Ivan Turgenev’s novel Fathers and Sons stirred a significant controversy upon its 1862 release, inciting both admiration and outrage across Russian society. The novel offered a dual exploration of the forces for change in mid-nineteenth century Russia, drawing a balanced picture of the conservatives and the revolutionaries. This delicate portrayal, embodied in the complex character of Bazarov, touched a sensitive nerve, reflecting the societal tensions of the era and contributing to Turgenev's frequent exiles.

The Protagonist: Bazarov

At the heart of Fathers and Sons is Bazarov, portrayed by Turgenev as a pragmatist, a scientist, and a revolutionary idealist. The character is intricately woven into the fabric of the narrative through his interactions with other characters, which reveal more about him than he perhaps knows about himself. Turgenev's mastery of literary impressionism allows Bazarov to be both vivid and multi-dimensional, avoiding the pitfalls of ideological rhetoric. Despite Bazarov's rough demeanor, Turgenev’s own sympathies align closely with him, particularly regarding his views on change and reform.

Conflict with Tradition

Bazarov's principal conflict is with Pavel Kirsanov, a character representing the Old World’s cultural and elitist values. Pavel embodies the traditions that Bazarov seeks to dismantle, believing a scientific approach could more effectively tackle society's pressing issues such as poverty, disease, and ignorance. The ideological clash between Bazarov and Pavel culminates in a duel, underscoring the absurdity of upper-class customs and highlighting Bazarov’s internal struggle between passion and practicality.

Romantic Entanglements

Bazarov's relationship with Madame Odintzov further complicates his character, revealing a romantic side that contradicts his revolutionary ideals. While he professes that women are mere sources of amusement, his intense feelings for the cold and detached widow suggest otherwise. This romantic conflict mirrors the broader frustrations Bazarov faces in his social and political pursuits, where he longs for change but finds himself isolated and ineffective.

Friendship and Isolation

Bazarov’s friendships, particularly with his schoolmate Arkady, illustrate his isolation. Arkady, though initially drawn to Bazarov's revolutionary zeal, is fundamentally conventional and unable to commit fully to Bazarov's ideals. This misalignment underscores Bazarov’s loneliness as he watches Arkady choose a life of comfort and compromise over the revolutionary path. Bazarov’s disdain for false reformers amplifies his frustration, as he remains a leader without followers.

Bazarov's Tragic End

The culmination of Bazarov’s struggles is his tragic death, which can be interpreted as a form of suicide. His passive approach to a life-threatening infection signifies an existential resignation to the futility of his ideals in a society resistant to change. Despite this, Turgenev immortalizes Bazarov as “the real hero of our time,” capturing the essence of a generation caught between old values and new ambitions.

Controversial Reception

Upon its release, Fathers and Sons sparked a fierce debate between the older liberal generation and the younger radicals. Turgenev’s depiction of Bazarov, labeled a "nihilist," became the focal point of this controversy. Critics like M. A. Antonovich and A. I. Gertsen criticized Bazarov as a caricature, while others, such as D. I. Pisarev, defended the sincerity of Bazarov’s character.

Impact on Turgenev

The scandal surrounding the novel affected Turgenev personally and professionally. Accused of inciting radical behaviors, such as the nihilist-led fires in Petersburg, Turgenev faced criticism from both political camps. His own conflicting feelings about Bazarov—expressed in letters to contemporaries like Dostoyevsky and A. A. Fet—reflect the novel's complex legacy.

Legacy and Criticism

Despite early controversies, Fathers and Sons has been reevaluated over time, with modern critics praising Turgenev's stylistic prowess and foresight. Figures like Peter Henry and Avrahm Yarmolinsky laud the novel’s craftsmanship and its prophetic insights into an era increasingly dominated by scientific and technological advances. In retrospect, as Isaiah Berlin notes, “the Bazarovs have won,” in a world now ruled by empirical science and technology.