Discuss the representation of the generation of fathers in Turgenev’s novel “Fathers and Sons” (0)

Discuss the representation of the generation of fathers in Turgenev ’s novel “Fathers and Sons ”
Turgenev always had two tasks before him – to depict the body and pressure of time, and to depict the rapidly changing face of cultured Russian society (Freeborn 1960:48). Kluchevsky (1993:40) defined one case of the generation gap in the beginning of the XIX century as “merry cosmopolitan sentimentality of the fathers now transformed in a patriotic grief of their children . The Fathers were Russians, who passionately wanted to become French ; the sons were raised as French and passionately wanted to become Russians. Fathers and Sons situates this generational conflict within family relations . In this essay , the ways how Turgenev represents the generation of Fathers in Fathers and Sons is discussed.
Fathers and Sons is set in between Russia 's defeat in the Crimean War and the Emancipation of the Serfs – a socially challenging area. Mid-19th century Russian intellectual life was characterized by a radical split between the ‘fathers' and ‘sons’. The older generation was young during the heavily oppressive rule of Tsar Nikolai I. For them , Tsar Alexander II’s reforms were very anticipated and progressive. However , the ‘sons' or younger intellectuals saw these reforms were not fast or far-reaching enough. Thus, the generation of fathers is seen in the prevailing gentry, ‘дворянства’, who ruled over the serfs and lands. Turgenev himself states , that «Вся моя повесть направлена против дворянства как передового класса. Вглядитесь в лица Николая Петровича, Павла Петровича, Аркадия. Слабость и вялость, ограниченность. Эстетическое чувство заставило меня взять именно хороших представителей дворянства, чтобы тем вернее доказать мою тему: если сливки плохи, то что же молоко? Они лучшие из дворян — и именно поэтому выбраны мною, чтобы доказать их несостоятельность». (Pisma IV, 380). Accordingly, Sukikh ( 1971 :312) agrees that the progressive thinkers of the forties had lost their edge . This evaluation by the author himself sets a tone through which the connotation of the portrayal of the ‘generation of fathers’ in Fathers and Sons can be assessed.
By taking the title in the broader sense as indicating a generational, rather than a parental and filial relationship , the “generation of fathers” is represented by Nikolai Petrovich Kirsanov, Pavel Petrovich Kirsanov and Yevgeny Vassilievich Bazarov. The ‘fathers’ can be seen as the contemporaries of the “superfluous man” and romantic idealists, who had a carefully shaped taste of arts and sense in beauty. Vishnyakova (2011) puts it, “The "fathers" were reading the German idealists, admired French romanticism , unconditionally worshiped beauty, and strongly believed in a hierarchy of moral values that were not human conventions.” Indeed, this characterisation is mainly brought forward by typical Turgenev’s literary tools; he presents his ‘fathers’ with a radically different generation of ‘nihilists’ and from this contrast , the main critique and description of the very generation of Turgenev himself arises. Freeborn (1960:99) comments that radicalism/ nihilism (Turgenev used radicalism) aimed to “to present as objectively as possible the ideological and class antagonisms existing between the fathers and the sons in that crucial year on 1859 when the two wings of the intelligentsia were in open disagreement”.
From the beginning of the novel, Turgenev allows the reader to unveil the similarities and differences between the generations by portraying their interactions, moods , thoughts and eby their manners of speaking. At the beginning, as Nikolai is waiting for his son, some of the qualities of the fathers’ generation are displayed. The lengthy description of Nikolai’s bibliography associates him with the gentry. The reader learns that Nikolai acts on emotion, marrying Masha despite his parents will, and found joy in a love-filled marriage . This can be somewhat descriptive of the ideals represented by the gentry – romanticism, aesthetic virtues, sentimentality. Also noticeable in this scene is the use of diminutive forms when portraying Nikolai -“подогнувши под себя ножки “, “заслужил прозвище трусишки” that belittle Nikolai as a serious man and portray that the owner is “not a part of the adult world” (Bialyi 1968:13). The portrayal of rather clumsy and non-adult continues in Chapter 4 where Nikolai “без всякой видимой причины потопал ногами”. All in all, the first impression of the older generation is rather naïve, yet unserious.
As chapter 3 embarks, the koliaska moves towards the poorly managed  Kirsanov estate, Marino , which is a reflection of Nikolai's lack of practical and organizational abilities. Nikolai himself says that “Вообще ты больших перемен в Марьине не найдешь.” And truly, there is no improvement - there’s “деревеньки с низкими избенками под темными, часто до половины разметанными крышами… опустелых гумен, и церкви, то кирпичные с отвалившеюся кое-где штукатуркой, то деревянные с наклонившимися крестами и разоренными кладбищами”. The peasantry is poor and disobedient – “как нищие в лохмотьях”. In chapter 4, it is described that even Nikolais best efforts do not bare fruits – “молодые деревца плохо принимались, в пруде воды набралось очень мало, и колодцы оказались солонковатого вкуса”. Witnessing this situation makes Arkdays heart ache – perhaps in a way that Turgenev himself felt with the fate of ill-organised estates. Marino’s lacklustre management symbolises the futility of the gentry’s attempts to modernize - Nikolai stands as the „the economic failings of the gentry” (Dunaev: 1983:196). The shortcomings of the Kirsanov management are even more obvious when subtly contrasted with the well-organised Nikolskoe, ran by Odintsova – a representative of the new generation. Therefore the sad state of Marino can be seen as a symbol to the ineffective establishment of the gentry, the generation of fathers.
Moreover , one of the climaxing issues of the era – the liberation of serfs- surfaces in the conversation , and Nikolai, despite adapting the obrok method, is not fully holding modernist views - “Я решился не держать больше у себя вольноотпущенных, бывших дворовых, или по крайней мере, не поручать им никаких должностей, где есть ответственность..“ Ripp (1980) emphasizes, that although Nikolai finds himself as progressive and liberal, having tried to improve to conditions of the serfs, he cannot disguise his somewhat superior tone when speaking of peasants – for example, has sold off the land that would be given to the freed serfs (“притом же эта земля отходит к мужикам”). Therefore Turgenev presents the reader with an image of noblemen who, despite trying to modernize, still seek to gain profit at the expense of the to-be free peasantry before the reforms. Initially, Nikolai refuses to marry Fenichka based on their social status . The attitude towards peasantry is the key difference between fathers and sons, and the older generation, despite being open to reform , is still representing class differences.
Similarily, Bazarovs parents are eager to represent that they have been progressive in the countryside , referring to himself as “homo novus”. Also refers to applying obrok system and given serfs some land. The fathers, both trying to win the approval of their sons. As Vasiilii also is troubled with some disobeying serfs, the shame is similar to that of Nikolais when speaking of Fenichka.
The two Kirsanov brothers adhere to certain ideals and standards which form the basis of their existence. The Insinuating traditional values are evident in Pushkins poetry , rhapsodizing about nature , but also in holding firm principal views. Such is the degree of disagreement between Pavel and nihilism that he states for the whole fathers generation that “Мы, люди старого века, мы полагаем, что без принсипов , принятых, как ты говоришь, на веру, шагу ступить, дохнуть нельзя. Vous avez changesatire when sketching Pavel (eg his French accent). his English sink as a sign of “progeress” (albeit the doors in Marino do not close ). Freeborn (1960:104) notes , that “for Pavel civilization is an aristocratic principle, a priceless artistic and cultural heritage far removed from the mundanities of economics”. The traditional values are irrelevant to the peoples basic (economic) needs.
Bazarov gives a harsh evaluation to Nikolai as “ славный малый. Стихи он напрасно читает и в хозяйстве вряд ли смыслит, но он добряк”. Evidently, one of the traits that is omitted to the generation of 1840s – the fathers - is the sentimentality and overly romantic feelings that contrast strongly with that of the new men of the 1960s .
Nikolai is depicted as sentimental and dreamy as he awaits his son. He ponders long in his thoughts, and sighs overly emotionally "Сын... кандидат... Аркаша...", while also thinking of his long-lost wife . Throughout the novel he does not hesitate to kiss his son, initiate physical contact and openly express his fondness – qualities which are not overly ‘manly’ or adult, but rather emotional and child -like. In nature, he thinks "Как хорошо, Боже мой!" .. и любимые стихи пришли было ему на уста”. Nikolais fondness of poetry is also deemed silly as he starts to quote verses by Pushkin in Chapter 2 –“А впрочем, я согласен с Пушкиным -- помнишь, в Евгении Онегине: Как грустно мне твое явленье, Весна, весна, пора любви!” – which is abruptly ended by Bazarovs request for matches. The aesthetic sense of the gentry is shown as Nikolai plays Schubert 's "Erwartung" on his cello - albeit being not that skilful.
As of Pavel – he is beautifully appointed room is more likely a reflection of his social status and Anglomania than of any particular aesthetic sensibilities. Bazarov feels some kind of pity towards Pavel, he finds that a man must be his own master, not trapped in the aristocratic emotionality. the true aristocrats - the anglomaniacs, westernists, the „Pechorin types “.
Larding their chatter with foreign phrases typical to the gentry.. e destruction of patriarchal and monarchical illusion Religion allied with feudalism, odd aristocratic sentimentality, Bucolic life.
The love-story between the peasant and the landlord symbolises an underlying problem of the society on the eve of Emancipation in 1861 (the serfs were emancipated by royal decree in 1861, novel set in 1959 ). Such a relationship between landowner and peasant girl takes the reader further into ideology, calling to mind the social scene in Russia on the eve of Emancipation. Some (contemporary) critics found this illegal affair as proof of the weak morals of the gentry – despite their high ideals and ideologies of class. As Nikolai is initially ashamed of his affair and illegitimate son, offering to hide Fenichka while Bazarovs stays, he later transforms and decides to marry her. The wedding between these two suggests Turgenev's  optimism for Russia's future. ( Jahn , 1977)
-Turgenev concluding that in some way, the old generation will find its place ???,
Negative attitude towards the younger generation is only represented by Pyotr .
As Vyashnikova finds, “One of the novel's major themes is that it is the children's fate to become like their fathers.”
However, Nikolais ability to feel fulfilment in nature and love, to enjoy music and arts is something that in a way, makes him the hero of the novel. He – together with changed arkadii – is capable to enjoy and lead a life fulfilment, unlike others .
While Nikolai is a man of the forties, Pavel is seemingly more a man of the 30s - similar to Pechorins (Woodward 1996:30) Pavels views ar shown to bwelong to ‘ narrow class boundaries’ (Dunaev 1883:199) Pavel is heavily satirised- anglomania, use of french, style. The figure of the true aristocrat is represented by Pavel.
In Chapter X Bazarov criticises Pavels manner of speech -- Аристократизм, либерализм, прогресс, принципы, -- говорил между тем Базаров, -- подумаешь, сколько иностранных... и бесполезных слов! Русскому человеку они даром не нужны. As noted by Woodward (1996:62) as “abstractions without meaning for the mass of the people with which the gentry, he contents, contrieve to justify their indolence”.
Bilay (56-57) coments that Nikolais XI chapter tender heart shows that he has “had his day”.
Vassiili sayd “ I love to medidate n this spot as I watch sunset”
Pavel believes that a true Russian believes in the peasantry in terms of faith .

Bibliography

Turgenev's Russia : from Notes of a hunter to Fathers and sons / by Victor Ripp.Detail Only Available By: Ripp, Victor. Ithaca ; London : Cornell University Press, 1980. 01/01/1980 218 p. ; 23 cm. Language : English
Turgenev:a study By: Freeborn, Richard. [London] Oxford University Press, 1960. 01/01/1960 201 p. 23 cm. Language : English
V Kluchevskyi, Course of Russian History, part 3, Moscow , 1993,
p. 420.
Turgenev Letter to K.K. Sluchevsky, 26/14 April 1862 . Sobr. Soch. 1958, 339-41
O. Vishnyakova Her most recently published paper is “Russian Nihilism: The Cultural Legacy of the Conflict Between Fathers and Sons”, Comparative & Continental Philosophy Journal (Equinox Publishing, London), Vol. 3, Number 1 (2011).
Turgenev (Pisma IV, 380) IN Turgenev’s Fathers and Sons, Woodward, J. page 30.
http://www1.umn.edu/lol-russ/Other/Fathers.pdf ) (Jahn, 197)
Bialyi, G.A., V. Arkhipov protiv Turgeneva, Novyi mir, XXXIV :8 (1958), 225-9, Roman Turgeneva Ottsyi i deti , 2nd edn. (Moscow- Leningrad , 1968)
Sukhikh, I.N Roman I.S Turgeneva, Ottsy i deti v russkoi kritike (Leningrad 1971), 108-19.
Dunaev, M.M Ivan Turgenev: Zhizn i tvorchestvo (Moscow 1983) – Uroki urgeneva in I.S ottsY I DETI (Moscow 1991), 5-16
To be read:
http://www.tandfonline.com/doi/abs/10.1080/00806767108600570
http://www.inter-disciplinary.net/wp-content/uploads/2009/06/saburova-paper.pdf
http://thelectern.blogspot.co.uk/2009/03/fathers-and-sons-turgenev.html
5