What was the true cause of Bazarov’s death. Essay “Why did Bazarov die at the end of the novel?”
Trial by death. Bazarov will also have to go through this last test in parallel with his antagonist. Despite the successful outcome of the duel, Pavel Petrovich died spiritually long ago. Parting with Fenechka severed the last thread that tied him to life: “Illuminated by bright daylight, his beautiful, emaciated head lay on a white pillow, like the head of a dead man... Yes, he was a dead man.” His opponent also passes away.
There are surprisingly persistent references in the novel to an epidemic that spares no one and from which there is no escape. We learn that Fenechka’s mother, Arina, “died of cholera.” Immediately upon Arkady and Bazarov’s arrival at the Kirsanov estate, “they attacked better days year”, “the weather was beautiful”. “True, cholera threatened again from afar,” the author says meaningfully, “but the residents of the ***…province managed to get used to its visits.” This time cholera “pulled out” two peasants from Maryino. The landowner himself was in danger - “Pavel Petrovich suffered a rather severe seizure.” And again the news does not amaze, does not frighten, does not alarm Bazarov. The only thing that hurts him as a doctor is the refusal to help: “Why didn’t he send for him?” Even when his own father wants to tell “a curious episode of the plague in Bessarabia,” Bazarov decisively interrupts the old man. The hero behaves as if cholera poses no danger to him alone. Meanwhile, epidemics have always been considered not only the greatest of earthly misfortunes, but also an expression of God's will. The favorite fable of Turgenev’s favorite fabulist Krylov begins with the words: “The fiercest scourge of heaven, nature’s horror - pestilence rages in the forests.” But Bazarov is convinced that he is building his own destiny.
“Every person has his own destiny! - the writer thought. - Just as clouds are first composed of the vapors of the earth, rise from its depths, then separate, become alienated from it and finally bring grace or death to it, so a cloud is formed around each of us.<…>a type of element that then has a destructive or salutary effect on us<…>. To put it simply: everyone makes their own destiny and it makes everyone…” Bazarov understood that he was created for the “bitter, tart, bogly” life of a public figure, perhaps a revolutionary agitator. He accepted this as his calling: “I want to tinker with people, even scold them, and tinker with them,” “Give us others!” We need to break others!” But what to do now, when previous ideas have been rightly questioned, and science has not answered all the questions? What to teach, where to call?
In “Rudin”, the insightful Lezhnev noticed which idol most likely “acts on young people”: “Give them conclusions, results, even if they are incorrect, but results!<…>Try to tell the youth that you cannot give them the full truth because you do not have it yourself.<…>, young people won’t even listen to you...>. It is necessary that you yourself<…>believed that you had the truth...” And Bazarov no longer believes. He tried to find the truth in a conversation with the man, but nothing happened. Too condescendingly, lordly and arrogantly, the nihilist turns to the people with a request to “explain their views on life.” And the man plays along with the master, appearing to be a stupid, submissive idiot. It turns out that it’s not worth sacrificing your life for this. Only in a conversation with a friend does the peasant relieve his soul, discussing the “clown of a pea”: “It is known, master; does he really understand?
What remains is work. Helping my father with a tiny estate consisting of several peasant souls. One can imagine how small and insignificant all this must seem to him. Bazarov makes a mistake, also small and insignificant - he forgets to cauterize the cut on his finger. A wound received from dissecting the decomposing corpse of a man. “A democrat to the core,” Bazarov intervened in the lives of the people boldly and self-confidently<…>, which turned against the “healer” himself. So can we say that Bazarov’s death was accidental?
“To die the way Bazarov died is the same as having accomplished a great feat,” noted D.I. Pisarev. One cannot but agree with this observation. The death of Evgeny Bazarov, in his bed, surrounded by relatives, is no less majestic and symbolic than the death of Rudin on the barricade. With complete human composure, briefly as a doctor, the hero states: “...My case is crappy. I’m infected, and in a few days you’ll be burying me...” I had to become convinced of my human vulnerability: “Yes, go and try to deny death. She denies you, and that’s it!” “It’s all the same: I won’t wag my tail,” declares Bazarov. Although “no one cares about this,” the hero cannot afford to sink - while “he has not yet lost his memory<…>; he was still struggling.”
The proximity of death for him does not mean abandoning his cherished ideas. Such as the atheistic rejection of God's existence. When the religious Vasily Ivanovich, “down on his knees,” begs his son to make confession and be cleansed of sins, he outwardly carefree replies: “There’s no need to rush yet...” He is afraid of offending his father with a direct refusal and only asks to postpone the ceremony: “After all, even the unconscious are given communion … I'll wait". “When he was unctioned,” says Turgenev, “when the holy myrrh touched his chest, one of his eyes opened and, it seemed, at the sight of the priest<…>, censer, candles<…>something similar to a shudder of horror was instantly reflected on the dead face.”
It seems like a paradox, but death in many ways frees Bazarov and encourages him to no longer hide his real feelings. Now he can simply and calmly express his love for his parents: “Who is crying there? …Mother? Will she feed anyone now with her amazing borscht?..” Affectionately teasing, he asks the grief-stricken Vasily Ivanovich to be a philosopher even in these circumstances. Now you can not hide your love for Anna Sergeevna, ask her to come and take his last breath. It turns out that you can let simple human feelings into your life, but at the same time not “fall apart”, but become spiritually stronger.
The dying Bazarov says romantic words, which expresses true feelings: “Blow on the dying lamp, and let it go out...” For the hero, this is an expression of only love experiences. But the author sees more in these words. It is worth recalling that such a comparison came to Rudin’s lips on the verge of death: “...It’s all over, and there is no oil in the lamp, and the lamp itself is broken, and the wick is about to finish smoking...” In Turgenev, a tragically cut short life is likened to a lamp, like in the old poem:
Burned like a midnight lamp before the shrine of goodness.
Bazarov, who is leaving his life, is hurt by the thought of his uselessness, uselessness: “I thought: I won’t die, no matter what! There is a task, because I am a giant!”, “Russia needs me... no, apparently I don’t!.. A shoemaker is needed, a tailor is needed, a butcher...” Likening him to Rudin, Turgenev recalls their common literary “ancestor,” the same selfless wanderer Don- Quixote. In his speech “Hamlet and Don Quixote” (1860), the author lists the “generic traits” of Don Quixote: “Don Quixote is an enthusiast, a servant of the idea, and therefore is surrounded by its radiance,” “He lives entirely outside himself, for his brothers, to exterminate evil, to counteract forces hostile to humanity.” It is easy to see that these qualities form the basis of Bazarov’s character. According to the largest, “quixotic” account, his life was not lived in vain. Let Don Quixotes seem funny. It is precisely this kind of people, according to the writer, who move humanity forward: “If they are gone, let the book of history be closed forever: there will be nothing to read in it.”
Bazarov's illness and death seemed to be caused by an absurd accident - a fatal infection that accidentally entered the blood. But in Turgenev’s works this cannot be accidental.
The wound itself is an accident, but there is also some pattern in it, since during this period Bazarov lost his balance in life and became less attentive and more absent-minded in his work.
There is also a pattern in the author’s position, since Bazarov, who always challenged nature in general and human nature (love) in particular, should have, according to Turgenev, been avenged by nature. The law here is harsh. Therefore, he dies, infected with bacteria - natural organisms. To put it simply, he dies from nature.
In addition, unlike Arkady, Bazarov was not suitable for “making a nest for himself.” He is alone in his beliefs and deprived of family potential. And this is a dead end for Turgenev.
And one more circumstance. Turgenev could sense the prematureness and uselessness of the Bazarovs for his contemporary Russia. If in the last pages of the novel Bazarov looked unhappy, then the reader would certainly feel sorry for him, but he deserves not pity, but respect. And it was in his death that he showed his best human traits, with the last phrase about the “dying lamp”, finally coloring his image not only with courage, but also with the bright romance that lived, as it turned out, in the soul of a seemingly cynical nihilist. This is ultimately the whole point of the novel.
By the way, if a hero dies, then it is not at all necessary that the author denies him something, punishes him for something, or takes revenge. Turgenev's best heroes always die, and because of this his works are colored with a bright, optimistic tragedy.
Epilogue of the novel.
An epilogue can be called the last chapter of the novel, which in a condensed form tells about the fate of the heroes after the death of Bazarov.
The future of the Kirsanovs turned out to be quite expected. The author writes especially sympathetically about the loneliness of Pavel Petrovich, as if the loss of his rival Bazarov had completely deprived him of the meaning of life, of the opportunity to apply his vitality to something.
The lines about Odintsova are significant. Turgenev with one phrase: “I married not out of love, but out of conviction” - completely debunks the heroine. And the last author’s characteristic looks simply sarcastically destructive: “...they will live, perhaps, to happiness... perhaps to love.” It is enough to understand Turgenev at least a little to guess that love and happiness are not “lived up to.”
The most Turgenev-esque is the last paragraph of the novel - the description of the cemetery where Bazarov is buried. The reader is left in no doubt that he is the best in the novel. To prove this, the author merged the departed hero with nature into a single harmonious whole, reconciled him with life, with his parents, with death, and still managed to talk about “the great calm of indifferent nature...”.
The novel “Fathers and Sons” in Russian criticism.
In accordance with the vectors of the struggle of social movements and literary views in the 60s, points of view on Turgenev’s novel were also built.
The most positive assessments of the novel and the main character were given by D.I. Pisarev, who had already left Sovremennik at that time. But negative criticism came from the depths of Sovremennik itself. Here an article by M. Antonovich “Asmodeus of our time” was published, which denied the social significance and artistic value of the novel, and Bazarov, called a chatterbox, a cynic and a glutton, was interpreted as a pathetic slander against the younger generation of democrats. N.A. Dobrolyubov had already died by this time, and N.G. Chernyshevsky was arrested, and Antonovich, who rather primitively accepted the principles of “real criticism,” accepted the original author’s plan for the final artistic result.
Oddly enough, the liberal and conservative part of society perceived the novel more deeply and fairly. Although there were some extreme judgments here too.
M. Katkov wrote in Russky Vestnik that “Fathers and Sons” is an anti-nihilistic novel, that the studies of “new people” in natural sciences are frivolous and idle, that nihilism is a social disease that needs to be treated by strengthening protective conservative principles.
The most artistically adequate and profound interpretation of the novel belongs to F.M. Dostoevsky and N. Strakhov - the magazine “Time”. Dostoevsky interpreted Bazarov as a “theorist” who was at odds with life, as a victim of his own dry and abstract theory, which crashed against life and brought suffering and torment (almost like Raskolnikov from his novel “Crime and Punishment”).
N. Strakhov noted that I.S. Turgenev “wrote a novel that is neither progressive nor retrograde, but, so to speak, eternal.” The critic saw that the author “stands for the eternal principles of human life,” and Bazarov, who “shuns life,” meanwhile “lives deeply and strongly.”
The point of view of Dostoevsky and Strakhov is fully consistent with the judgments of Turgenev himself in his article “About “Fathers and Sons,” where Bazarov is called a tragic person.
“To die the way Bazarov died is the same as having accomplished a great feat,” noted D.I. Pisarev. Can you agree with this statement? Of course you can. Let's try to prove the veracity of the words of the famous critic.
Why did Bazarov die? Main character cut his finger while opening the corpse of a typhoid man, and besides, Evgeniy was able to cauterize the wound four hours after the opening. Quite a long period of time... It is obvious that blood poisoning has occurred.
And Bazarov understood this very well. The Nihilist asked his father for a hellstone, showing very little hope of his salvation. But he was sure that he was infected. The hero's own remarks confirm my words. Bazarov says: “...and now, for real, the hellish stone is not needed. If I got infected, it’s too late now.”
It is worth comparing the reactions of father and son. Father, Vasily Ivanovich, understood all the terrible consequences of infection, but he did not want to accept the thought of Evgeniy’s inevitable death, trying to console himself with all sorts of hopes. For example, Vasily Ivanovich said to Bazarov: “God be with you! You caught a cold…". When Evgeniy showed his father the red spots, Vasily Ivanovich replied: “...But still, we will cure you! "
As for Bazarov himself, the situation is completely different. Evgeniy understood that sooner or later he would die. Unlike Vasily Ivanovich, the main character did not console himself with empty hopes and illusions and tried not to console his loved ones. So, for example, he told his father: “Old man... my business is crappy. I am infected, and in a few days you will bury me.” Analyzing these words of Bazarov, one can notice that Evgeny had no fear of death, he was ready to die, to give up his life, there was no excitement in him. The proof of my words are the following remarks of the hero: “Tomorrow or the day after tomorrow my brain... will resign,” “... I won’t wag my tail.” Dying, Bazarov remained true to himself and his convictions. For example, he agreed to receive communion, but only in a state of unconsciousness, when he would not be able to answer for his actions. Bazarov said: “...after all, even the unconscious are given communion.”
Bazarov was not afraid to die. But Evgeny was annoyed that he would die very early, without having done anything useful for Russia, for the people, for the public good. The hero said: “I didn’t expect to die so soon; This is an accident, very, to tell the truth, unpleasant...” He very much regretted that he had never been able to use all his powers for their intended purpose. “The strength, the strength... is still here, but we have to die,” said Bazarov. The hero had many plans for the future, but, alas, these plans will never come true... Evgeniy said with pity: “And I also thought: I’ll screw up a lot of things, I won’t die, no matter what!” There is a task, because I am a giant...”
Thus, I was able to prove that Bazarov’s death is a feat.
Updated: 2018-01-31
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Death of Bazarov
The main character of I. S. Turgenev’s novel “Fathers and Sons” - Evgeny Vasilyevich Bazarov - dies at the end of the work. Bazarov is the son of a poor district doctor, continuing the work of his father. Life position Evgeniy is that he denies everything: views on life, feelings of love, painting, literature and other forms of art. Bazarov is a nihilist.
At the beginning of the novel, a conflict occurs between Bazarov and the Kirsanov brothers, between the nihilist and the aristocrats. Bazarov's views differ sharply from the beliefs of the Kirsanov brothers. In disputes with Pavel Petrovich Kirsanov, Bazarov wins. Therefore, there is a gap for ideological reasons.
Evgeniy meets Anna Sergeevna Odintsova, an intelligent, beautiful, calm, but unhappy woman. Bazarov falls in love, and having fallen in love, he understands that love no longer appears to him as “physiology,” but as a real, sincere feeling. The hero sees that Odintsova highly values her own calmness and measured order of life. The decision to part with Anna Sergeevna leaves a heavy mark on Bazarov’s soul. Unrequited love.
The “imaginary” followers of Bazarov include Sitnikov and Kukshina. Unlike them, for whom denial is just a mask that allows them to hide their inner vulgarity and inconsistency, Bazarov, with confidence in his abilities, defends views close to him. Vulgarity and insignificance.
Bazarov, having arrived to his parents, notices that he is getting bored with them: Bazarov cannot talk to either his father or his mother the way he talks to Arkady, or even argue the way he argues with Pavel Petrovich, so he decides to leave. But soon he comes back, where he helps his father treat sick peasants. People of different generations, different development.
Bazarov likes to work, for him work is satisfaction and self-esteem, so he is close to the people. Bazarov is loved by children, servants and men, because they see him as a simple and intelligent person. The people are their understanding.
Turgenev considers his hero doomed. Bazarov has two reasons: loneliness in society and internal conflict. The author shows how Bazarov remains lonely.
Bazarov's death was the result of a small cut he received while opening the body of a peasant who had died of typhus. Evgeny is waiting to meet the woman he loves in order to once again confess his love to her, and he also becomes softer with his parents, deep down, probably still understanding that they have always occupied a significant place in his life and deserve a much more attentive and sincere attitude. Before death, he is strong, calm and calm. The death of the hero gave him time to evaluate what he had done and realize his life. His nihilism turned out to be incomprehensible, since he himself is now denied by both life and death. We feel not pity for Bazarov, but respect, and at the same time we remember that before us is an ordinary person with his fears and weaknesses.
Bazarov is a romantic at heart, but he believes that romanticism has no place in his life now. But still, fate made a revolution in Evgeny’s life, and Bazarov begins to understand what he once rejected. Turgenev sees him as an unrealized poet, capable of the strongest feelings, possessing fortitude.
DI. Pisarev claims that “It’s still bad for the Bazarovs to live in the world, even though they sing and whistle. No activity, no love, and therefore no pleasure.” The critic also argues that one must live “while one can live, eat dry bread when there is no roast beef, be with women when one cannot love a woman, and generally not dream about orange trees and palm trees when there are snowdrifts and cold tundra underfoot.”
Bazarov's death is symbolic: medicine and natural sciences, on which Bazarov so relied, turned out to be insufficient for life. But from the author's point of view, death is natural. Turgenev defines the figure of Bazarov as tragic and “doomed to death.” The author loved Bazarov and repeatedly said that he was “clever” and a “hero.” Turgenev wanted the reader to fall in love with Bazarov with his rudeness, heartlessness, and ruthless dryness.
He regrets his unspent strength, his unfulfilled task. Bazarov devoted his entire life to the desire to benefit the country and science. We imagine him as smart, reasonable, but deep down, sensitive, attentive and kind person.
According to his moral convictions, Pavel Petrovich challenges Bazarov to a duel. Feeling awkward and realizing that he is compromising his principles, Bazarov agrees to shoot with Kirsanov Sr. Bazarov slightly wounds the enemy and himself gives him first aid. Pavel Petrovich behaves well, even makes fun of himself, but at the same time both he and Bazarov are embarrassed. Nikolai Petrovich, from whom the true reason for the duel was hidden, also behaves in the most noble way, finding justification for the actions of both opponents.
“Nihilism,” according to Turgenev, challenges the eternal values of the spirit and the natural foundations of life. This is seen as the tragic guilt of the hero, the reason for his inevitable death.
Evgeniy Bazarov cannot in any way be called " extra person" Unlike Onegin and Pechorin, he is not bored, but works a lot. Before us is a very active person, he has “immense strength in his soul.” One job is not enough for him. In order to really live, and not drag out a miserable existence, like Onegin and Pechorin, such a person needs a philosophy of life, its goal. And he has it.
The worldviews of the two political trends of the liberal nobles and the democratic revolutionaries. The plot of the novel is built on the opposition of the most active representatives of these trends, the commoner Bazarov and the nobleman Pavel Petrovich Kirsanov. According to Bazarov, aristocrats are not capable of action; they are of no use. Bazarov rejects liberalism, denies the ability of the nobility to lead Russia to the future.
The reader understands that Bazarov has no one to convey what little, but the most precious thing he has is his beliefs. He has no loved ones and dear person, and therefore there is no future. He does not imagine himself as a district doctor, but he also cannot be reborn, become like Arkady. There is no place for him in Russia, and, perhaps, abroad too. Bazarov dies, and with him his genius, his wonderful, strong character, his ideas and beliefs die. But true life is endless, the flowers on Eugene’s grave confirm this. Life is endless, but only true...
Turgenev could have shown how Bazarov would gradually abandon his views; he did not do this, but simply “dead” his main character. Bazarov dies from blood poisoning and before his death he admits that he is an unnecessary person for Russia. Bazarov is still alone and therefore doomed, but his fortitude, courage, perseverance, and perseverance in achieving his goal make him a hero.
Bazarov does not need anyone, he is alone in this world, but does not feel his loneliness at all. Pisarev wrote about this: “Bazarov alone, by himself, stands at the cold heights of sober thought, and this loneliness does not bother him, he is completely absorbed in himself and work.”
In the face of death, even the strongest people begin to deceive themselves and entertain unrealistic hopes. But Bazarov boldly looks into the eyes of inevitability and is not afraid of it. He only regrets that his life was useless, because he did not bring any benefit to his homeland. And this thought gives him a lot of suffering before his death: “Russia needs me... No, apparently, I don’t. And who is needed? I need a shoemaker, I need a tailor, I need a butcher..."
Let us remember the words of Bazarov: “When I meet a person who would not give up in front of me, then I will change my opinion about myself.” There is a cult of power. “Hairy,” - this is what Pavel Petrovich said about Arkady’s friend. He is clearly offended by the appearance of a nihilist: long hair, a robe with tassels, red unkempt hands. Of course, Bazarov is a working man who does not have time to take care of his appearance. This seems to be the case. Well, what if this is “deliberate shocking of good taste”? And if this is a challenge: I dress and do my hair the way I want. Then it is bad, immodest. The disease of swagger, irony towards the interlocutor, disrespect...
Speaking purely from a human perspective, Bazarov is wrong. At his friend’s house he was greeted cordially, although Pavel Petrovich did not shake hands. But Bazarov does not stand on ceremony and immediately enters into a heated argument. His judgment is uncompromising. “Why would I recognize authorities?”; “A decent chemist is twenty times more useful than a poet”; he reduces high art to “the art of making money.” Later it would go to Pushkin, Schubert, and Raphael. Even Arkady remarked to a friend about his uncle: “You insulted him.” But the nihilist did not understand, did not apologize, did not doubt that he had behaved too impudently, but condemned: “He imagines himself to be a practical person!”, and stooped to the point of putting “his life on the line.” female love", "we, physiologists, know what kind of relationship this is" between a man and a woman...
In Chapter X of the novel, during a dialogue with Pavel Petrovich, Bazarov managed to speak out on all the fundamental issues of life. This dialogue deserves special attention. Bazarov claims that the social system is terrible, and one cannot but agree with this. Further: there is no God as the highest criterion of truth, which means do what you want, everything is permitted! But not everyone will agree with this.
There is a feeling that Turgenev himself was at a loss while exploring the character of the nihilist. Under the pressure of Bazarov’s strength and firmness and confidence, the writer became somewhat embarrassed and began to think: “Maybe this is necessary? Or maybe I’m an old man who has ceased to understand the laws of progress?” Turgenev clearly sympathizes with his hero, and treats the nobles condescendingly, and sometimes even satirically.
But a subjective view of the characters is one thing, the objective thought of the entire work is another matter. What is it about? About the tragedy. The tragedies of Bazarov, who, in his thirst for “doing things for a long time”, in his enthusiasm for his god-science, trampled upon universal human values. And these values are love for another person, the commandment “thou shalt not kill” (fought in a duel), love for parents, forbearance in friendship. He is cynical in his attitude towards women, mocks Sitnikov and Kukshina, narrow-minded people, greedy for fashion, miserable, but still people. Eugene excluded from his life high thoughts and feelings about the “roots” that feed us, about God. He says: "I look at the sky when I want to sneeze!"
Half an hour later, Anna Sergeevna, accompanied by Vasily Ivanovich, entered the office. The doctor managed to whisper to her that there was no need to think about the patient’s recovery.
She looked at Bazarov... and stopped at the door, she was so struck by this inflamed and at the same time deathly face with dull eyes fixed on her. She was simply frightened with some kind of cold and languid fear; the thought that she would have felt differently if she really loved him instantly flashed through her head.
Fathers and Sons. Feature Film based on the novel by I. S. Turgenev. 1958
“Thank you,” he spoke intensely, “I didn’t expect this.” This is a good deed. So we met again, as you promised.
“Anna Sergeevna was so kind...” began Vasily Ivanovich.
- Father, leave us. Anna Sergeevna, do you allow me? It seems now...
He pointed his head at his prostrate, powerless body.
Vasily Ivanovich left.
“Well, thank you,” repeated Bazarov. - This is royal... They say that kings also visit the dying.
- Evgeny Vasilich, I hope...
- Eh, Anna Sergeevna, let’s tell the truth. I'm finished. Got under a wheel. And it turns out that there was nothing to think about the future. The old joke is death, but a new one for everyone. I’m still not afraid... and then unconsciousness will come, and Fucking!(He waved his hand weakly.) Well, what can I tell you... I loved you! It didn’t make any sense before, and even more so now. Love is a form, and my own form is already decaying. I’d rather say that you are so nice! And now here you stand, so beautiful...
Anna Sergeevna involuntarily shuddered.
- It’s okay, don’t worry... sit there... Don’t come near me: my illness is contagious.
Anna Sergeevna quickly crossed the room and sat down on an armchair near the sofa on which Bazarov was lying.
- Magnanimous! - he whispered. - Oh, how close, and how young, fresh, clean... in this disgusting room!.. Well, goodbye! Live long, that's best, and take advantage while there is time. Look at what an ugly sight this is: the worm is half crushed and still bristling. And I also thought: I’ll screw up a lot of things, I won’t die, no matter what! There is a task, because I am a giant! And now the giant’s whole task is to die decently, although no one cares about this... All the same: I won’t wag my tail.
Bazarov fell silent and began to feel his glass with his hand. Anna Sergeevna served him a drink, without taking off her gloves and breathing fearfully.
“You will forget me,” he began again, “ dead to living not a comrade. Your father will tell you that this is what kind of person Russia is losing... This is nonsense; but don't dissuade the old man. Whatever the child enjoys... you know. And caress your mother. After all, people like them cannot be found in your big world during the day... Russia needs me... No, apparently I don’t. And who is needed? A shoemaker is needed, a tailor is needed, a butcher... sells meat... butcher... wait, I'm confused... There is a forest here...
Bazarov put his hand on his forehead.
Anna Sergeevna leaned towards him.
- Evgeny Vasilich, I’m here...
He immediately accepted the hand and stood up.
“Farewell,” he said with sudden strength, and his eyes flashed with a final sparkle. - Goodbye... Listen... I didn’t kiss you then... Blow on the dying lamp and let it go out...
Anna Sergeevna pressed her lips to his forehead.
- And that's enough! – he said and sank onto the pillow. - Now... darkness...
Anna Sergeevna quietly left.
- What? – Vasily Ivanovich asked her in a whisper.
“He fell asleep,” she answered barely audibly.
Bazarov was no longer destined to wake up. By evening he fell into complete unconsciousness, and the next day he died. Father Alexey performed religious rites over him. When he was unctioned, when the holy ointment touched his chest, one of his eyes opened, and it seemed that at the sight of the priest in vestments, the smoking censer, the candles in front of the image, something similar to a shudder of horror was instantly reflected on his dead face. When he finally breathed his last and a general groan arose in the house, Vasily Ivanovich was overcome by a sudden frenzy. “I said that I would complain,” he shouted hoarsely, with a burning, distorted face, shaking his fist in the air, as if threatening someone, “and I will complain, I will complain!” But Arina Vlasyevna, all in tears, hung on his neck, and both fell on their faces together. “So,” Anfisushka later said in the people’s room, “side by side they hung their heads, like sheep at noon...”
