Bazarov Quotes

Anna Sergeyevna looked at Bazarov. A bitter smile played over his pale features. "This man loved me!" she thought - and she felt sorry for him and held out her hand to him in sympathy. But he understood her. "No!" he said and took a step backwards. "I'm a poor man but I've never yet taken charity. Goodbye and good luck.

Yes" Bazarov began, "man's a strange being. When you look at a quiet, dull life, like my good parents' life here, cursorily or from a distance, you think - what could be better? Eat, drink and know you're acting in the most correct, sensible way. But that's not how it is. Boredom descends. You want to engage with people, even if just to shout at them, but still engage with them.

Those were Anna Sergeyevna's words, and those were Bazarovs; both thought they spoke the truth. Did their words hold the truth, the whole truth? They didn't know it themselves, much less does the author. But their conversation went as if they completely believed one another.

Fathers and Sons Arkaday watching Katya's face as she accepts his marriage proposal: Anyone who has never seen such tears in the eyes of a beloved one cannot fathom to what extent, all overcome with gratitude and shame, a human being can be happy on earth. Bazarov on his death bed: I am done for. I've fallen under the wheel. And it transpires that there was no point in thinking about the future. It's an old story, is death, but to every man it comes anew.

Oh, Arkady, do me a favour, do let us for once have a really good quarrel - no holds barred, to the death." "But if we do, it'll end in..." "Blows?" Bazarov continued. "What if it does? Here, in the hay, in these idyllic surroundings, far from the world and the eyes of men - it doesn't matter. But you won't beat me. I'm going to take you now by the throat...

We’ll meet again, won’t we?’ ‘As you wish,’ answered Bazarov. ‘In that case we will.

On Turgenev: He knew from Lavrov that I was an enthusiastic admirer of his writings; and one day, as we were returning in a carriage from a visit to Antokolsky's studio, he asked me what I thought of Bazarov. I frankly replied, 'Bazaraov is an admirable painting of the nihilist, but one feels that you did not love him as mush as you did your other heroes.' 'On the contrary, I loved him, intensely loved him,' Turgenev replied, with an unexpected vigor. 'When we get home I will show you my diary, in which I have noted how I wept when I had ended the novel with Bazarov's death.' Turgenev certainly loved the intellectual aspect of Bazarov. He so identified himself with the nihilist philosophy of his hero that he even kept a diary in his name, appreciating the current events from Bazarov's point of view. But I think that he admired him more than he loved him. In a brilliant lecture on Hamlet and Don Quixote, he divided the history makers of mankind into two classes, represented by one or the other of these characters. 'Analysis first of all, and then egotism, and therefore no faith,--an egotist cannot even believe in himself:' so he characterized Hamlet. 'Therefore he is a skeptic, and never will achieve anything; while Don Quixote, who fights against windmills, and takes a barber's plate for the magic helmet of Mambrino (who of us has never made the same mistake?), is a leader of the masses, because the masses always follow those who, taking no heed of the sarcasms of the majority, or even of persecutions, march straight forward, keeping their eyes fixed upon a goal which is seen, perhaps, by no one but themselves. They search, they fall, but they rise again and find it,--and by right, too. Yet, although Hamlet is a skeptic, and disbelieves in Good, he does not disbelieve in Evil. He hates it; Evil and Deceit are his enemies; and his skepticism is not indifferentism, but only negation and doubt, which finally consume his will.' These thought of Turgenev give, I think, the true key for understanding his relations to his heroes. He himself and several of his best friends belonged more or less to the Hamlets. He loved Hamlet, and admired Don Quixote. So he admired also Bazarov. He represented his superiority admirably well, he understood the tragic character of his isolated position, but he could not surround him with that tender, poetical love which he bestowed as on a sick friend, when his heroes approached the Hamlet type. It would have been out of place.

It's actually not true that our literary culture is nihilistic, at least not in the radical sense of Turgenev's Bazarov. For there are certain tendencies we believe are bad, qualities we hate and fear. Among these are sentimentality, naivete, archaism, fanaticism. It would probably be better to call our own art's culture now one of congenital skepticism. Our intelligentsia distrust strong belief, open conviction. Material passion is one thing, but idealogical passion disgusts us on some deep level. We believe that ideology is now the province of the rival SIGs and PACs all trying to get their slice of the big green pie...and, looking around us, we see that indeed it is so. But Frank's Dostoevsky would point out (or more like hop up and down and shake his fist and fly at us and shout) that if this is so, it's at least partly because we have abandoned the field. That we've abandoned it to fundamentalists whose pitiless rigidity and eagerness to judge show that they're clueless about the "Christian values" they would impose on others.

Bazarov'un yüzüne baktı Odintsova. Solgun yüzünde acı bir gülümseme dolaşıyordu. Anna Sergeyevna "Seviyor beni bu adam!" diye geçirdi içinden. Acıdı Bazarov'a, içten bir tavırla elini uzattı ona. Anna Sergeyevna'nın içinden geçeni anlamıştı Bazarov. Bir adım geri çekilip, - Hayır! dedi. Yoksul biriyim ben, ama şimdiye kadar hiç sadaka kabul etmedim. Hoşça kalınız efendim ve sağlıcakla kalınız.

The city kept reminding me of Russia—the cars of the secret police bristling with aerials; women with splayed haunches licking ice-cream in dusty parks; the same bullying statues, the pie-crust architecture, the same avenues that were not quite straight, giving the illusion of endless space and leading out into nowhere. Tsarist rather than Soviet Russia. Bazarov could be an Argentine character, The Cherry Orchard is an Argentine situation. The Russia of greedy kulaks, corrupt officials, imported groceries and landowners asquint to Europe. I said as much to a friend. ‘Lots of people say that,’ he said. ‘Last year an old White émigrée came to our place in the country. She got terrifically excited and asked to see every room. We went up to the attics and she said: “Ah! I knew it! The smell of my childhood!

What now? We need to find out whether we’re capable of the sort of total reconsideration of our entire history that the Germans and Japanese carried out after the war. Do we have enough intellectual courage? People hardly talk about this. They talk about the market, about vouchers, about checks. Once again, we’re just barely surviving. All our energy is directed toward that. But our souls have been abandoned. So what is all this for? This book you’re writing? The nights when I don’t sleep? If our life is just a flick of the match? There might be a few answers to this. It’s a primitive sort of fatalism. And there might be great answers to it, too. The Russian always needs to believe in something: in the railroad, in the frog [as does Bazarov in Turgenevs Fathers and Sons], in Byzantium, in the atom. And now, in the market. Bulgakov writes in A Cabal of Hypocrites: “I’ve sinned my whole life. I was an actor.” This is a consciousness of the sinfulness of art, of the amoral nature oflooking into another person’s life. But maybe, like a small bit of disease, this could serve as inoculation against someone else's mistakes. Chernobyl is a theme worthy of Dostoevsky, an attempt to justify mankind. Or maybe the moral is simpler than that: You should come into this world on your tiptoes, and stop at the entrance? Into this miraculous world . . . Aleksandr Revalskiy, historian