Translated in 1917 by Constance Garnett. Edited with notes and introductions by William Allan Neilson, Ph.D. (Also published under the title "Fathers and Sons.")
ng his own portrait; and therefore it is, no doubt, that he has made his hero so sympathetic.--From "A History of Russian Literature" (1900).
IV BY RICHARD H. P. CURLE
But for the best expression of the bewilderment of life we have to turn to the portrait of a man, to the famous Bazarov of "Fathers and Children." Turgenev raises through him the eternal problem--Has personality any hold, has life any meaning at all? The reality of this figure, his contempt for nature, his egoism, his strength, his mothlike weakness are so convincing that before his philosophy all other philosophies seem to pale. He is the one who sees the life-illusion, and yet, knowing that it is the mask of night, grasps at it, loathing himself. You can hate Bazarov, you cannot have contempt for him. He is a man of genius, rid of sentiment and hope, believing in nothing but himself, to whom come, as from the darkness, all the violent questions of life and death. "Fathers and Children" is simply an exposure of our power to
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