the Kirsanovs. Arkady remains to a greater extent a gentleman, a master for people. True, it also happens that some unfamiliar man mistook Bazarov for an eccentric when he wanted to “talk to the people.” But this didn't happen often.

In addition, Bazarov is demanding, one might even say too demanding, of himself. He tells Arkady that “every person must educate himself.” His commitment to nihilism leads him to become ashamed of natural human feelings. He seeks to suppress their manifestations in himself. Hence some of Bazarov’s dryness, even in relation to the people closest to him. But to Arkady’s question whether Bazarov loves his parents, he answers simply and sincerely: “I love you, Arkady!”

However, it should be noted that Bazarov’s parents are hopelessly “behind” their son. They cannot not only keep up with him, but also follow him. True, this “backwardness” of the old Bazarovs does not deserve Enyushka’s not entirely respectful, and sometimes even simply disregarding, attitude towards them. Is it possible to demand from old people that they think and act like young people? Is it not thanks to the efforts of his parents that Bazarov receives an education? In this case, Bazarov’s maximalism looks very unattractive; Arkady loves his loved ones, but seems to be embarrassed by this love. Bazarov gives an apt, comprehensive, but at the same time rather evil characterization of Arkady’s father and uncle, to which Arkady objects, but somehow sluggishly. By this, he seems to support the point of view of Bazarov, who believes that a nihilist should not express his feelings. Arkady flared up only when Bazarov called his uncle an “idiot” behind his back. Perhaps it was at this moment that the first serious crack appeared in the relationship between friends.

It should be noted that Bazarov’s nihilism, unfortunately, leads to the denial of old and new art. For him, “Raphael is not worth a penny, and they (that is, the new artists) are no better than him.” He declares that “at forty-four years old it’s stupid to play the cello,” and reading Pushkin in general “is no good.” Bazarov considers art a form of profit. For him, “a decent chemist is more useful than any poet,” and art is not capable of changing anything in life. This is the extreme of Bazarov's nihilism. Bazarov emphasizes the importance of scientists for Russia, since Russia at that time lagged behind the West in science. But Arkady actually loves poetry, and he would read Pushkin if Bazarov were not around.

Arkady and Bazarov seem to be opposing each other; At first this confrontation is completely imperceptible, but gradually, as the action develops, it intensifies and reaches open conflict and the rupture of friendly relations. This reveals one of the aspects of the novel’s conflict, expressed through the use of contrast. Let us note that in this case it is no longer “fathers” and “children” who are in conflict, but, so to speak, “children” with “children”. Thus, the breakup between Bazarov and Arkady is inevitable.

Arkady is not ready for the “tart, bitter, bourgeois life” of a revolutionary. Bazarov and Arkady say goodbye forever. Evgeny breaks up with Arkady without saying a single friendly word to him, and for Bazarov to express them is “romanticism,”

Arkady finds the ideal of life in a family. Bazarov dies, remaining true to his views. It is before death that the strength of his convictions is tested. Arkady did not instill nihilistic beliefs. He understands that life revolutionary democrat not for him. Bazarov dies a nihilist, and Arkady remains a “liberal gentleman.” And at the end of the novel, Arkady refuses to remember his former friend at the common table.

Evgeny Vasilyevich Bazarov is the main character of the novel, the son of a regimental doctor, a medical student, and a friend of Arkady Kirsanov. Bazarov is the brightest representative of the youth and mixed-democratic intelligentsia of the mid-19th century. Calling himself a “nihilist,” he denies the established social order and rejects any principles.

A beautiful aristocrat, 29 years old, whom Bazarov fell in love with. She considers herself to be a new generation of nobles: simple, calm, devoid of snobbery, preaches freedom of judgment and democracy. By nature, Anna Sergeevna is proud and smart. Left without a father at an early age, she raised her younger sister.

One of the main characters of the novel, the father of Arkady Kirsanov and the brother of Pavel Petrovich. In the past he was happily married, but remained a widower. Now he lives with a young girl, Fenechka, who gave birth to his son. Despite the fact that Nikolai Petrovich is no longer young, he tries to keep up with the times and is interested in music, poetry and art in general.

Brother of Nikolai Petrovich Kirsanov, uncle of Arkady and Bazarov's main opponent. He acts as the main opponent in ideological disputes with Bazarov and, due to the strength of his character, is a worthy rival to him. Pavel Petrovich is distinguished by integrity, insight, aristocracy, high intelligence, sharp mind, nobility, willpower, liberal views and passion for everything English.

She is one of the main female characters in the novel. She is an ordinary peasant girl, left an orphan at an early age. Fenechka’s mother Arina Savishna worked as a housekeeper on the estate of Nikolai Petrovich Kirsanov. When she died, he took upon himself the care of young Fenechka, with whom he later fell in love.

A minor character in the novel, an emancipated landowner, Sitnikov’s friend, a psedonihilist. She imitates the most extreme manifestations of radicalism, is constantly interested in the “women’s question” and the situation of women around the world, is interested in natural sciences, despises George Sand.

A minor character in the novel, Bazarov's friend and student, a pseudo-nihilist. He is characterized by anxious tension, as well as dog-like devotion to his “teacher.” He tries in vain to imitate Bazarov, making him his idol. In his attempts to behave freely and boldly, to show harshness in his judgments and actions, he looks comical.

Kate

Odintsova's younger sister. A young and shy girl of 18 years old. Their love with Arkady developed slowly, but gradually the young people fell in love with each other and got married. In the future, they had a son, Kolya.

Vasily Ivanovich

Bazarov's father, a retired staff doctor. Lives in remote estate, has few serf souls. He treats local peasants. He is interested in gardening and vegetable gardening. Evgeniy was his only son, after whose death his life also faded.

Arina Vlasevna

Bazarov's mother is a kind woman who passionately loves her son. She was very pious and believed in everything possible: in goblin, dreams, omens, fortune telling, damage and even the end of the world. In her youth she was beautiful, played the clavichord and knew French. Now I’ve gained weight and forgotten music and language. The death of her son practically killed her herself.

Prokofich

A servant in the Kirsanovs' house, a thin old man of about sixty years old. Nikolai Petrovich called him a grump. The only servant who did not love Bazarov.

Dunyasha

A servant in the Kirsanovs' house, a young girl who helps Fenechka take care of her little son Mitya. She really liked Bazarov.

Peter

Valet in the Kirsanovs' house. Stupid and proud person. He could read syllables. At the end of the book, he married the daughter of a city gardener and received a good dowry. She chose him only because he had a watch.

Mitya

The little son of Nikolai Petrovich and Fenechka. He is not even a year old yet.

Matvey Ilyich

A noble relative of the Kirsanovs, to whom Arkady and Bazarov went from the estate. He advised them to go to the governor and get an invitation to the ball.

Governor

A fussy and forgetful person. He invited Bazarov and Kirsanov to his big ball, where they met Odintsova.

Princess X

Anna Sergeevna Odintsova's aunt, a thin and small old woman, a princess. After the death of her husband, Odintsova invited her to live on her estate and manage it. Now no one paid attention to her, although they treated her with respect and looked after her well. She died shortly after Bazarov's death.

Porfiry Platonich

Odintsova's neighbor, who often came to her to play cards. He was short, cheerful and already gray-haired. He loved to tell jokes.

Timofeich

Bazarov's father's clerk, Evgeniy's former uncle. He came to pick him up from Odintsova and said that his parents were really looking forward to him. He also came to her to bring her to the dying Bazarov.

Fedka

Servant in the Bazarovs' house. Upon the arrival of Bazarov and Arkady, he began to serve them. For the sake of their arrival, he was dressed in different clothes and given new boots, which he could not get used to.

Doctor Odintsova

He came with Odintsova to examine the sick Bazarov, immediately determined that he had no chance of survival, which he managed to whisper to her before she met him.