Daniel P. Karl Dr. Ide HUM 422 B: Christian Perspectives: 19th Century !

"e #$ %ur&#il 19 '#ve&(er) 2*1+ %he Perils #$ a ,alse -#le M#del Ivan %ur"enev.s (##/) Fathers and Sons is a very intri"uin" (##/. It presents the reader 0ith a "eneral st#ry) (ut then als# #$$ers an underlyin" &essa"e 0hich can (e interpreted in &any vari#us 0ays) "ivin" the reader s#&ethin" &#re than 1ust the narrative t# thin/ a(#ut. In this n#vel) the &ain characters) !r/ady and Ba2ar#v) are very cl#se $riends at the (e"innin" #$ the (##/) (ut then as ti&e pr#"resses) they (e"in t# disa"ree 0ith #ne an#ther) and even devel#p a disdain $#r each #ther. !r/ady "#es $r#& ad&irin" his $riend t# havin" a l#ss #$ interest in hi&. %here are &any instances in the n#vel 0here 0e see this un$#ld) and in #rder t# pr#ve the dev#luti#n #$ their $riendship) it is necessary t# (rea/ these instances d#0n. H#0ever) $irst it 0ill (e help$ul t# see 0hat !r/ady is li/e at the (e"innin" #$ the n#vel) s# that at the end) 0e can l##/ at h#0 he has chan"ed a$ter his relati#nship 0ith Ba2ar#v has (een da&a"ed. 3e are $irst intr#duced t# 0hat !r/ady is li/e 0hen he returns $r#& c#lle"e. He has ta/en t# the idea #$ nihilis&) 0hich is (asically the renunciati#n #$ everythin"4 there is n#thin" 0#rth (elievin" in. %his 5purp#seless6 attitude can (e seen $r#& ti&e t# ti&e in hi&. He see&s t# n#t (elieve in anythin" up#n his return $r#& sch##l. 3hen !r/ady returned) he (r#u"ht 0ith hi& his (est $riend) Ba2ar#v. Ba2ar#v is an e7tre&e nihilist) 0h# is very s&art. !r/ady is #(sessed 0ith his $riend) and al&#st id#li2es hi& it see&s. !t the (e"innin" #$ the st#ry) !r/ady a"rees 0ith 898-:%HI'; that Ba2ar#v see&s t# say. Ba2ar#v is <uite critical #$ !r/ady.s $a&ily) and thus) he als# (eca&e critical #$ the& $r#& ti&e t# ti&e. !r/ady is als# a /ind individual) and sensitive t# #thers. He tries t# /eep peace) and is &#re #$ a $#ll#0er at $irst than a leader. In #rder t# &a/e valid p#ints) it als# necessary t# see h#0 !r/ady perceives his $ather 'i/#lai)

his uncle Pavel) and his $riend Ba2ar#v. !r/ady vie0s his $ather as a /ind) hard 0#r/in") sincere &an. !r/ady als# a"rees 0ith Ba2ar#v.s percepti#n #$ 'i/#lai 0hich 0as that he is 5! nice chap...(ut he.s (ehind the ti&es4 his day is d#ne6 =>1?. !r/ady th#u"ht his $ather t# (e $ar t## 5#ld sch##l6 as 0e say in t#day.s day and a"e. !r/ady vie0ed his uncle Pavel in a sy&pathetic 0ay. He $eels that pe#ple &ust 1ud"e hi& 0ith special c#nsiderati#n (ecause his li$e has (een s# $rustratin" and di$$icult. He sees hi& as a very arist#cratic and hardc#re individual) 0h#) li/e his $ather) is (ehind the ti&es. @astly) !r/ady vie0s Ba2ar#v as a dear $riend #$ his as I &enti#ned earlier. He sees hi& as a si"ni$icantly p#sitive in$luence #n his li$e) and #ne that in a 0ay /eeps his nihilistic vie0s in chec/. He ad&ires hi& s# &uch that it al&#st see&s unhealthy. %here are nu&er#us instances in %ur"enev.s n#vel 0here 0e see a "radual shi$t #$ !r/ady.s attitude t#0ards Ba2ar#v. It "#es $r#& #ne #$ ad&irati#n and a"ree&ent) t# #ne #$ independence and disa"ree&ent. 3e (e"in t# see this play #ut sl#0ly) (ut as the n#vel c#ntinues) the disa"ree&ents (ec#&e &#re $re<uent) the ar"u&ents (ec#&e "reater) and the issues (ec#&e lar"er. In #rder t# pr#ve this) 0e 0ill need t# l##/ at s#&e speci$ic instances 0here these t0# characters sh#0 si"ns #$ disa"ree&ent and disdain $#r #ne an#ther. %he $irst &#re si"ni$icant instance 0here 0e see !r/ady and Ba2ar#v disa"ree is in chapter 14. Here) !r/ady and Ba2ar#v are c#nversin" at a (all that they have (een invited t#. %hey (e"in tal/in" a(#ut Mada&e Adints#va) a 0ealthy 0id#0 0h# has attended the (all. !r/ady is $#nd #$ the 0#&an) (ut Ba2ar#v is very cynical a(#ut her. Ba2ar#v is actually very attracted t# Adints#va.s (eauty) (ut (ecause #$ his nihilist (elie$s) he &ust n#t e7press his attracti#n t# her in an h#nest and true &anner. %hus) he &a/es der#"at#ry state&ents a(#ut her and h#0 attractive her (#dy is. His sarcastic c#&&ents ann#y !r/ady) 0hich leads hi& t# as/ Ba2ar#v the <uesti#n) 53hy are y#u un0illin" t# all#0 $ree thin/in" in 0#&enB6 =%ur"enev CD? It is #(vi#us that !r/ady d#es n#t appreciate Ba2ar#v.s c#&&ents c#ncernin" the Mada&e Adints#va. %his 0#uld (e the $irst #$ &any $urther disa"ree&ents (et0een the t0#.

!n#ther instance #$ disa"ree&ent that is <uite s&all (ut yet still necessary t# &enti#n is $#und 1ust a (it $urther in the st#ry. In this scene) !r/ady and Ba2ar#v are c#nversin" at Mada&e Adints#va.s h#use) 0here they have (een invited t# c#&e stay. !l#ne at ni"ht) the t0# (e"in t# tal/ a(#ut Mada&e Adints#va and her sister) Katya. !r/ady praises Adints#va and c#&pli&ents #n h#0 0#nder$ul she is) h#0ever) Ba2ar#v p#ints #ut that the real &arvel is n#t her) (ut Katya. %hey disa"ree #n 0h# is the &#re i&pressive #$ the t0#. It is ir#nic h#0ever that as the n#vel c#ntinues) 1ust the #pp#site un$#lds4 0e see that !r/ady (e"ins t# $all $#r Katya) and Ba2ar#v $#r Mada&e Adints#va. @ater #n the st#ry) 0e c#&e t# a scene in the n#vel 0here !r/ady and Ba2ar#v are havin" a &a1#r disa"ree&ent) and they e7press their #(vi#us disli/e $#r #ne an#ther. %he t0# y#un" &en are currently stayin" at Ba2ar#v.s h#&e 0ith his parents) and as they are rela7in" #ut (y a stac/ #$ hay ar#und &idday) they (e"in t# <uarrel. !s they lay and tal/) they (e"in t# disa"ree #n a nu&(er #$ issues) particularly 0hether a &an sh#uld have any principles #r n#t. !r/ady th#u"ht that a &an sh#uld have principles) 0hile Ba2ar#v (elieved it t# (e $##lish. !$ter this) !r/ady su""ests that the t0# ta/e nap. H#0ever) hey d# n#t sleep) and a$ter0ard they are ri"ht (ac/ at it. An pa"e 1>4 0e read) 5But neither #$ the& slept. ! $eelin" #$ al&#st h#stility had c#&e #ver (#th the y#un" &en.6 Here 0e "et a little taste #$ 0hat is (e"innin" t# (re0 (et0een the&. !$ter this 5nap6 !r/ady &a/es the #(servati#n that a dry &aple lea$ rese&(les a (utter$ly at ni"ht) and Ba2ar#v tells hi& n#t t# tal/ s# $##lishly. %his $urther upsets !r/ady) 0h# is n#t prepared $#r 0hat Ba2ar#v 0ill say ne7t. Ba2ar#v asserts that !r/ady see&s t# (e deter&ined t# $#ll#0 in the $##tsteps #$ his 5i&(ecile6 uncle) t# 0hich !r/ady (ec#&es very upset and re&ar/s that 5this is un(eara(leE6 =1>4? Ba2ar#v d#es n#t st#p there h#0ever) (ut c#ntinues t# insult !r/ady 0h# has already reached his thresh#ld. Ba2ar#v sarcastically tells !r/ady that #nly a $##lish &an $eels the need t# de$end his $a&ily) t# 0hich !r/ady e7presses his desire t# st#p the ar"u&ent (e$#re they 5really <uarrel at last6 =1>>?. %# !r/ady.s surprise) Ba2ar#v desires t# $i"ht) and an epic scene see&s as th#u"h it is a(#ut t# un$#ld. 5.!h) !r/adyE d# &e FBa2ar#vG a /indness. I entreat y#u) let us <uarrel $#r #nce in

earnest.... .F!r/adyG But then perhaps 0e sh#uld end (y.... .,i"htin"B. put in Basar#v6 =1>>?. %he t0# are a(#ut t# unleash their ulti&ate disli/e $#r #ne an#ther) and prepare t# $i"ht 5t# the death) t# annihilati#n6 Ba2ar#v states) 0hen 1ust then) 9assily Ivan#vitvh) Ba2ar#v.s $ather appears. His presence di$$uses the situati#n) and the (attle is av#ided) 0hich pleases !r/ady (ut n#t Ba2ar#v. %his scene is the epit#&e #$ !r/ady and Ba2ar#v.s disli/e $#r #ne an#ther. %heir <uarrel (ec#&es s# heated that it al&#st turns physical. 8ven in this instance) it is Ba2ar#v 0h# is the #ne 0h# is pr#v#/in" !r/ady. !r/ady d#es n#t see& t# say anythin" 0hich 0#uld (e e7tre&ely upsettin" t#0ards Ba2ar#v. %hese are &a1#r issues in 0hich they (e"in t# di$$er. Hh#rtly a$ter this p#int in the n#vel) !r/ady and Ba2ar#v $ind the&selves #nce a"ain at Marin#) !r/ady.s parents h#use. !r/ady has al0ays (een entranced (y Ba2ar#v) and hi"hly entertained (y his presence) and thus 0hy he has re&ained 0ith hi& thr#u"h#ut the the n#vel up t# this p#int. !s !r/ady and Ba2ar#v (e"in t# n#tice their di$$erences) they see& t# (ec#&e less enthralled 0ith #ne an#ther) especially !r/ady. !s the t0# are at Marin#) !r/ady s##n l#n"s t# (e at 'i/#ls/#e) 0here his l#ve) Katya) resides. 3hat is ast#nishin" is his lac/ #$ interest in Ba2ar#v) 0h#& he is ready t# leave t# "# 'i/#ls/#e. In $act) !r/ady is even (#red 0ith Ba2ar#vE 3e read) 5In $#r&er days he F!r/adyG 0#uld si&ply have shru""ed his sh#ulders i$ any#ne had t#ld hi& that he c#uld ever $eel dull under the sa&e r##$ as Ba2ar#v6 =1DC?. !r/ady then leaves his parents h#&e and sets #$$ #n his #0n $#r the $irst ti&e 0ith#ut Ba2ar#v. !r/ady (e"ins t# esta(lish his #0n identity) 0hich is &uch di$$erent than that #$ Ba2ar#v.s. %heir di$$erences have n#0 c#&e $ull circle it see&s) as they n# l#n"er $eel the need t# re&ain t#"ether. Ane #$ the last p#ints #$ c#n$r#ntati#n (et0een #ur t0# y#un" &en c#&es later in the st#ry) 0hen Ba2ar#v "#es t# 'i/#ls/#e) 0here !r/ady is stayin" 0ith Mada&e Adints#va and Katya. Ba2ar#v.s reas#n $#r "#in" t# 'i/#ls/#e is that he (elieves !r/ady is havin" an a$$air 0ith Mada&e Adints#va) 0h#& he still l#ves. !r/ady assures Ba2ar#v that he is &ista/en) and that he is at the Mada&e.s h#use n#t $#r her) (ut $#r her sister) Katya. Ba2ar#v d#es n#t accept this e7planati#n the $irst

ti&e) and thus initiates a "reat deal #$ dra&a a&#n"st the pe#ple at the h#useh#ld. %his #rdeal is yet a"ain an#ther instance in 0hich !r/ady and Ba2ar#v su(c#nsci#usly e7press that they are partin" 0ays) until Ba2ar#v $inally ver(ali2es 0hat 0e have (een seein" ta/e place $#r <uite s#&e ti&e. He says) 5! senti&entalist 0#uld say) .I $eel that #ur paths are (e"innin" t# part). (ut I 0ill si&ply say that 0e.re tired #$ each #ther6 =2*>?. !r/ady is ta/en a(ac/ (y this state&ent) yet it is s# true $#r the (#th #$ the&. %he last scene that de&#nstrates !r/ady and Ba2ar#v.s partin" relati#nship) 0hich "ives !r/ady &#re $uel $#r his $ire #$ disli/e $#r Ba2ar#v) is 0hen Ba2ar#v disc#vers that !r/ady and Katya are "ettin" &arried. !r/ady as/s $#r Katya.s hand in &arria"e) and 0hen Ba2ar#v $inds #ut) he is anythin" (ut e7cited. He says that he 0ill 5re1#ice $r#& a distance6 and that sa&e day he ann#unces that he is leavin". It 0#uld see& t# &e that Ba2ar#v is envi#us #$ !r/ady and his success at $indin" a 0#&an 0h#se heart he.s 0#n and settled d#0n 0ith. %heir current disli/e $#r #ne an#ther has driven Ba2ar#v t# a p#int in their relati#nship 0here he cann#t even c#n"ratulate the &an 0h# 0as his (est $riend #n the success #$ his pr#p#sal. %his envy drives Ba2ar#v t# leave) (ut (e$#re he d#es) he says t# !r/ady these partin" re&ar/s 0hich is the c#nclusi#n #$ their relati#nship I 5!nd n#0) I say a"ain) "##d (y) $#r it.s useless t# deceive #urselves I 0e are partin" $#r "##d) and y#u /n#0 that y#ursel$6 =21D? %his state&ent 0#uld h#ld true) $#r Ba2ar#v 0#uld die at h#&e) never t# see !r/ady) his #ne ti&e (est $riend and nihilist c#&pani#n) ever a"ain. !t the end #$ the st#ry) !r/ady has certainly chan"ed. His "r#0in" disli/e #$ Ba2ar#v is c#&plete) and he n# l#n"er see&s t# ad&ire hi& #r &iss his c#&pany. He is enthralled 0ith the l#ve #$ his li$e) Katya) 0h# has c#nsu&ed his ti&e and th#u"hts. !r/ady.s inv#lve&ent in r#&ance is evidence that he (elieves in s#&ethin") 0hich is certainly c#ntrary t# nihilis&. He (elieves in l#ve) and in $indin" s#&e#ne that 0ill c#&plete hi& and (rin" hi& "reat 1#y. Has $inally esta(lished his #0n identity that had (een su(dued (y Ba2ar#v and his e7tre&is&. He is his #0n &an n#0 0ith his #0n (elie$s and his #0n 0ay #$ li$e.

%he st#ry ends in a $ittin" &anner t# &e) 0ith !r/ady in a 0ay ridin" #$$ int# the sunset 0ith his ne0 0i$e) and Ba2ar#v su$$erin" an early death. I have c#&e t# the c#nclusi#n that $#r &#st all #$ Ba2ar#v.s li$e he 0as an a0$ul &an) and that !r/ady is a "##d 0illed &an 0h# 0as (r#u"ht d#0n (y Ba2ar#v.s str#n" in$luence. !r/ady &a/es a si"ni$icant trans$#r&ati#n thr#u"h#ut this st#ry) and #ne that I (elieve &#st any#ne 0#uld a"ree 0as $#r the (est. H#&eti&es in li$e there are th#se pe#ple that 0e l##/ up t# (ecause they are s&arter #r &#re e7perienced than us. Un$#rtunately) these pe#ple can (e $alse r#le &#dels) and in$luence us in a ne"ative &anner. %his is 0hat I (elieve #ccurred t# p##r !r/ady. In all cases) adherin" t# 0hat is &#rally ri"ht) "##d) and ethical is (y $ar the (est 0ay t# live.

Bi(li#"raphy

%ur"enev) Ivan H.) and C#nstance ;arnett. Fathers and Sons. 'e0 :#r/: Harper and Br#thers) 19>1. Print.