Understanding the Nihilism in Fathers and Sons (Research Paper Sample)

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21 October 2015
Nihilism
Fathers and Sons novel, written by the Russian author Ivan Turgenev and first published in 1861, speaks about relationships between generations at a time of significant changes thus the title. Also, it is a love story that addresses matters of social class and status. Many are the themes generated in this novel with that notable one of the tensions between new philosophical ideas and movements, shown via nihilism and anarchism on the one hand, and traditionalism on the other. It may be especially helpful in preparing this paper to review the relevant sections on Tsarist Russia in Merriman’s Modern Europe, especially on the “Decembrist Revolt” in chapter 15 and on “Tsarist Russia” in chapter 18. In fact, this paper will explore the theme of nihilism in terms of how it is understood and received by some of the main characters, and then consider in what ways the novel seems to support or reject this philosophy.
Nihilism, a new philosophy, in Fathers and Sons zooms on the notion-based confrontation between generations or rather, Bazarov as a character. To give an example, Isaiah Berlin will say that the center stage topic in this novel is ideally the confrontation of both young and old, liberals and radicals, civilized tradition against the fresh, harsh positivism. Pritchett, on his part, will call it as that tragedy of conflict affecting two generations’ relationship. And it may appear that this is all the critics have expressed all through. But notice, there are yet some other critics that to a great extent are preoccupied with Bazarov, like Peter Henry claims the novel Fathers and Sons nihilism focuses on the narrative of Bazarov. Similarly, Richard Freeborn supports Henry by claiming that key feature of Fathers and Sons is all about the figure of Bazarov.[Turgenev, Ivan Sergeevich, Rosemary Edmonds, and Isaiah Berlin. 1975. Fathers And Sons. Harmondsworth [England]: Penguin. Page 127]
Inasmuch as the works pays attentions to the generational deviation between the fathers and their sons, I tend to believe that the most notable difference is within the sons’ generation themselves, as in between Arkady and Bazarov that individually offer a competitive account as regards the manner of reforming and renewing Russian society. Bazarov’s nihilism is sampled out due to its abstract, science-related, and empirical features without any positive political program; whereas Arkady’s liberalism is viewed as concrete, subject-related, as well as integrative to both emotions and reasons dealing with traditional values preservation and encouraging of continual political reform. Ivan Turgenev actually presents his audience a choice between the two options. It is now upon us to choose that which we desire as the best alternative for us, but must also embrace the consequences that are fruit of executing the choice.[Turgenev, Ivan Sergeevich, and Richard Freeborn. 1998. Fathers And Sons. Oxford [England]: Oxford University Press. Page 88]
Further to these two options, Turgenev goes head to portray other ideological aspects existent in Russia’s nineteenth century: the familial warmth yet romantic unfeasibility of Nikolai; the renewed minded yet cold-hearted Pavel; the chilling material comfort and harsh order of Odinstov; and the feeble-minded piety and superstitions in relation to the peasantry, as demonstrated by Fenichka and Bazarov’s mother. As for Turgenev, he sees that these avenues are fully used and no longer provides a feasible alternative for the Russian society in self-reformation, as shown by these characters reluctance to abandon their homes[the peasantry, Nikolai, Odinstov] or their individual-based exile[see Pavel]. Those ideologies which have energy, life, and the youthful for true reform in Russia are those ones of the “sons.”
Bazarov at best stands for and articulates the nihilism philosophy through his self-absorption, unrestful behavior, and science-related preoccupation. At the onset of the novel he interferes with the father-son reunion at Maryino by imposing Arkady to fetch him a match as he has nothing with which to light his pipe. This interruption is significant it also foretells Bazarov spilling it over to interrupt Nikolai-Arkady relationship; which extends further to cause Nikolai to cut off his recitation of Puskin when the father does his son’s welcoming, longing for Bazarov’s partiality on science over poverty. Bazarov’s unrestful force proceeds in the novel the moment the his pipe produces smoke diffusing about him issuing both strong and cheap-smelling tobacco that forces Nikolai, a non-smoker, to avert his nose. The smoke represents the destructive chemical force which Bazarov comes with to Maryino and to Arkady’s individual education in nihilism philosophy.[Brumfield, William C. 1977. 'Bazarov And Rjazanov: The Romantic Archetype In Russian Nihilism'. The Slavic And East European Journal 21 (4): 495. doi:10.2307/305972.]
Therefore, nihilism philosophy recognizes no authorities but led by practical conduct on the basis of a heuristic. Its first task is to break down everything regardless of what shall seem later. Indeed, the urge to destroy everything and eventually provide nothing becomes self-negating as illustratively displayed in Bazarov’s fate with his unanswered love in relation to Odinstov, his broken friendship with Arkady, and finally the confession at his deathbed pointing out this philosophy, highly entangled in his entire life, is finally unfulfilling. The author of Fathers and Sons, Turgenev, declares that this nihilism philosophy shows no personal meaning not to mention the societal reform.
The full extent of nihilism account is more drawn out in the later pages of the novel when Pavel and Bazarov engage