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When a young graduate returns home he is accompanied, much to his father and uncle's discomfort, by a strange friend "who doesn't acknowledge any authorities, who doesn't accept a single principle on faith." Turgenev's masterpiece of generational conflict shocked Russian society when it was published in 1862 and continues today to seem as fresh and outspoken as it did to those who first encountered its nihilistic hero.

You're in for a delightful surprise if you're one of the many people who believe all Russian literature is daunting and difficult. Ivan Turgenev's stories have enchanted generations with delicate prose, marvelously subtle irony, and richly crafted characters. Set against the serene backdrop of the Russian countryside, Fathers and Sons is the story of Arcady Kirsanov, a young man who returns from college to his father's country manor with his radical friend Bazarov in tow. Behind Bazarov's chilling intellect hides a heart of compassion and kindness-a heart that will unwittingly change the Kirsanovs' lives forever.

Based on Ivan Turgenev's novel of the same name, Frank J. Morlock's new play clearly dramatizes the societal divisions in mid-nineteenth-century Russia, deftly contrasting the defenders of the old regime with the younger generation of no-nonsense nihilists who will eventually succeed them. Nicolai and Pavel represent the older values (Nicolai softly, Pavel somewhat rigidly), while the two youths, Arkady (softly) and Bazarov (gruffly), make the case for change. In the end, Pavel and Bazarov fight an inconclusive duel--but the heightened animosity between generations yet remains, forecasting the civil war that will eventually overwhelm Russia fifty years later. The parallels between that time and today are striking. An absolutely riveting drama.

In this masterly unromantic novel, Turgenev drew a character, Bazarov, who served to express what he taught us to call Nihilism, and made a movement into a man. In Russia itself the effect of the story was astonishing. The portrait of Bazarov was immediately and angrily resented as a cold travesty. The portraits of the “backwoodsmen,” or retired aristocrats, fared no better. Turgenev had indeed roused the ire of both sides, only too surely.The Petrovitchs, typical figures as he designed them of the Russian nobility, were intended he confessed to breathe “feebleness, nonchalance, narrowness of mind.” His sense of fitness made him paint with extreme care these choice representatives of their class. They were the pick, and if they were humanly ineffective, what of their weaker kind? “Si la crême est mauvaise, que sera le lait?” as he put it. The bitterest criticism came, however, from the side of the revolutionaries and incompatibles. They felt in Turgenev the sharper artistry and the intimate irony as if he had only used these qualities in dealing with the specific case of Bazarov; whereas they were temperamental effects of his narrative art. He was ready to assert himself one of the party of youth. He was at one with Bazarov, he declared, in nearly all his ideas, a chief exception being Bazarov’s ideas on art, which in truth are apt to be more crudely delivered than the rest of that iconoclast’s destructive opinions. Bazarov, he said once and again, was his favourite child.It is nearly forty years now (in 1921) since the novel appeared in The Russian Messenger, a weekly which was the recognised exponent of the new movement. That proverbial period has lent a softer cast to the lineaments of the people in the group, as time touches the canvas of the pictures in an old country-house gallery. But the interesting thing is to find that history in the large has terribly and irresistibly confirmed the history in little that Turgenev drew, with a sure instinct, for the potential anticipations of his saga.

When a young graduate returns home he is accompanied, much to his father and uncle's discomfort, by a strange friend "who doesn't acknowledge any authorities, who doesn't accept a single principle on faith." Turgenev's masterpiece of generational conflict shocked Russian society when it was published in 1862 and continues today to seem as fresh and outspoken as it did to those who first encountered its nihilistic hero.

Nikolay, initially delighted to have his son return home, slowly begins to feel uneasy, and a certain awkwardness in his regard, as it emerges that Arkady's views, much influenced by Bazarov, are radical and make his own beliefs feel dated. Nikolay has always tried to stay as current as possible, by doing things such as visiting his son at school so the two can stay as close as they are, but this in Nikolay's eyes has failed. To complicate this, the father has taken a servant, Fenechka, into his house to live with him and has already had a son by her, named Mitya. Arkady, however, is not troubled by the relationship: to the contrary, he openly celebrates the addition of a younger brother.The two young men stay over at Marino for some weeks, then decide to visit a relative of Arkady's in a neighboring province. There, they observe the local gentry and meet Madame Anna Sergevna Odintsova, an elegant woman of independent means, who cuts a seductively different figure from the pretentious or humdrum types of her surrounding provincial society of gentry. Both are attracted to her, and she, intrigued by Bazarov's singular manner, invites them to spend a few days at her estate, Nikolskoye. While Bazarov at first feels nothing for Anna, Arkady falls head over heels in love with her.

Excerpt from Fathers and Sons While On Me Eve signalises the end of the Crimea epoch and the break-up of the crushing, overwhelming régime of Nicolas, Fatkers and Children is a forecast of the new Liberal move ment, which arose in the Russia of the sixties, and an analysis of the formidable type appear ing on the political horizon - the Nihilist. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

When Arcady Kirsanov returns from college to the country manor of his father, he brings along his radical friend Bazarov, a nihilist who believes in nothing and respects no one. But behind the intellect of this caustic, impatient man is a heart full of compassion and kindness that will change the Kirsanov's lives forever. When Ivan Turgenev first published this novel in 1862, the populace of his native Russia was so enraged by the character of Bazarov that Turgenev was forced to flee the country for France. However, critics have praised the novel for its subtle irony and richly crafted characters.