HaCKeRz Kr0nlcKLeZ 1/HaCKeRz Kr0nlcKLeZ.iso/anarchy/essays/term/fath&son.txt

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       Nihilism in Turgenov's Fathers and sons


    TurgenovÆs  Fathers and  Sons has several characters who hold strong
views of the world.  Pavel believes that Russia needs structure from such
things as institution, religion, and class hierarchy.  Madame Odintsov
views the world as simple so long as she keeps it systematic and free from
interference.  This essay will focus on perhaps the most interesting and
complex character in Fathers and Sons: Bazarov.  Vladimir Nabakov writes
that "Turgenov takes his creature [B] out of a self-imposed pattern and
places him in the the normal world of chance."  By examining Bazarov this
essay will make this statement more clear to the reader.  Using nihilism as
a starting point we shall look at BazarovÆs views and interpretations of
science, government and institution.  Next we will turn to the issue
relationships.  Finally we examine BazarovÆs death and the stunning truths
it reveals.  These issues combined with the theme of nihilism will prove
that chance, or fate is a strong force which cannot easily be negated.
         Nihilism as a concept is used throughout Fathers and Sons.  To gain a
better understanding of the ideas behind this term letÆs look at what
Bazarov says on the subject.  "We base our conduct on what we recognize as
useful... the most useful thing we can do is to repudiate û and so we
repudiate" (123).  The base concept of nihilism is to deny or negate, and
as we learn later in the same paragraph, to negate everything.  With this
ædestructionÆ of everything from science to art there is no building for
nihilists, as Bazarov says "That is not our affair" (126).  Nihilists view
the current structure of society as concerned with such  trivialties as
æartÆ and æparliamentismÆ while ignoring real life issues such as food,
freedom, and equally.  Nihilists are aware of these social woes and hence
mentally deny to recognize any of the present authority or institutions
which only serve to perpetuate a myth.  Bazarov agrees with the statement
that nihilism "confine[s] [oneself] to abuse" (126).
        "... I donÆt believe in anything: and what is scienceùscience in the
abstract?  There are sciences as there are trades and professions, but
abstract science just doesnÆt exist" (98).  For Bazarov anything that is
not tangible and concrete doesnÆt exist.  Psychology, quantum mechanics,
neurochemistry would be scoffed at by Bazarov.  It seems peculiar that
Bazarov would say, "... nowadays we laugh at medicine in general, and
worship no one," (197) while at the same time he pursues a career as a
doctor.  The medicine that Bazarov uses deals in the æpure sciencesÆ, that
is his ideas comes from practice not theory.  By looking closer at Bazarov
we discover that his work confirms his nihilistic ideas.  To explain, one
only need look at BazarovÆs main focus; the dissection of frogs.  Each time
he pokes around the anatomy of a frog he notices they all have similar
structures (heart, liver, intestineÆs etc).  Humans also share a  common
internal anatomy.  Abstract concepts like authority, religion or science to
not naturally exist within people and are only made ærealÆ by others.
Bazarov knows this and his studies confirm his rebellious attitude.
Bazarov says, "All men are similar, in soul as well as in body ... and the
so-called moral qualities are the same in all of us" (160).
        As with general science Bazarov feels nothing towards art.  "... You
assume that I have no feeling for art û and it is true, I havenÆt"  (159).
Art is trivial to Bazarov and accomplishes nothing, therefore he doesnÆt
recognize it.  It is the same with nature, "Bazarov was rather indifferent
to the beauties of nature" (169).  There is a saying, "Beauty is in the eye
of the beholder."  What if the beholder has no eye for beauty?  Such is the
case with Bazarov.  The point for Bazarov is that aesthetics in art and
nature only serve to divert attention from pressing issues such as
corruption in society and structural change.  These are what concerns a
nihilists, not the latest prose from Pushkin or painting from Alexander.
        Institutions such as education, government and established authority are
scorned by Bazarov.  "Everyone ought to educate himself" (105).  Since
indoctrination of the established society begins with education, a nihilist
should view education from behind the barrel of a shotgun.  Logic is of no
use Bazarov, "You donÆt need logic, I suppose, to put a piece of bread in
your mouth" (123).  The nihilist agenda, that is, the need for tearing down
of structure is beyond logic and is as necessary as eating or breathing.
In addition Bazarov believes that what is preached by politicians and
so-called leaders is itself without logic.  "Aristocraticism, liberalism,
progress, principles û think of it, what a lot of foreign words ... and
useless words!"  (123).  It is easy for Bazarov to give no credence and
thus negate the things which government deems important in society.  He
sees irrelevance in much of what is said and done by leaders and Bazarov
believes that real issues are being avoided.  "We saw that our clever men,
our so-called progressives and reformers never accomplished anything, that
we were concerning ourselves with alot of nonsense, discussing art,
unconscious creative work, parliamentarianism, the bar, and the devil knows
what, while all the time the real question was getting daily bread to eat
... when our industrial enterprises come to grief solely for want of honest
man at the top" (126).
        BazarovÆs nihilistic nature is a product of the corruption he sees in is
nation.  Bazarov could  choose to live his life and pretend not to be aware
of the evils around him.  Instead he chooses to be a destroyer of
structure, a nihilist in every sense and every thought.  He finds himself
in a world which he despises and discovers he must deny everything which
results from this world.  However, BazarovÆs self-imposed nihilism, which
gives him the power to negate, is challenged by something we are all
subjects toùchance.

        When Bazarov meets Madame Odintsov we notice distress within our hero.  Up
to this point Bazarov has maintained his somewhat icy composure and easily
passed the tests of his nihilist convictions.  But now, chance deals
Bazarov a new hand.  By befriending Anna Odintsov Bazarov comes up against
feelings which he tries desperately to defeat.  In the early stages he
feels inspired and this feeling "tortured and maddened him" (169).  Later,
sometimes unaware, Bazarov has fantasies wherin his lust for Anna O is
quite clear.  Bazarov finds that despite his strength in other matters her
is overwhelmed and consumed by these æshamefulÆ thoughts.  Bazarov would
"stamp his feet or grind his teeth and shake his fist at himself" (170).
Even after all his teeth grinding and fist shaking, Bazarov cannot seem to
cast off his growing passion.  "He was breathing heavily;  his whole body
trembled" (182).  It is interesting to watch this fight between BazarovÆs
deeply held views of nihilism versus (what Bazarov would call) a trivial
and ambiguous entity - passionate love.  This situation between Bazarov and
Anna would have been scoffed at by Bazarov himself, had another been in his
place.  Eventually the "passion struggling in him, violent and painful"
(182) is too much for Bazarov to take and he gives into this æpassionate
furyÆ.  This proves that even a nihilist, who heeds no authority,
institution, or social conventions and follows no rules, cannot negate the
power of love.
        Life is itself without rules.  It is the random, somewhat chaotic nature
of life which makes convention attractive.  Bazarov sees life for what it
is and would rather take his chances with the æchaoticÆ, undefined world
than live by rules, norms and standards imposed by others.  Bazarov calls
conventional methods of living ægliding along the railsÆ.  Bazarov lives at
the edge of an abyss and he uses no railing for support.  For this reason,
Bazarov is a stronger man than most, as he has only himself to turn to.  He
sees corruption and scandel in many of the structures and fights to tear
these down.  It is hard for Bazarov to do this alone for nihilism is a
"bitter, harsh, lonely existence" (271).  What is needed is more strong men
like Bazarov to help tear down the institutions.  Chance, however finds
Bazarov in a time which cannot appreciate his ideas.  It is too early and
the people have yet to uncover their eyes, and cannot see what is
systematically removing their souls.
        BazarovÆs gradual demise is foreshadowed by the peasants when "Bazarov the
self-confident did not for a moment, suspect that in their eyes he was
nothing but a buffoon" (276).  BazarovÆs nihilistic ideas do not seem to
reside anywhere but in himself.  He seems to realize that Russia is not
ready to accept his ideas and meets fate with unusual acceptance.  When
Bazarov becomes infected with typhus he doesnÆt stamp his feet or grind his
teeth, he merely says, "ItÆs a fortuitous circumstance, and, to tell you
the truth, a very unpleasant one" (281).  ItÆs of little use for Bazarov to
deceive himself into thinking he can negate fate.  "Yes, just try and set
death aside.  It sets you aside, and thats the end of it!" (283).  Bazarov,
the great nihilist of Russia encounters the strongest negation of all û
death.

        Nihilism as an idea has the potential to create alot of change.  By
relinquishing all forms of authority, institution and convention of value
so that subordination, normality, rules and laws no longer exist, would
cause a radically different perception of social conduct and
responsibility.  Bazarov, by being a nihilist, brings this into existence.
 Negation, however does have its limits.  As Bazarov discovers, there are
some things which defy negation.  If by chance one falls in love, the sword
of negation meets heavy armor.  The strength of a nihilist resides in his
or her mind.  The action potential is in the strength of conviction to
these principles.  But the overall power of ones ability to destroy is in
no way a match for the supremacy of fate û negation in the form of death.