Peace degradation of man. "The problem of identity degradation in stories A

Topics Essay in Russian language and literature

(socio-humanitarian direction)

1. "If the soul was born a winged ..." (according to the lyrics M.TSvetaeva)

2. "My friend, dedicate the souls of beautiful gusts!" (A. S. Pushkin "To Chaadaev")

3. What is patriotism? (according to the novel L. Tolstoy "War and Peace")

4. What works M.Yu.Lermontov would you advise you to read a friend?

5. "In life there is always a place a place"? (M. Gorky)

6. Love "disinterested, selfless, not awaiting award" (according to the story I.A. Kurin "Pomegranate bracelet")

7. "Man - it sounds proud!" (on the play M. Gorky "On the bottom")

8. No ultrasound holy partnership "(N.V.Gogol)

9. "The soul is obliged to work and day and night, and day and night" (N. Zabolotsky)

10. My understanding of the poetry of "pure art" in lyrics A.Feta and F. Tyutchev

11. Is the image of the "beautiful lady" of A. Block?

12. True in humility or riot? (on the works of F.M.Dostoevsky)

13. Love - "Romanticism, Chepukha, Rota, Arts"? (according to the novel "Fathers and Children" I.S.Turgenev)

14. What is the originality of civil lyrics N.A. Neckrasov?

15. Why M.Yu. Lermontov calls her love for the Motherland "Strange"?

16. "The Son for Father does not respond" (A.Varovovsky "By the right of memory")

17. What is the essence of poetry? (by creativity B.Pasternak)

18. "And the smoke of the Fatherland of us is sweet and pleasant" (by comedy A. Griboyedov "Mount from the mind")

19. "I sing My Fatherland, my republic!" (V. Mayakovsky)

20. What is the nature in the lyrics of S. Yesenin?

21. "Announced me, if the word" honor "is forgotten ..." (V. Vysotsky)

22. Spore generations in literature and life

23. To love - it means to sacrifice themselves (according to the works of A. Kuprina, I. Bunin)

24. Literature straightens the soul?

25. The classic is outdated?

26. Search problem life path in literature and in life

27. People of Independence

28. What should Kazakhstan be expected from Expo 2017?

29. What is the power of maternal love?

30. The profession of my dream

31. Children's and adult worldview: general and different

32. My reflections on the threshold of adult life

33. What is the task of art: soothe person or disturbing him?

34. Can the victory become defeat?

35. Why is labor need for every person?

36. Good or bad to be an egoist?

37. My family is my support

38. Luxury corrosive man's soul?

39. How can the beauty of nature affect a person?

40. Do I need to destroy to build a new one?

41. My contemporary ... What is he?

42. Being on Earth Man

43. Future for professionals

44. The world is bored for boring people

45. Can television replace the book?

46. \u200b\u200bMy life principle

47. Do wealth and poverty affect morality?

48. Man in the vortex of historical events

49. Is it easy to be young?

50. What are the values \u200b\u200bof life?

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M. E. Saltykov-Shchedrin wrote: "... What can be said about everyone in general works of Turgenev? Was that after reading them easily breathing, it is easy to believe, heat is felt? What do you feel clear how the moral level rises in you, what are you mentally bless and love the author? .. This is exactly the impression that these transparent seems to be woven out of air images, this is the beginning of love and light, in any row beating a living key. .. "These words, how can not be suitable, when we talk about the hero of Roman I.S. Turgenev "Fathers and Children" Evgenia Bazarov.

The difficult domestic process of the knowledge of this love forces the Bazarov in a new way to feel the nature.

Turgenev shows that love broke the Bazarov, knocked him out of the rut, in the last chapters of the novel, he is no longer the one at the beginning. Unhappy love leads Bazarov to a severe spiritual crisis, everything falls from his hands, and his infection itself seems non-random: man in the depressed mental state It becomes careless. But the bazaarov did not refuse to fight with their pain and did not humiliate before the one, he sought to overcome despair in himself and was angry with his pain.

The origins of the tragedy of love Bazarov - in the character of a single, rampant lady, an aristocrat, who is not able to respond to the feeling of the hero, robing and passing in front of him. But Odenty wants and cannot love Bazarov not only because it is an aristocrat, but also because this democrat loved, does not want love, it is afraid of her and runs away from her. The "incomprehensible fright" embraced Odintsov at the time of the love of the Bazarov. And bazaars "chuckled; All the body apparently trembled. But it was not the fluttering of youthful timidity, not the sweet horror of the first recognition mastered them; This passion fought in it, strong and heavy - a passion like a malice and maybe akin to her. " The element of a cruelly depressed feeling broke into a hero with a destructive force toward this feeling.

So, it is possible to answer the question in different ways how successfully the hero of the "test of love" passed. On the one hand, that spiritual crisis that occurred in the consciousness of the Bazarov, speaks of the inferiority and instability of his ideological position, on the hero's uncertainty in his own right. On the other hand, in love Bararov turned out to be much stronger and sincere than the other heroes of the novel. The power of love and romanticism of the hero was as follows that he destroyed morally and physically he himself led to death.

Words.

Uniqueness of Civil Lyrics N. A. Nekrasov

The peculiarity of Nekrasov as a lyrical poet is his citizenship, nationality, depth and diversity of feelings. In his poems, and genuine lyrism, and sadness, and good-natured humor, and sarcasm, and despondency, and the joy of life ("green noise"), and pity, and compassion for the severe fate of the poor, and calls for the fight, and faith in the coming truth truth. And all this can be embraced by two words: "noble heart." Reflecting on the people and about her fate, the poet often executed himself for the fact that, in his opinion, he did too little that was inconsistent in the fight. So the repeated poems appeared: "I am deeply despised ...", "Muza", "the holiday of life - youth years ...", "silence, muse and sorrows", "My poems! Witnesses lively ... ", I will die soon! Patal inheritance ..." And others.

The question of the lyrical hero of Nekrasov poetry is complicated and controversial. Some literary critics believe that Nekrasov had a single lyrical hero dispenser. Others (for example, N. N. Skatov) prove that there is no such hero, but there is a "multiplicity of votes and consciousnesses." Whatever it was, in all poems of Nekrasov, his personality is present, his voice hears, which we do not confuse with any other. His popular expression: "Poet you can not be, but a citizen must" - know everyone. It is a changed and updated formulation of Ryleeva: "I am not a poet, but a citizen."

Poetry Nekrasova is the poetry of confession, sermons and repentance. Moreover, these three feelings, three moods merge in it inextricably, and often cannot be said what kind of feeling is prevalent. For example, in the "poet and citizen" - and confession, and repentance, and sermon. But there are works, where it is primarily a feeling and mood. Indeptly confessional poems are the poems of love: "You are always good incomparably," "I don't like the irony of your", "about the letter of a woman, we are cute! ..".

In all these works, either in the foreground, or as the background there is a way of birth, challenging, but filled with secret powerful forces. The form of the dialogue helps Nekrasov clarify the value of poetry in the poet and citizen's poem. The thoughts of the author are embedded not only in the mouth of the poet, but mainly in the statements of a citizen. The words of the poet are waiting for the Motherland, the people, the coming storm. At this time, the decent son "is obliged to be", for "he, as his own, wears all the ulcers of their homeland on the body ...".

Words.

My favorite poet

Anna Akhmatova ... Most recently, I first read her poems, read in them. From the first rows, the fascinating music of her lyrics fascinated me. I touched the spiritual world that reflected her poems. And I realized that Anna Akhmatova was an outstanding man with a big soul. She was extremely true for himself, although he was badly bad, it was bad, hurt, bitterly. She lived a hard life, complete deprivation, tests and bitterness of disappointments.

Anna Akhmatova loved life. She loved his homeland - Russia, was ready to give everything for the time that the cloud was in the glory of the rays over the dark Russia. "
Everything was significantly in it - and the appearance, and the spiritual world. She devoted most of his creativity with a clean, beautiful and at the same time to the painful feeling of love. And a lot about it is written with inexpressible deep sadness, longing, fatigue;
Heart to heart is not riveted,
If you want - go away.
Many happiness is prepared
Those who are waved on the way ...
These verses do not confuse with others. They are not like anyone, unique poetry Ahmatova is deeply responding in the heart. And at the same time, the poetry of Akhmatova Sunny, simple and free. She lived great earthly love and sang about it, and this was the meaning of her life, her natural state. All his life, Anna Andreevna shared the treasures of his soul with the world, who did not always understand her and often simply rejected. She suffered a lot. Often "fell" from the top of poetry down and again got up uncompressed thanks to the desire to live and love. She was not chased by glory.
The poet must be sincere, and, perhaps, it is its truthfulness attracts me to Akhmatova poetry:

From what ruins speak,
From what I cried the collapse,
As in Negarenny lime grief
Under the villages of the stench basement.
I read Ahmatov as a revelation of the human soul, referring to your example the lives of those people that inclined the heads before her song, in front of the majestic music of truth, love, confidence. I am grateful to Anna Akhmatova for giving me a miracle meeting with man and poet. For her poems, reading who you start thinking about things, I just do not noticeable. I say thank you for leaving an indelible track in my soul.

Bazarov is idols. Natural scientific knowledge. In passability it seems to him that with natural Sciences You can easily resolve all issues relating to complex problems of social life, art, philosophy. But Turgenev, who knew the works of German naturalists, idols of revolutionary sixties, first-hand, personally acquainted with Karl Fogt, draws attention not only to the strong, but also on the weaknesses of the vulgar materialism of Foge, Wühechner and Molott. So, the gross mistake of vulgar materialists was a simplified idea of \u200b\u200bthe nature of human consciousness, about the essence mental processeswhich boiled down to elementary, physiological.

We draw attention as, from the point of view of Bazarov, art is a painful perversion, nonsense. The romantic nonsense believes the bazaars and spiritual refinement of a love feeling: "No, brother, all this is licensed and emptiness ... This is all romanticism, nonsense, rot, art," he says Arkady. The story of Love Pavel Petrovich to Princess R. is introduced into the novel not as a plug-in episode. He is in the novel as a warning of arrogant Bazarov. Bazarov is easily selected with all the mysteries of being.

No love, but there is only physiological attraction, there is no beauty in nature, but there is only an eternal cycle of chemical processes. He envies the ant, which in the insect has the right to "not recognize the feeling of compassion, not the fact that our brother, chamed." But besides the truth of physiological laws, there is a truth of human, spiritualized naturalness. And a person should reckon with the fact that nature is on higher Levels - "Temple", not just the "workshop". Yes, and the tendency of the same Nikolai Petrovich to dreaminess - not rot and not nonsense. Dreams are not a simple fun, but natural need a person, one of the manifestations of the creative strength of his spirit.

With the thirteenth chapter in the novel, the turn is agreed: irreconcilable contradictions are found with all the sharpness in the nature of the main character. The conflict of works from the external (bazaars and Pavel Petrovich) is translated into the inner plan ("Fatal Fight") in the soul of Bazarov.

Anna Sergeyevna Odintova is the culprit of these changes. Love for Odintova is the beginning of the tragic retribution of arrogant Bazarov: she splits his soul into two halves.

From now on, two people live in it. One of them is a convinced enemy of romantic feelings, the negative of the spiritual nature of love. Another - passionately and spiritualized a loving person who collided with the true sacrament of this high feeling of the expensive His mind "natural science" convictions turn into the principle that he, the negative of all kinds of principles, now serves, secretly feeling that the service is this blind, that life turned out to be more difficult What do they know "physiologists".

Typically, the origins of the tragedy of Bazarovsk love are searched for in the character of the one-sized, ramp baryni, aristocrats; It is not able to respond to the feeling of Bazarov, robing and pets in front of him. But Odenty wants and can not love Bazarov not only because it is an aristocrat, but also because this democrat loved, does not want love and runs away from her. Interestingly, in the matter of love, the path of Bazarov and Pavel Petrovich once intersect.

This is due to their attitude to Fencake. Pavel Petrovich attracts democratic immediacy in Fencake: he chips in the emptiness of his aristocratic intellectualism. But the love of him to Fenzheka is too extended and inclusive: "So cold and emphasizes you," the heroine of Duny is complaining about his "passionate" views. Bazaarov is looking for a life confirmation in Fenushek to his loan for love as a simple and clear sensual attraction. But this "simplicity" turns out to be worse than theft: it deeply insults the baubles, and the moral ukore, sincere and genuine, hears from her mouth. Love lessons led by difficult consequences in the fate of Bazarov. They led to the crisis of its one-sided, vulgar materialistic life.

Two abyss opened before the hero: one mystery of his own soul, which was deeper and impossible, than he intended; Another is a mystery of the world who surrounds it. The tragedy of the situation of Bazarov is even more aggravated under the shell of the parental house. The gloomy, closed, the chiller hero is opposed to the great power of selfless parental love.

Bazarov wants to escape from this world of love and harmony, strive to escape from himself, but it does not succeed. Turgenev once again holds Bazarov for the circle, on which he has already passed in the first part of the novel: Marino, Nikolskoye, parental house. But now we will not recognize the former Bazarov: His disputes will fade, burns unhappy love. The second round of life wanderings Hero accompany the last breaks; With the family of Kirsanov, with Fuenus, with Arkady and Katya, with one and finally, the fatal for bazarov is a gap with a man. Expensive to the bazaareas underlined neglect of the depth and seriousness of peasant life. Little indifference, indulgent irony replaces the jungle: "Well, set out my views on life, the brother: after all, they say, all the power and futureness of Russia, will begin a new era in history ..." he turns to the peasant.

The hero does not suspect that in the eyes of the man he is not only Barin, but also something like the "jester of pea". The inevitable blow of fate is read in the final episode of the novel: there is something symbolic in the fact that the "anatom" and "physiologist" of Russian life ruffles himself when opening a man's corpse. Medicine turns out to be unable to help Bazarov in a tragic moment, leaving Bazarov alone with himself.

And here they come to the hero on the help of power, once denying, but stored at the bottom of his soul. The dying bazaars is simple and humane: there was a need to hide their "romanticism".

Bazarov dies amazing. He thinks not about himself, but about his parents, preparing them to a terrible end. Almost in Pushkinski says goodbye to the hero with the beloved, and he says the poet's language: "Dunge on the dying lamp, and let it go out." Love for a woman, the love of his father to his father and mother merge into the minds of the dying Bazarov with love of their homeland, to the mysterious Russia, the remaining not to the end of the solid secret for Bazarov. Turgenev a lot in Russian nihilism predicted.

He showed that the power of anger, contempt and destruction could lead to what consequences can lead if it takes nihilistic forms.

I. Repeat theoretical information.

1. What is the work on the work of the discussion begins?

(With a logical analysis of the formulation of the theme.)

2. What types of wording themes do we know?

(Theme-concept, theme-question, theme judgment.)

3. Determine what is the difference in the formulation of themes.

1) Why is the play by A.N. Oostrovsky "Thunderstorm" carries such a name?

2) the main conflict of Drama A.N.ostrovsky "Thunderstorm".

3) "cruel morals" of the city of Kalina in Drama A.N.ostrovsky "Thunderstorm".

4. What is the procedure for working on the main part of the discourse? (Put forward the thesis, choose the evidence, deploy them on the text.)

5. What types of entry do we know?

(Factual, analytical, terminological.)

6. What are the types of conclusions.

(Conclusion-conclusion, conclusion, consequence.)

II. The message of theoretical material on the subject of the lesson.

The essay can be built as reasoning-proof,

Is there a novel by I.S. Romegenev's statements of Bazarov, which you would like to refute?

For example: according to Bazarov, love - "Romanticism, Chepukha, Rota, Art, Belibard ..."

How can I construct reflection-refutation?

Such reflection can be built in two schemes:

1. Discover the thesis.

1) push the antithesis.

2) Choose arguments.

4) Make a conclusion about the possession of the thesis.

1) Formulate a consequence arising from this thesis.

2) Select the refutation arguments.

3) Expand every argument on the text.

4) Make a conclusion about the falsity of the investigation and thesis.

III. Practical work.

Is the right to the bazaarov, arguing that love is "unforgivable fooling, Belibard"?

1. Antithesis: love-sense of selfless heart attachment. Love is inspiration, love is the state of the soul, illuminating radiant light surrounding man peace. Love is creatoring, she wins, she is ready for self-sacrifice for the sake of Mother, friend, beloved, homeland. "Love is stronger than death and fear of death. Only she, only love holds and moves life "(I.S. Turgenev)

Love is the happiness that is lasting even for a moment.

Arguments:

1) From 13 chapters in the novel "Fathers and Children" shows a turn: the conflict of works from the external (bazaars and Pavel Petrovich) is translated into the inner plan ("Fatal Food" in the soul of Bazarov).

Bazarov throughout the novel hides their disturbing, loving, riotheating heart in nihilism. Hidden love for parents lives in it, keeps him on Earth.

2) In the bazaareas steel has sharply appeal the features of "Harehouses"

after acquaintance with Anna Sergeyevna Odentova.

"That's time! Baba frightened! " - I thought the bazaars and spoke

"Exaggerated is unleashed." Love for Odintova - Beginning

tragic retribution of arrogant Bazarov: She splits

hero's soul into two halves.

Contradictions are obvious: two people now live in it and

act. One - romantic, the other - man denying

love. Discarded love and the influence of nature on a sense of man

Bazarov, enthusiastic, not wanting, protesting

against the new anxious state of the soul, suddenly felt in herself

metamorphosis.

Turgenev - Master of Psychological Analysis and Landscape

sketches: "Dark, soft night looked into the room ..."

It is through the perception of Bazarov Turgenev showed

"Irritable freshness of the night." It is Bazarova

"Her mysterious whispering was heard."

3) and here the bazaars, it is strange to even think, explains in love,

sincere, strong and passionate:

"So know that I love you, stupid, madly ..." "He chuckled, his whole body apparently trembled ... This passion was fighting in him, strong and hard - a passion like an angry and, perhaps, akin to her ..."

4) Bazarov is experiencing tenderness and timidity in front of beauty

Odached.

Conclusion: So, in the final in last time The love of Bazarov flames with a bright flame to fill forever.

The dying bazaars is simple and humane: there was a need to hide its "romanticism". Almost in Pushkinsky, the language of the poet says goodbye to his beloved woman: "Dunge on a dying lamp, and let it go out."

Love for a woman, the love of his son to his father and mother merge into the consciousness of the dying Bazarov with love for mysterious Russia. Life itself gave refutation by the apparent gazes of the main character, and it was for him

The discovery was so approved by the principle, in whose name he wanted to speak with his "romanticism." Consequently, love can not be denyed, and the author himself, showing the contradiction of the hero, conducted it through the "test of love."

2. Establishing the falsity of the investigation.

Corollary: Suppose Bazaarov denies love, considering it

"Belibard". Then why he so passionately and sincerely loved

Odintsova?

Arguments of refutation.

1) First look at Odintsova Bazarov was cynical: "Set

Rich body! Said - the first grade. " But, having lived a few days in the estate of Anna Sergeyevna, Bazarov began to notice any alarming in himself, "I easily annoyed, I looked angrily ..."

2) "You like a woman," said Bazarov, - Try to achieve

sense; And it is impossible - well, do not, turn away - the earth is not a wedge

communted. " But, communicating with one, he felt a feeling that

his "tormented and shallo", from which he would refuse cynical

branju, if someone hinted him that he was

happened.

3) "Something else in it was settled that he outstanding all his pride," -

writes Turgenev. Himself he tried to show his indifferent

contempt for all romantic, remaining alone, "he with

remarking was aware of Romance in Himself. "

4) The natural sense of love captured the entire being of the Bazarov: he is in

i dreamed now, wondering this, about meeting their eyes, and about

dulp against excess feelings overflowing it.

5) we see like bazaars, this strong, valve personality, not stood

before the romantic of the mysterious in the night. And so the consequence of this is a recognition in love. Like a boy, bazaars, choking, said: "I love you, stupid, insanely ..."

6) the charm of nature, women's love, sometime denied

Bazarov, help him in the last test: they give him

sitness of the Spirit: Without thinking about yourself, he prepares his parents to

a terrible end, he speaks the poet's favorite language: "Duny on

dying lamp, and let it go out. "

Conclusion: Consequently, love is the natural state of the human soul. According to Turgenev, "love is stronger than death and fear of death," it means that love cannot be denyed, as Bazarov did.

Already the first acquaintance with Bazarov convinces: in his soul there are feelings that the hero hides from others. Very and very not very seemingly self-confident and sharp Turgenev dispenser. Anxious and vulnerable heart beats in his chest. The extreme sharpness of his attacks on poetry, for love, for philosophy makes it doubt in full sincerity of denial. There is some duality in the behavior of Bazarov, which will go into dun and the head in the second part of the novel. In Bazareas, the heroes of Dostoevsky with their typical complexes are premeditated: anger and fierce as a form of manifestation of love, as a controversy with good, descendingably living in the soul of the negative. In the soul of the hero potentially present a lot from the fact that he denies: and the ability to love, and "romanticism", and the national beginning, and a family feeling, and the ability to appreciate beauty and poetry. It is not by chance that Dostoevsky highly appreciated the Roman Turgenev and the tragic figure of the "Restless and Toscant Bazarov (a sign of the Great Heart), despite all his nihilism." But not quite sincere with himself and the Bazarov antagonist, Pavel Petrovich. In fact, he is far from the self-confident aristocrat, which is playing out of himself in front of the bazaarov. The aristocratic manners of Pavel Petrovich are emphasized by internal weakness, the secret consciousness of its inferiority, in which Pavel Petrovich, of course, is afraid to admit even to himself. But we know His secret, his love is not to the mysterious princess R., but to the cute appendix - Fenochka.
So flashing between rivals mutual social hostility immeasurably aggravates the destructive sides of Kirsanovsky conservatism and Barazar nihilism.
At the same time, Turgenev shows that the Bazarovsky denial has democratic origins, feeds on the spirit of popular discontent. Not by chance in a letter to Sluchevsky, the author indicated that in the face of Bazarov, he dreamed of some strange with Pugachev. " The nature of the Bazarov in the novel clarifies the wide panorama of provincial life, deployed in the first chapters: stretched relations between gentlemen and servants; "Farm" Brothers of the Kirsanov, ninnable in the people "Host Farm"; Gulp peasants in Toulups of the Nakasku; Symbolic picture of a century-old leaving: "Small forests, rivers with overclocking shores, tiny ponds with thin dams, villages with low eaves under dark, up to half the roofs laid down, crushed threshing sheds with yawning boots near empty Gumen," churches, then brick, With a falling off in some plaster, then wooden, with leaning crosses and ruined cemeteries ... " As if the spontaneous force flashed like a tornado over this god left the edge, not sporming anything, right up to churches and graves, leaving after himself only a deaf grief, launching and destroying.
The reader is represented by the world on the verge of social catastrophe; Against the background of restless sea people's Life And the figure of Eugene Bazarov appears in the novel. This democratic, peasant background enlightens the character of the hero, gives him an epic monumentality, connects his nihilism with nationwide discontent, with the social disadvantage of all Russia. In the Bazarovsk warehouse of mind, the typical sides of Russian folk nature are manifested: for example, a tendency to a sharp critical self-esteem. Bazarov holds in his strengths and the "Bogatyan Palce" - the natural science knowledge that he is idle, is a reliable weapon in the fight against idealistic philosophy, religion and based on them the official ideology of the Russian autocracy, a healthy antidote of both the Bark dreaminess and the peasant superstition. In passability it seems to him that with the help of natural sciences you can easily resolve all issues relating to complex problems of social life, art, philosophy.
But Turgenev, who knew the works of German naturalists, idols of revolutionary sixties, first-hand, personally acquainted with Karl Foght, draws attention not only to the strong, but also on the weaknesses of the vulgar materialism of the Foge, Buchner and Moishott. He feels that the non-critical attitude towards them can entail a far-reaching negative results. The gross mistake of vulgar materialists was a simplified idea of \u200b\u200bthe nature of human consciousness, the essence of the psychic processes, which were reduced to elementary, physiological. Let's notify that art, from the point of view of Bazarov, is a painful perversion, nonsense, romanticism, rot, that the hero despises Kirsanov not only for the fact that they are "Barchuki", but for the fact that they are "old people", "People are retired "," Their Spet Song. " He and his parents are suitable with the same measure. All this is the result of a narrow-monologous view of a person's nature, a consequence of biologization of social and spiritual phenomena, which resulted in erasing qualitative differences between the physiology and social psychology. Following the wave, Russian democrats argued that in the process of aging a person, his brain is depleted and mental abilities become infallible. Respect for the life experience and wisdom of "fathers", in centuries The formation of a sense of paternity was thus the iodine doubt.
Romantic nonsense believes bazaars and spiritual refinement of a love feeling: "No, brother, all this is licensed and emptiness! .. We, physiologists, know what kind of relationships. You will shatter the anatomy of the eye: where does it come from here, as you say, mysterious look. This is all romanticism, nonsense, rot, art. " The story of Love Pavel Petrovich to Princess R. is introduced into the novel not as a plug-in episode. He is in the novel as a warning of arrogant Bazarov.
The big flaw is noting in the Bazarovsk aphorism "Nature is not a temple, but a workshop." The truth is active, the master's relation to nature turns into a blatant one-sidedness, when the laws acting on the lower natural levels are absolutely absolutely and turned into a universal launder, with which the bazaars are easily selected with all the mysteries of being. No love, but there is only a physiological attraction, there is no beauty in nature, but there is only an eternal cycle of the chemical processes of a single substance. Discarding romantic attitude towards nature as a temple, bazaarov enters slavery to the lower natural forces of the natural "workshop". He envies the ant, who has the right to "not recognize the feeling of compassion, not the fact that our brother, chamed." In a bitter minute of life, even a sense of compassionage of bazaars is inclined to be considered weak, denied by natural laws of nature.
But besides the truth of physiological laws, there is a truth of human, spiritualized naturalness. And if a person wants to be an "employee", he must reckon with the fact that nature at the highest levels is "Temple", and not just the "workshop". Yes, and the tendency of the same Nikolai Petrovich to dreaminess - not rot and not nonsense. Dreams - not a simple fun, and the natural need of a person, one of the powerful manifestations of the creative strength of his spirit. Isn't it amazing the natural strength of the memory of Nikolai Petrovich when he resurrect the past at the privacy hours?

Is not worthy of admiration amazing in its beauty picture of the summer evening, which this hero admire?
So the mighty forces of beauty and harmony, artistic fantasy, love, art stand up on the path of Bazarov. Against "Stoff Und Kraft" Buchner - Pushkinsky "Gypsies" with their warning aphorism: "And everywhere passion the fatal. And there is no protection of the protection "; Against the landed look at love - the romantic feelings of Pavel Petrovich; Against the disregard of art, dreaminess, the beauty of nature - meditation and dreams of Nikolai Petrovich. Bazarov laughs above all ethics. But "what you wake up, that will serve," the bitter bowl of this vital wisdom is destined to eat to the bottom.
With the thirteenth chapter in the novel, the turn is brewing: irreconcilable contradictions are found with all the sharpness in the character of the hero. The conflict of works from the external (bazaars and Pavel Petrovich) is translated into the inner plan ("Fatal Food" in the soul of Bazarov). These changes in the plot of the novel are preceded by parody-satirical chapters, where the vulgar provincial "aristocrats" and provincial "nihilists" are depicted. Comic decline is a permanent satellite of the tragic genre, starting with Shakespeare. Parodynaya characters, having shared its lowland the significance of the characters of two antagonists, grotescanly sharpen, bring to the limit and those contradictions that are in a hidden form inherent in central heroes. From the comedy "bottom", the reader becomes better than a tragedy height and the internal contradiction of the paroded phenomenon.
It is not by chance that it is after acquaintance with Sitnikov and Kukshina in the bazaareas itself, it is rarely encroaching the features of bloodshotship. Anna Sergeyevna Odintova is the culprit of these changes. "That's time! Baba frightened! "I thought the bazaars and, broke in the chair not worse than Sitnikov, spoke exaggeratedly unclosed." Love for Odintova is the beginning of the tragic retribution of arrogant Bazarov: she splits his soul into two halves. From now on, two people live in it. One of them is a convinced enemy of romantic feelings, the negative of the spiritual nature of love. Another - passionately and inspired by a loving person who collided with the true sacrament of this high feeling: "He would easily have a blood with his blood, but something else was set in him, which he did not allow him, what he always drowned, which was outraged all his pride " His dear mind "Natural scientific" beliefs turn into the principle that he, the negative of all kinds of principles, now serves, secretly feeling that the service is this blind that life turned out to be more difficult than what "physiologists" know about it.