Paste your essay in here…Joshua Chen
Mr. Zelden
Humanities
April 21, 2018
Who is Arkady?
In the novel Fathers and Children, Ivan Turgenev paints detailed portraits of each of the characters, each of whom invites deeper analysis. One of these key players, Arkady Nikolaevich Kirsanov, presented throughout the novel as the chronicles of his life unfold, exhibits the qualities of a son, a lover, a disciple, a friend. That being said, he invites further analysis as to who he is.
A character’s nature becomes more clearly defined and easier to extrapolate once their actions, thoughts, beliefs, and words are examined. Arkady is no exception. Throughout his journey in this novel, we delve deeper into Arkady himself.
Upon first glance, he appears evidently uncertain. His naivety presents itself, and his near obsequious attachment to his friend/mentor Bazarov displays his eagerness to follow. He supposes he wants to be an Nihilist, and assimilate into the progressive culture. He aspires to be different from his father, (a romantic). The shock value of nihilism appeals to him, and, just perhaps, he knows no better. However, this seemingly shallow young man contains more than meets the eye. Arkady grows to become a vastly different character by the end of the novel. A soul seeking clarity, Arkady’s journey offers insight into his identity.
In his youthfulness and innocence, Arkady boils down to a piece of clay, still moist, malleable, not yet formed. A piece of clay with no definite shape. He’s an explorer, trying to find his way in the world, coming to terms with himself. A child, attempting to escape his father’s shadow. A pupil, who wants to grasp an elusive worldview. (nihilism proves difficult to adhere to.)
When we first meet Arkady, he seems to be a shy young man, rifted between attempting to tear away from his background, and clinging to it out of respect for his father. He tries to tell his father “Come, Papa, it really doesn’t matter where a person’s born.” (9) (perhaps to be controversial, or because he actually believes this. But does he?) He has just completed his college education (or the Russian equivalent) and has tasted the real world. And he has returned, changed, with nihilism now held up like a sign over his head. Nevertheless, as the novel progresses, we see Arkady, previously somewhat blind to Bazarov’s imperfections (or choosing to ignore them in his devotion to him) realizing that this ‘nihilism’ that he wishes to conform to— might not be his path. As the gap grows between his ‘mentor’ and himself, Arkady becomes the subject of a tug of war, between nihilism and Bazarov, and Nikolai (his father) and Romanticism (as well as his love for Katya). Under scrutiny, the conclusion can be drawn that he has fled from one sphere of sway simply to fall into the shade of another’s influence.
And yet he continues to stick to Bazarov like a dog and its master. Playing fetch for him. As Bazarov represents a radical of the generation, who ignites a revolutionary fire inside Arkady, Arkady sees nihilism as something he participates in mostly because it feels ‘new’ and different. In trying to be a follower of nihilism, he tries to squeeze nihilism into becoming what he desires it to be. His definition of “Who approaches everything from a critical point of view.” (19) is not necessarily incorrect, but it does not give a truly unbiased, practical picture of nihilism. Bazarov’s statement however, “We reject… everything.” (40) makes much more sense. For Bazarov, nihilism necessitates the destruction and rejection of everything. Raze it all to the ground. But this, perhaps more accurate description is entirely incongruous with Arkady’s personality. Arkady, infatuated with a new ‘fad’ simply does not want to shake it off. Instead he will do whatever he can to adapt the idea to suit his principles and what he can adhere to in good conscience (while still maintaining the purported euphoria of being a controversial young person with an unsettling view).
However, Arkady cannot stick fast to true nihilism for very long (he falls in love with Katya, and realizes Bazarov’s churlishness.) He finds himself deviating from his set course back towards a world more similar to that of his father. A romantic worldview, a lifestyle that can make space for love. This, very much due to the insertion of Katya into his existence, begins to eat away at the ‘shroud’ of nihilism he has been surrounded with. (It has clouded his self perception). He discovers himself falling in love with Katya, and can soon realize when to put up this childish game of pursuing whatever astonishing new philosophy is rocking the progressives. It’s time to mature and see past a momentary veil towards something greater. He must see his individual being for what it truly consists of. The son of his father, albeit with generationally advanced influences, and a lover. The purported tug of war between influences on his life seems to be somewhat quelled. Bazarov and nihilism have lost their hold on him, and Katya pulls him over to the side of the ‘domesticated animals’, and persons like Nikolai.
Arkady, whilst trying to blaze a path of his own, cycles through adopting a variety of views in his search for his identity. From nihilism, which he has acquired from Bazarov, to the romanticism that continues to nag him in the back of his head, to the self realization of his difference from Bazarov (the culmination brought about by his conversing with Katya).
It may thus be easy to generalize Arkady as shallow and whimsical, but under examination, this proves not entirely true. Arkady, whilst being a cheerleader for Bazarov (albeit an unneeded one), grows noticeably over the course of the novel. He begins to realize that he isn’t suited to a nihilistic worldview, and truly living by such principles (for a kind-hearted person like Arkady) proves difficult. He sees how Bazarov acts, (rotten), and though out of respect for his mentor he attempts to turn a blind eye, his conscience gets the better of him. When Bazarov insults his uncle, he finally calls it quits and tells Bazarov how insensitive such a comment is. He also soon recognizes his love for Katya, and places his love for her before nihilism. The capacity to do all this brings self awareness into Arkady’s portfolio. In a way, Arkady adopted nihilism as a means of escaping his childishness, but ended up maturing further past such an unrealistic mentality. Arkady continues to grow, and soon marries Katya, deciding to devote himself to family (the Jackdaw). He has put the games aside, and grounds himself in reality.
Arkady’s eventual maturity (and the process thereof) presents him as someone who, though very malleable, can grab ahold of the reigns and govern who he wants to be, especially once slapped in the face with reality (such as that of Bazarov’s ugly nature). The question he poses about the dolts. (86). Bazarov doesn’t exactly care much for him. Bazarov isn’t specifically out looking for devotees, though he appreciates their existence as his subservient ‘fools’.
Parallels can be drawn between Arkady and the writer/character Dante, from his own writing The Inferno. Both have a disciple-like quality, and place their trust in a mentor who they hope will guide them.
Arkady has Bazarov to stick to, and Dante, Virgil. However, Virgil is arguably wiser (and an outright better person) than Bazarov, and Dante has a few more years of life under his belt than the fledgling Arkady who has just ventured out into the real world and returned with nihilism stuck to his back. (or is it him clinging to it?) Arkady’s philosophical views, as aforementioned, shifted from a desire to conform to novel, radical ideas to living out his own down to earth ideals.
Dante’s journey through hell reoriented him. His awareness of what sin can lead to (and the essence of sin itself) drastically changed. Though previously he lived in ignorance, (his journey to hell awakening him to the realization of sin), with Virgil guiding him through hell he soon realizes that a life of sin results in death. Both Arkady and Dante move towards increasingly morally realistic views. Dante’s journey woke him up, and Arkady’s formative years as a young adult steer him towards his true identity.
Arkady abided by nihilism because he sincerely felt that it was something ‘worth following’, (though he did appear rather foolish kissing up to Bazarov as he did in the first parts of the novel). But his definition of nihilism also gives light upon the character of Arkady. He exemplifies the happy go lucky, youthful person looking for his place in the world. He tries to see the best in concepts and people. He fancies that nihilism will allow him to approach everything from a critical point of view (though this definition does not suit actual nihilism as exhibited by Bazarov), he believes it will benefit him. Again, though this may prove true, when compared to Bazarov’s definition of rejection, (and given Bazarov’s harshly indifferent outtake on life), we see that this is more of Arkady’s wishful thinking. Characters define ideas as they are reflected in themselves. Arkady, who views life more positively, is inclined to define nihilism so. Bazarov, on the other hand, decides that the rejecting and destroying appeals most to him and at the same time embodies the core of nihilism (for him.)
By the conclusion of the novel, Arkady epitomizes a youthful energetic soul, less apt to fall radically astray. He now devotes himself to Katya, and no longer lost, and has attained a greater knowledge of the self. The journey he started with his father, continued with Bazarov, and ultimately ended with Katya and led him to where he stands at the end of the novel. Though more inclined towards the liberal romanticism present in his father, he combines this with new ideas (perhaps not so revolutionary as rejecting everything) to run his farm more efficiently. He may be open minded, but no longer jumps on the bus at the first call. He maintains his positive sincerity, and, as the reader knows, he will never be a fierce predator.
Works cited:
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Turgenev, Ivan Sergeevich, and Michael R. Katz. Fathers and Children. W.W. Norton, 2009.
Alighieri, Dante, et al. Inferno. Anchor Books, 2002.