Among the Samanas: Chapter 2

Siddhartha and Govinda find the Samanas and join their fellowship.
They live a life of deprivation. 
They ate once a day, in which they must beg and be dependent on the generosity of villagers, and they wore only loin cloths and cloaks.
Soon Siddhartha became thin and ravaging with hunger.
Nothing stimulated him any more. Everything he encountered seemed fake and worthless.

Everything was unworthy in his eyes, everything lied, everything stank, everything stank of lies, everything shammed meaning and happiness and beauty, and everything was unacknowledged decay. The world tasted bitter. Life was torture.

Siddhartha's one goal is to become empty. To have no desire, no dreams, no sorry, but also no joy. To be completely free of all feeling and emotion. He wanted to "find peace with an emptier heart, to be open to miracles in unselfed thinking."

His reasoning: When every drive and every mania in the heart had fallen silent, then the ultimate was bound to awaken.

The ultimate? I am guessing that the ultimate is the ultimate God. The one true deity that is present in all life. And Siddhartha is solely focused on finding a way to be present/aware/encounter the ultimate. He tried to find paths that led away from his ego.

So Siddhartha slowly learns to master pain, master desire, master fatigue and exhaustion, master hunger,. He meditates for hours until he is free of all thinking and his mind is empty of all notions of feeling. But no matter how much he tried, and how much he mastered, he was always led back to his ego. He always ended thinking of something in the current, something he was experiencing.

Siddhartha begins to question  what all of his meditating and fasting did. What was its purpose? Feeling no pain and no desire for a brief time is just like being drunk, numb for a period of time. It is easier to be free of all feelings by being a drunk than to escape pain the hard way, through meditation and deprivation, like Siddhartha did. His exercises only gave him brief numbing and he was non the wiser.

Siddhartha questions if being a Samana will really lead him to the goal he wants to achieve, "Now tell me Govinda," Siddhartha says, "are we really on the right path? Are we really approaching knowledge? - Or are we not perhaps going in a circle- we who thought we were escaping the cycle?"

"I suffer from thirst, O Govinda, and my thirst has not lessened on this long samana path." Siddhartha suffers from thirst for knowledge. He is constantly trying to understand, grasp, achieve something new, but the way of the samanas did not appease his need at all.

After three years (3 YEARS!) of being with the samanas, Govinda and Siddhartha decide to leave after hearing about a Gautama, the Buddha who was rumored to have supreme knowledge, that he remembered his earlier lives, that he had reached Nirvana, and most importantly, that he would never return to the cycle.  This news obviously perked Siddhartha's interest, but he ventured toward the place of Buddha with some skepticism, "I have become weary and distrustful of teaching and learning, and that Ihave little faith in words that come to, us from teachers." Siddhartha is scared that all that there is to life,  are experiences he has already discovered. "I believe we have already tasted the finest fruit of this Teaching.' 

When it comes time to say goodbye to the samanas, Siddhartha makes a lead samana spell bound with just a look. The old man is powerless under Siddhartha's gaze and wished Siddhartha a good journey.
When Govinda realizes the power that Siddhartha developed while in the care of the samanas, he says that Siddhartha could have soon learned to walk on water, in which Siddhartha replied, "Let old samanas content themselves with such tricks."

Siddhartha is not interested in tricks or making shows or getting attention. He wants true knowledge for himself which makes his quest so much more real for onlookers. He wants to reach Nirvana, not for the title or to brag about it, but for his  own understanding, which makes his journey selfless in a way.

While reading this book, I keep being reminded of "Candide" in how simple the structure is. "Candide" is written in a way that children can read it, which makes the concepts so obvious and makes readers feel like idiots for not implementing the message of the story earlier in their lives.

The Brahmin's Son

Siddhartha is the name of the main character. He is the son of a Brahmin, which is a religious leader, but there are many Brahmins, not just one leader for the community. I'm still trying to figure out what religion this book is trying to portray because it seems like a Buddhist book, but Brahmins are figures in Hinduism.

Siddhartha is best friends with Govinda and Govinda sees that Siddhartha will be very successful as a religious leader some day. So successful, that he believes that Siddhartha will even one day be a god, and Govinda plans to follow him on his path to becoming a deity. But Govinda sees that Siddhartha will be no ordinary Brahmin, which in itself is a critique of their society,

 "Govinda knew that Siddhartha would become no ordinary Brahmin, no lazy sacrificial official, no grasping peddler of spells, no vain and empty orator, no evil, deceitful priest, and no good, stupid sheep in the herd of many. No - nor did he, Govinda, wish to become any of those, a Brahmin like the other ten thousand" (Hesse 4).

What does this say about the religious leaders of their community? It seems like there are many individuals high up in the ranks of respect, who, in reality, don't deserve it. There must not be high standards to become a Brahmin.

Siddhartha's father is a Brahmin, but it seems like Siddhartha truly respects his him. Siddhartha's father must be one of the few who take their position seriously and really try to live up to the ideals of their religion.

Siddhartha seems to be advanced for his age in his culture. He takes his religious education very seriously and practices verbal battles, the art of contemplation, and meditation. He has already mastered the the soundless om. Everyone around him is either bursting with pride in his accomplishments or look up to him. But despite the emphasis that everyone put on becoming a Brahmin and mastering the various skills, Siddhartha does not find joy in them. He has already mastered them and they have not brought him any sense of accomplishment or fulfillment.

"Siddhartha had started nursing discontent within himself. He had started feeling that his father's love, and his mother's love, and also his friend Govinda's love would not make him happy forever and always, not please him, gratify him, satisfy him" (Hesse 5).

Siddhartha begins to question the legitimacy and the depth of his community's religion. He begins to question the un-questionable. He doesn't want to just accept what people tell him. He wants to know definitively for himself, "Was there any other path worth seeking?" (Hesse 5-6).

Then Atman is introduced and Atman seems to be the one true God, the ultimate deity. You can only find Atman within yourself. You must be able to to tap into yourself to tap into his wisdom, "in deep sleep, a human being goes into his inntermost and dwells in Atman" (Hesse, 6).

In Siddhartha's confusion and frustration, he sits and meditates. He comes to the conclusion that he wants to join the samanas. The samanas are a group of religious people who live in the woods and deprive themselves of almost everything, all in the pursuit of gaining true enlightenment and ignoring the superfluous things in life to be able to tap into Atman.
When Siddhartha asks his father if he can join the samanas, his father initially says no, but Siddhartha shows his commitment and his stubbornness in his decision by refusing to move from where he is standing until his father gives him his blessing. He stands in the exact same spot all evening and his father sees that Siddhartha has out-grown their small community, that his mind is elsewhere, and he gives him his blessing to join the samanas.

In the morning, Govinda joins Siddhartha in his journey from the village into the woods to find the samanas.


I think that thus far, this story is easy for teenagers and people trying to find their place in the world to relate to. I also am trying to sift through the muck and murkiness of some religions. There is so much b.s. that its difficult to find the truth sometimes. I know that I'm not the only one. People try to find what is true for them and make their religion their own, but in the early stages it is difficult to know where to begin.  Siddhartha has the benefit of giving up everything to leave and commit himself to his search for truth. The rest of us have to work, study, and still try to take time to continue their investigations. Its so appealing to just come home at the end of the day and watch tv instead of sitting down and reading texts or joining a study group. The quest for truth takes discipline.

To commit to my own quest for truth and understanding, and to help commit to my endeavors of remining in control of my homework load and not procrastinating, I am giving up tv for the whole month of October.
No tv whatsoever. Nada.
Jenji Kohan and his delightful tv shows on netflix are taking control of my days and my life has become the definition of binge watching because of him.
But no more!
I have today and tomorrow to finish season one of Orange is the New Black, and then its cold turkey and commitment to discipline in my studies.

The only exception for tv: watching "Eat, Pray, Love," to inspire me to give up everything, just like Siddhartha, in pursuit of self-understanding, peace, balance, and truth.
Come December, I want to do the same thing. Leave it all!

Siddhartha: A Fresh, New Start

This semester I am not taking a single literature course and I am having withdrawls!
I have already re-read Anne Frank: Diary of a Young Girl and Slaughterhouse Five by Kurt Vonnegut.
My new conquest: Siddhartha by Hermann Hesse.
The last two books I read I loved, but did not get as much out of as I had hoped, partially I think because I was not able to discuss them with anyone.
Siddhartha has been recommended to me by many people and by many "20 Books You Must Read in Your 20's" lists floating around the internet. It is supposed to be a book that helps with reflection, self-actualization, and getting true meaning out of life. I am not going to read this book and let its message not have an impact.
I will be invested in this reading.

Goal 1: Stop being sick. Its debilitating.
Goal 2: Stop blaming your laziness on being sick. Get up and get over it. Go to the library, a coffee house, hell even a pub, just get out of bed when you do your reading.
Goal 3: Do some historical background research on Hermann Hesse and Siddhartha. Where was Hesse born? In what context was Siddhartha written? etc.
Goal 4: Read Siddhartha slowly.
Goal 5: Blog along the way. Ask questions, delve into metaphors, comment on observations.

So the literary adventure begins! Again!

Oliver Twist: Chapters 1 - 5

The only things I knew about Oliver Twist before reading it was that it was by Charles Dickens and it was about a boy who asked, "for some more," and somehow ended up pick-pocketing people and getting sent to court. I also know that there is a musical about it called Oliver! though I have never seen it.

I was surprised with the grimness of the story when I started it. I am only up to Chapter Five but this poor boy was licked, as they say, before he was born. Oliver Twist's mother died upon having him and he was immediately sent to an orphanage to be cared for. The money to pay for his housing and food was provided by the government, a fact that the adults in Oliver's life never let him forget.

The orphanage is Oliver's first introduction into the cruel world within which he lives. The caretaker is an elder woman who knows how to keep the children fed, but just barely, and keep the rest of the money allotted to them for herself. When members of the Board come to inspect the grounds, she makes sure to have the children clean and fed, and threatens them to keep their mouths shut on any matters that they may criticize about their situation. When he grows too old for the orphanage, an ambiguous Board of old men decide that he should be 'farmed' or sent to a work house where he will work and be fed with other boys in his state. The Board is harsh on Oliver. When he is presented in front of them, he begins to cry from intimidation. They criticize him, not helping matters, and dub him a fool for his ignorance.

Oliver Twist exhibits the tyrannical and absolute, unchecked control that small groups of wealthy British gentlemen had at the time. The Board holds absolutely no sympathy for Oliver and they actually put all their efforts toward finding the worst possible arrangements for Oliver, trying first to send him off with a chimney sweep who has a reputation for beating his interns to death. They succeed in sending him off with an undertaker, threatening that if he is returned for bad behavior (ie asking for more food then meagerly allotted to him) then he would be sent to sea where they openly hope for him to be beaten or drown.

The fact that Oliver is actually a very obedient young boy who follows the orders of his elders even when they have wronged him in the past (like his first caregiver) or who try to lead him to destruction (the beadle), members of the Board all look at him as an ignorant fool who will amount to nothing but a vagabond. They choose to ignore the fact that they failed at providing him with an education or with resources to help build his chances of success.

In Oliver Twist, Dickens illustrates the vicious circle that the poor of England suffered. Once an orphan entered the system, it was 'farmed' into an adult whose skills only amounted to thievery. His only goal in life: to survive by any means possible. The Board believed only in strict and harsh keeping during childhood, but they never cared to look at the high numbers of felons they were spouting out into society.

Dickens reveals the treachery, inhumanity, and corruption that ruined the lives of countless, originally innocent children. 

Return of the Literate!

My literary blogging ended mid-semester frayed and loose-ended. The cumbersome duties of my courses deteriorated any energy I had at the end of the day that I tried to reserve for reporting on my reading.

I wish that I had continued my blogging, for I noticed that my understanding of later readings was not as in-depth and I did not harbor as many questions as I had before. The impression left upon me by "The Belly of Paris," and "Fathers and Sons" I attribute largely to the fact that I took time to analyze the plot and write down my questions.

I wish that I could say that my lack of involvement with the text as a direct affect of me not blogging has jarred me enough to vow that I will never discontinue my blogging ever again, but I know that it is likely that Life again will pop up and divert my attention.

This summer though, I will be studying abroad in London, England! I will be taking a Creative Writing course and a British Literature course. Both require loads of advance reading. But my time is limited. I only have two weeks until I take-off.

The books for the Literature course include:
The Beggar's Opera - John Gay
A Description of a City Shower - Swift
London- Johnson
London- Blake
A Scandal in Bohemia and The Man with the Twisted Lip - Sir Arthur Conan Doyle
Mrs. Dalloway - Virginia Woolf
Oliver Twist - Charles Dickens

The books I will be reading for the Creative Writing course:
The Summer Book - Tove Jansson
Rain - Don Paterson
Being Human - Neil Astley
The Creative Writing Coursebook (?) - Julia Bell and Paul Magrs
The Poem and the Journey, and sixty poems to read along the way - Ruth Padel
On Writing Short Stories - Tom Bailey
Creative Writing: a workbook with readings - Linda Anderson

So it appears that my time will be consumed by reading now. Hopefully it will inspire some writing and hopefully I'll have time for it.

Took keep focused on reading these books, I have made the vow to give up television for the rest of my time on American soil. Sherlock and House of Cards have already stolen too much of my time.

Chapter 2: Florent and Quenu's History

FLASHBACK
Florent had been studying law in Paris when he and Quenu's mother died. She had always favored Florent, her elder son, especially when he would win chief prizes in school. She worked and saved all her money to send Florent to school, and as an effect, Quenu was left to wander the streets in ragged clothes.
When Florent returned to his home after his mother died, he "gave up all thought of continuing to attend the law school and postponed every ambitious project" (57). He had a child to look after and he took on various jobs of being a tutor to help pay for Quenu's various expenses. When Florent began to try and educate Quenu, Quenu proved to be a disenchanted and unwilling student. Florent's only ambition was to make Quenu as happy and comfortable as possible, and so, gave up all notions of educating him seeing as it made him bored and frustrated.
As Quenu grew older, he declared that he wanted to begin to work himself. He tried out various trades but found none that interested him. Even though Quenu wished to be independent and provide from himself, his trial and errors actually put a heavier burden on Florent, who had to pay for the required clothes, lessons, and tolls that Quenu needed to try out the various trades. But Florent quietly and uncomplainingly endured the load and was obliged to take a couple of students an evening on top of his usual students. Florent deprived himself of rest and even the smallest graces to provide for his brother. He selflessly worked to provide a comfortable and happy home for Quenu, "For eight years he had continued to wear the same old coat" (59).
Eventually, Quenu became aware of the opportunities that were just outside his door. Their neighbor, "a worthy man called Garvard," (60), ran a large poultry roasting establishment. It was there that Quenu's love for cooking grew. Quenu became passionate about cooking and enjoyed laboring over hot furnaces and working with savory gravy.
While Quenu happily worked in the poultry shop all day, Florent was obliged to continue his work tutoring to help pay for various expenses. "They continued to live in the room in the Rue Royer Collard, to which they returned every evening; the one glowing and radiant from his hot fire, the other with the depressed countenance of a shabby, impecunious teacher" (61). The two brothers are complete opposites, and not just personality-wise. Quenu is young and ignorant of the depressed state that Florent endures on his behalf and Florent is an unsung hero.

Really, Florent is a hero. He gives up his passion and his great intellectual promise to take care of his younger brother who is neither grateful nor willing to get an education. Not only does Florent have to give up his dreams, but he must provide for his brother by doing menial tutoring which stretches him thin and exhausts him.

Actual pictures of what Les Halles, the market of Paris, looked like:

I had thought that the markets were outdoors the whole time I've been reading the book. Really, there were large, expansive markets, all in one place (which was innovative at the time), and they were indoors.

Caillebote's "Paris: A Rainy Day," shows the sly transition that the government made in creating streets in Paris- wide and spacious, making it more difficult for barricades to be put up.

Chapter 1 of The Belly of Paris:
A farm woman, Madam Francois, almost runs a man over while driving her horse and cart to Paris' markets one early, misty morning. He was a ragged character, all dressed in black, passed out in the street. When he says he is trying to get to Paris, she offers him a ride, and he passes out, once again, in the cart. He appears to be a drunk, left out in the streets after a rough night, but it is soon revealed that he, Florent, has just escaped from the Penal Colony of Cayenne to which he had been sent for his participation in the resistance to Louis Napoleon's Coup d'Etat. After several years of imprisonment, he was finally able to escape and return to his beloved city where he plans to live a quiet life and avoid the police at all costs.
All along the ride to the markets, it is blatant that Florent is raving with hunger. Though his situation is sad, there is a comical irony that he is literally surrounded by food, but his pride and manners prevents him from asking the woman for a spare carrot.
When Madam Francois and Florent finally arrive in Paris, it is almost a new city. New markets have been established since Florent has been deported. It is when they arrive in the city that Florent's experience in Cayenne is revealed by the narrator. Florent had been caught as being resistant to Napoleon's Coup d'Etat. He had been walking with a crowd of other resistors when the police began to open fire on the group. As chaos broke out, Florent was trampled and knocked unconscious. When he finally awoke, he was surrounded by dead bodies and even had the body of a dead woman slumped over him, her blood spilling onto his hands and lap.
He hurriedly pushed her off and in a daze, found himself in a wine shop. Upon hearing a group of men talk about throwing up barricades, he offered to help them, but fell asleep from exhaustion after they had built the barricade. Florent awoke to finding that his comrades had abandoned him and in the grasp of the police. The police reported him as being, "very dangerous" because of the blood they found on his hand. He was tried, convicted, and sent to Cayenne without anyone to defend him and without any evidence being adduced.

Florent, who had previously been a student who studied law and firmly believed in the brotherhood of man, was crudely abused by the systems of justice and humanity, systems that he had devotedly trusted.

While in Cayenne, Florent, "had never again been free from hunger" (18) and he "could not recollect a single hour of satiety" (18). But he finally returns to Paris, on a carriage of vegetables, and finds it "fat and sleek and flourishing, teeming with food" (18). Paris becomes almost a character in itself, "the luxurious, greedy city," and "in harmony with those huge markets, whose gigantic breathing, still heavy from the indigestion of the previous day, he now began to hear" (18). Paris and the market places are humanized and personified, and readers quickly become aware that Paris is going to be a character. Paris is going to have a personality and a disposition. The characters are going to directly be affected by Paris.
We also see this personification in the lines that describe Paris when Florent returns to the city, "Paris, looking like a patch of star-spread sky that had fallen upon the black earth, seem to him to wear a forbidding aspect, as though angry at his return" (10). Even when Florent leaves the city and is violently torn from it,  Paris shows its response:

It was a joyous carnival night. The windows of the restaurants on the boulevards glittered with lights. At the top of the Rue Vivienne, just at the spot where he always saw the young woman lying dead - that unknown young woman whose image he always bore with him - he now beheld a large carriage in which a party of masked women, with care shoulders and laughing voices, were venting their impatience at being detained, and expressing their horror of the endless procession of convicts. (18)

Zola is showing that Paris is not happy with Florent's return, despite his great love for the city. I think that Paris is also celebrating while Florent is departing. These could be foreboding signs of Florent's future in the story.

At the market, Madam Francois shows Florent around and introduces him to her friend, the artist Claude. Claude agrees to take Florent around the marketplace more as Madam Francois sets up her stand. He shows that he has a great passion for food and the market place. He loves, not to eat the food, but to paint it.  But Claude proves not to be a very trustworthy or reliable guide, because Florent is soon abandoned.

While in the market, Florent experiences two overwhelming feelings:
1. Distrust and Paranoia. Because of the circumstances surrounding his removal from Paris, Florent feels distrustful of all those who question him or look at him suspiciously (41). He has abandoned all his previous beliefs in trust and comradery. He now is suspicious that everyone would willingly send him back to Cayenne without the blink of an eye. He is even distrustful of Madam Francois, the woman who helped him. While Madam Francois tries to make conversation with him and ask him questions, he feels disinclined to talk and overcome with a feeling of distrust, "His head was teeming with old stories of the police, stories of spies prowling about at every street corner, and of women selling the secrets which they managed to worm out of the unhappy fellows they deluded" (19).

 2. Besides extreme distrust, Florent also experiences extreme hunger. Despite his location among hundreds of different types of food, Florent cannot afford any of it. He is ironically starving while drowning in the savory smells of fish, fruit, pork, and butter. Cruel, cruel irony.

While aimlessly wandering around, Florent sees an old, close friend, Garvard. He calls out to him, and Garvard is both surprised and extremely happy to see him. Garvard tells Florent to follow him, but at a distance (Garvard knows the reasons of Florent's sudden departure so many years ago) and he leads him to a beautiful little butcher shop. When they enter the shop, Florent is reunited with his younger brother, Quenu.

The chapter ends with Florent being reunited with his beloved (and fattened) brother, introduced to his brother's wife, Lisa, and presented to their daughter, little Pauline. The family has done very well for themselves, as apparent by the description of the house pet, "The very cat, whose skin was distended by fat, dilated its yellow eyes and scrutinized him with an air of distrust" (54). There is a clear contrast between the experiences the two brothers have had in the past few years, and the family does not seem aware of Florent's trials or current malnurished condition.

"You'll wait till we have breakfast, won't you?" asked Quenu. "We have it early, at ten o'clock." A penetrating odor of the cookery pervaded the place; and Florent looked back upon the terrible night which he had just spent, his arrival amongst the vegetables, his agony in the midst of the markets, the endless avalanches of food from which he had just escaped. And then in a low tone with a gentle smile he responded: "No; I'm really very hungry, you see."

This story is both sad and comical. The irony and sick humor kind of remind me of Catch 22 by Joseph Heller upon which there are outlandishly funny things said and done, but in a devastatingly awful setting. I think that food, and the contrast between the struggling Florent and the thriving Paris, will be a constant image throughout the story.

Onward Forward.
Although I would love to stay on the topic of Fathers and Sons, my syllabus calls for me to have read my next book within two days... and I like to blog while I read instead of just after.

I'm moving on to The Belly of Paris by Emile Zola. 

From the title and the cover of my book, it kind of sounds like it might be about food or Paris's marketplaces.
The back of my book says about Zola:
Emile Zola was born in Paris in 1840 and was raised at Aixen-Provence in a poor family. He began working as a clerk upon failing his baccalaureat but later decided to support himself by literature alone. Within the next few years, Zola published several of his great masterworks, includeing Therese Raquin and Madeleine Ferat. He also write a series of novels: Lew Rougon-Macquart which consists of 20 fictions intended to reveal the effects of heredity and environment on one family. Sounds interesting! The Belly of Paris is the third novel of that series.
Zola died in 1902.

So basically Bazarov dies and life goes on for everyone else. Odinstova gets married. Arkady and Katya get married. Fenichka and Nikolai get married. Pavel goes to Moscow to do business and ends up in Dresden for his health. Arkady turns out to be a great land owner and the property and peasants become much more successful.
Bazarov is buried in a small village graveyard in one of the remote corners of Russia. Bazarov's parents visit this cite often, "they exchange some brief word, wipe away the dust from the stone, set straight a branch of a fir-tree, and pray again, and cannot tear themselves from the place, wherer they seem to be nearer to their son, to their memories of him..." (166).

Bazarov is completely forgotten by everyone but his parents. His good friend Arkady does not think of him and Odinstova has busied herself with another husband, and all the great efforts and movements that Bazarov worked for in his life were fruitless and go unnoticed.

SO WHAT DOES IT ALL MEAN?!?!?!

There are so many layers to this story I don't even know where to begin!

There is, first off, the issue of Nihilism: its sad effects on the characters, whether they were theoretical followers or practicers, whether there is such a thing as true Nihilism at all, and the author's opinion on Nihilism.

Then there is the title: Fathers and Sons. The generational differences and the human interactions that children have with their parents as the younger finally reach adulthood. That awkward stage in life where you try to find you niche.


One could also take the historical route and research the time period in which this book was made. It sounds like a very tumultuous time in Russia. The peasants were rising up, Nihilism was spreading, Russia was trying to stake its place as a European country as opposed to an Asian one. I want to look further into what inspired or pushed Turgenev over the edge into writing this. What message was he trying to get across to his readers? To abolish Nihilism and respect your elders?
More discussion is needed to organize my thoughts and find support in the text.

Bazarov returns to his home to live with his parents and again, in a state of desperate loneliness, throw himself into his work and studies in science. He begins aiding his father when helping the peasants with their sicknesses and becomes consumed with the work. His parents are initially enthralled with him finally being home but they soon tell that he is not happy, that something is missing from his life, and this casts a dark shadow over the parents' conscience.
Cholera breaks out and when the first casualty arises, Bazarov goes to the body to see if tests can be done or studies made to help treat the disease. While making his observations, Bazarov gets pricked somehow and he knows he has become infected with the virus.
An Obsrvation: Bazarov had been studying medicine for quite some time. Throughout the book he had been doing tests on frogs. It is unlikely that Bazarov would make any mistake in creating a safe environment for him to do tests on cholera. Though not intentional, I think Bazarov may have secretly wished to get sick to end his loneliness and his misery. With no goal in life, no chance of every loving, all of his studies, all of his efforts, mean nothing.
The statement Turgenev made about Pavel, "His handsome, emaciated head, the glaring daylight shing full upon it, lay on the white pillow like th ehead of a dead man... And indeed he was a dead man," (134) could also be a statement about Bazarov. There are so many similarities between Pavel and Bazarov that Turgenev could have also been asserting that Bazarov was a dead man, and maybe Bazarov realized this and "accidentally" inoculated himself with the Cholera virus.

When Bazarov reveals to his father that he has been cut in the presence of the cholera victim, he calmly explains that he is indeed feverish but probably had a cold, a feeble attempt to offer his parents solace, which his parents gladly accept to reassure themselves, but really know the truth when they see him slowly get sicker. Bazarov gets sicker by the day, a doctor is called, feeble attempts are made to cure him, and while Bazarov is revived for a short while, the illness quickly ensues and his degradation continues. It is then that he asks his father to call for Odinstova.

Odinstova arrives, and brings a doctor of her own, showing that she only wants the best for Bazarov, a gesture that shows she still has feelings for him. While the father gives the new doctor a small consultation and briefing on Bazarov's condition, Bazarov and Odinstova talk in private.
"Well, what do I have to say to you... that I loved you? There was no sense in that even before, and less than ever now. Love is a form, and my own form is already breaing up. I better say how lovely you are! And now here you stand, so beautiful..." (161).
This. Is. Tragic. Is he really still trying to deny his feelings to her, even on his death bed?
Bazarov dies the next day. He dies a Nihilist. A lonely, tragic Nihilist.
When the funeral arrangements preside, a priest comes to do the Last Rites, something that the atheist Bazarov would not have appreciated.
:When they anointed him, when the holy oil touched his breast, one eye opened, and it seemed as though at the sight of the priest in his vestments, the smoking censers, the light before the ikon, something like a shudder of horror passed over the death-sticken face" (162).  
It seems that Bazarov's parents will forever be mourning their child. But I think that they won't only be mourning his death, but also mourning his life and mourning the fact that he could not be happy and that they could not make him happy.

After the whole Kissing Scene, Pavel casually challenges Bazarov to a duel.
No big thing.
He also proposes that they use pistols.
Pistols = Certain Death.

Bazarov agrees. He knows that he has got himself into this situation and must accept the challenge.
There is an understanding between the two that there will be no records of their duel. No witnesses, no statements, no papers. If there were records or questions asked, then Fenichka's disloyalty would be revealed and Nikolai's heart would be broken.

Pavel putting his life on the line to uphold his brothers honor is just another example of his Romantic disposition. Challenging someone to a duel to protect honor is such a classic, old way of settling issues. The fact that it is a secret duel makes it all the more Romantic. He is doing it to regain his brother's honor, though, without anyone knowing. It displays a personal, empathetic sentiment.

The two meet in the forest later the next day, both bearing pistols. The parameters of the duel are set and the two take their strides, turn, and

SHOOT!

Pavel's bullet just barely misses Bazarov's ear, piercing a tree directly behind him instead, and Bazarov manages to shoot Pavel in the leg.
Pavel is injured but conscious, and offers his life up to Bazarov, reminding him that part of the deal was to have two bullets. Bazarov internally smiles at Pavel's chivalry and organizes a way to get him home, and it becomes Bazarov's duty to actually tend to Pavel until Nikolai can retrieve a doctor. (Nikolai is led to believe the whole thing was an accident).
Pavel becomes somewhat delirious and overly happy. I think he experiences a sort of high off the adrenaline, and he even seems to have forgotten all animosity toward Bazarov, "Nikolai Petrovich kept stealthily wringing his hands, while Pavel Petrovich laughed and joked, especially with Bazarov" (128).

It is while Pavel is still on his Adrenaline High that he notices Fenichka, "Pavel Petrovich gazed at her intently, and drank off the glass to the last drop" (129). Readers believe that he is looking at her intently with anger or suspicion because of her infidelity, but also because that is how he always related to her, that is until he says, "Don't you think, Nikolai, Fenichka has something in common with Nellie?" and by this he means, "Princess R-. Especially in the upper part of the face" (129).

" 'Ah, how I love that light-headed creature!' moaned Pavel Petrovich, clasping his hands mournfully behind his head. 'I can't bear any insolent upstart to dare to touch...' he shispered a few minutes later.
Nikolai Petrovich only sighed; he did not even suspect to whom these words referred"

PAVEL LOVES FENICHKA! She has a similar appearance to his true love the Princess R- who deserted him earlier in his life! This whole time readers thought that he would gaze in at her to make her feel uncomfortable and to check in on her, but really it was because he loved her and wanted to see her. Fenichka was always afraid of Pavel because he was always staring at her with a "knowing look," like he ws judging her. Now we know that he stares at her because he longs for her.

When he says, "I can't bear any insolent upstart to dare to touch..." he means Bazarov because he just witness him kissing Fenichka, but could he also mean Nikolai? His own brother? He must have some jealousy in the matter. Nikolai doesn't even realize it, even when Pavel made the blatant comment about Fenichka and Princess R-'s resemblance.

Any jealousy or selfish thoughts that Pavel might have had are overruled by his love for his brother. When he gets Fenichka alone, he pushes her to stay true to only Nikolai.

"Fenichka!" he was saying in a strange whisper; "love him, love my brother! He is such a kind, good man! Don't give him up for any one in the world' don't listen to any one else! Think what can be more terrible than to love and not be loved! Never leave my poor Nikolai!" (132)

He ends in convincing Nikolai to must marry Fenichka already. It is the right thing to do. Who cares about her status or the fact she got pregnant out of wedlock in a not-so-proper way. Just marry her! Pavel knows how it feels to love someone and then get rejected. He does not want his brother to experience that as well, so he gives up any chance he might have had with Fenichka to protect his brother.

The last paragraph in the chapter struck me as rather Romantic of Turgenev and a good example of the author's beliefs in Romanticism.

Pavel Petrovich moistened his forehead with eau de cologne, and closed his eyes. His handsome, emaciated head, the glaring daylight shining full upon it, lay on the white pillow like the head of a dead man... And indeed he was a dead man. (134)

So either Pavel died or Turgenev is making a statement about how Pavel was a dead man, a dead man in the case that he was alone, had loved and had not been loved in return, and because of this, his life had no meaning = dead man.

Cut to Odinstovas:
Arkady and Katya are a lot alike:
Both are in a way "subordinate" to either Odinstova (Katya to her sister), or Bazarov (Arkady to his mentor). Arkady and Katya are sitting outside of Odinstova's home chatting. Arkady reveals that he holds Katya's presence and her opinion higher than anyone else's, even over Odinstova's, which Katya didn't expect.
Katya is honest with Arkady about her opinions on Bazarov. She explains that Bazarov and him are two very different people. She says that Arkady shouldn't try to be like him. Bazarov is wild and fleeting and restless, while Arkady is tamed.

 The whole scene is very peaceful and watching the two, it is apparent that they are very comfortable with each other and respect one another. Arkady seems to be completely relaxed and himself when he is with Katya. This is apparent when his demeanor completely changes when Bazarov arrives at Odinstova's home. Arkady is dismayed and there is a very obvious change in his emotions and attitude.
Odinstova comes and talks to Bazarov in a very formal way. They basically act as if they never had feelings for one another. What bugs me is the two talk about Arkady and Katya as if they are significantly younger than they are, when in reality, they are only 3-4 years their junior.

"By the way, did you know I used not quite to understand your close friendship with Arkady Nikolaich; I thought him rather insignificant. But now I have come to know him better, and to see that he is clever... And he's young, he's young... that's the great thing... not like you and me, Evengy Vassilyich (Bazarov)" (142). 

The thing is, they make themselves old. If they wanted to be young and foolish, they could be. If they could just let down their guard and allow themselves to express their true feelings toward one another, they could live in innocent, immature, ignorant bliss as well. I personally think it is their own fault that they are not happy.

Anyway, Arkady realizes that he does not look up to Bazarov any more, his admiration for him has evaporated, and he is also no longer jealous of Odinstova's obvious preference for Bazarov over himself. This shows a growth in character on Arkady's part. He has matured, but it has somehow made him appear more free and young, most people link 'mature' with old, sad, aged, but Arkady seems freed by it. Before, he was juvenile and blindly following Bazarov, which made him look childish, but it also made him tired, going against his true beliefs, and old. He was shackled down by trying so hard to be a strict Nihilist. Now he is free from being herded along by Bazarov. Though Arkady's annoying despondence that was very child like is gone, his maturity makes him free, and that freedom makes him young. Arkady recognizes the change within himself, attributes it to the lessons he learned from Katya, and he proposes to her.

There is another proposal that also takes place. Odinstova reaches out to Bazarov, asking him to stay, but Bazarov claims that he has been "moving too long in a sphere which is not [his] own" (147). I think Bazarov is tired out by the company he has been keeping. He is exhausted by all the attempts he has made at women and how they have all failed. I also think he doesn't want to be a charity case for Odinstova. I think he looked at her invitation to stay as a way of smoothing over the ice from what had happened earlier in their relations. "Smoothing out" being the key thing, not offering to make any further advancements. Bazarov does not want that. He either wants Odinstova as a lover or not at all. He bids adieu and leaves, knowing he will probably never see Katya, Arkady, or Odinstova ever again.

Arkady and Bazarov leave Bazarov's family's house and head back to Arkady's house. Before they leave, his parents are heartbroken. His mother is seen as despondent. "[her] eyes, bent steadfastly on Bazarov, did not express only devotion and tendernes; in them was to be seen sorrow also, mingled with awe and curiosity; there was to be seen to a sort of humble reproachfulness" (108). His parents are aware of his genius, of his strong convictions and his aptitude, but they also blame themselves for his cold demeanor, like they believe they failed in raising him properly, and despite their desperate attempts to re-connect with him, to have some sort of deep relationship with him, they are unable to. 

On their way to Arkady's, for God knows what reason, they stop at Odinstova's on the way.  They awkwardly greet a surprised Odinstova, chat for an hour or two, then go back in the coach for an uninterrupted ride back to Arkady's. It was at Arkady's bidding to swing by Odinstova's and I wonder what he wished to get out of the experience. Yes, he was jealous and slightly bitter toward Bazarov because of his obvious enchantment of Odinstova, but it does not appear that he wanted to hurt Bazarov as a malicious way to get back at him by putting him in an awkward situation, and thus, I have no idea what the purpose of this visit is, on neither the characters' part nor the author's. It may be the author's way of showing that neither Arkady nor Bazarov are truly Nihilists since they have acted on their feelings in going to visit Odinstova.

Things have gone from bad to worse at Marino (Nikolai's property) with senseless difficulties on the farm adding up and peasants demanding higher wages. Nikolai is exasperated. He does not know how to deal with the rising turmoil on his property. He says he cannot flog them to make examples out of them and he cannot call the police because his principles won't allow it. When Arkady returns home, Bazarov returns to his study of biology and anatomy, but Arkady is restless. He does not have an aversion to taking over the family business of running Marino, but he feels that he needs to be somewhere else.

He finds himself looking for a reason to go back to Odinstovas. He quickly finds letters that Odinstova's mother sent to Nikolai's wife many years ago and takes the chance to run over to Odinstova's and present her the artifacts.

Upon arriving, the door is opened by Katya, and he is surprised by how happy he is to see her. Odinstova welcomes him heartily, contrasting to how when she greeted both him and Bazarov only a week prior, and Arkady stays there for many weeks.

Cut back to Marino, Bazarov is left abandoned by his friend in a home where the owners feel animosity toward him. How awkward! Bazarov consumes his time with doing hist studies to avoid Nikolai and Pavel, but the two elder men are actually quite interested and curious in watching Bazarov in his lab. The one person in the house Bazarov seems comfortable around is Nikolai's lover, Fenichka. Fenichka like wise, appears to be more comfortable around Bazarov than even with Nikolai Petrovich himself, "Perhaps it was because she unconsciously felt the absence in Bazaroc of anything aristocratic, of all that superiority which at once attracts and frightens" (117). Fenichka sees Bazarov as more relate-able. He is not snooty, he does not judge her, and he does not put on airs to appear that he is of a higher class. She is comfortable around him because they are, more or less, on the same class level. It is Pavel that she is truly afraid of:

She was more afraid of Pavel Petrovich than ever; for some time he had begun to watch her, and would suddenly make his appearance, as though he sprang out of the earth behind her back, in his English suit, with his immovable vigilant face, and his hands in his pockets. (117)

As Fenichka and Bazarov's friendship and relationship grow, blossoming into something more than it probably should be, Pavel seems to be appearing around the corners of her life more and more, maybe because he suspects something. He watches her, with suspicious eyes and a "vigilant face," like he knows that Fenichka and Bazarov have feelings for each other. Like he is being a chaperone over the two to make sure they don't do anything to shame or hurt his brother Nikolai. "He always scares me. It's not what he says but he has a way of looking knowingly" (120).

One morning, after a long walk around the property, Bazarov finds Fenichka alone in the gardens near the house. They speak and obviously flirt (this is totally going against Bazarov's Nihilism), and then Bazarov kisses Fenichka. She "feebly" tries to push away, but Bazarov maintains the kiss until they are interrupted:

A dry cough was heard behind the lilac bushes. Fenichka instantly moved away to the other end of the seat. Pavel Petrovich showed himself, made a slight bow, and saying with a sort of malicious despondence, "You are here," he retreated. (120)

I can understand that Fenichka would want a sort of kinship with Bazarov, a man that is from her same stature. She is surrounded by intimidating people of a higher class all day and all night, and she feels like she has to act in a way to show that she knows her place. It must be lonely and exhausting. But I can't believe she would let herself be weakened by Bazarov's smooth words. She has a great set up at Marino and Nikolai is the father of her child!
On Bazarov's end, I don't think he really truly loves Fenichka. I honestly think he is just on the rebound, for lack of a better term, from being denied by Odinstova. I think that, now that he has had that experience of love, he wants more of it, and Fenichka was the perfect 'available' person to reach out to. Bazarov liked being in love. He liked the feeling, but it contradicts his Nihilist beliefs. And the fact that he kissed Fenichka without actually truly loving her, shows that a.) He is desperate to have those feelings of love again. and b.) He is not a true Nihilist. He is just a theoretical one. He cannot be a true Nihilist and also act on his emotions, on his passions. Which brings up Odinstova.

Is Odinstova a Nihilist? She might be one without even knowing it. Bazarov, an outspoken and argumentative Nihilist, cannot seem to keep his passions under control, but Odinstova, constrastly, is able to keep her emotions in check. Even though she doesn't assume the title of a Nihilist, I think Odinstova is a practicing one, though, she doesn't know it.

Philosophical Question: Can a person be categorized as a Nihilist, even when they don't know they are one? Can we call Odinstova a Nihilist, even though she doesn't assume the title herself? Even though she isn't even aware that she is practicing Nihilist beliefs?

At Bazarov's Home:
Bazarov's parents could be described as land owners, a little dis-shevled, but love Bazarov a lot. His father's name is Vassilly Ivanovich and his Mother's, Arisha. Vassily actually served in Arkady's Grandpa's military brigade as an army doctor.
Nothing of much importance happens at Bazarovs home, but there is an apparent wall that Bazarov puts up between himself and his parents. Arkady notices the desperation that his parents exhibit in trying to relate to their son. Though they are much like Arkady's parents in that they are traditional and "old fashioned," they make an effort to understand and respect Bazarov's Nihilist views. Vassily goes to great pains to make his son comfortable and to impress him.

"Vassily Ivanovich did not even mention that every morning almost at dawn he took counsel with Timofeich (a servant), standing with his bare feet in his slippers, and pulling out one dog's-eared ruble note after another, with trembling fingers, charged him with various purchases, with special reference to good things to eat, and to red wine, which as far aws he could observe, the young men like very much." (page 110).

 Bazarov himself knows what he is doing to his parents, but he is depressed and isolated. "I was goint to say that they now - my parents, I mean - are absorbed and don't trouble themselves about their own insignificance, its stench doesn't sicken them... while I... I feel nothing by weariness and malice." (page 102). Turgenev describes Bazarov's loneliness as being attributed to his pondering youth,

"He was feeling, too, that causeless melancholy which is only known to very young people," (page 111).

Bazarov announces that he is leaving and returning to Arkady's home due to the fact that he left some of his belongings there. His parents are absolutely heart broken.

Bazarov's indifference, his nonchalance, and not-caring attitude toward his parents is extremely upsetting to me. Sure, he feels like his parents don't understand him. I'm sure he uses the excuse that they are "from two different generations, two different worlds," but I don't understand why there is no sense of respect for the older generation, no sense of appreciation for raising him, giving him all that they could. Bazarov's Nihilism, his consciously strict practice of it, is getting in the way of his relationships with the people that matter most. 

Goal: Finish blogging about "Fathers and Sons" by the end of this week.

At the Odinstov Manor

Anna Sergeyevna Odinstov lives in a manor in the country with her younger sister, Katya, and her elder, miserly aunt who everyone refers to as "the princess". Anna and Katya grew up with their parents in the country, but sadly both parents died. Their father, being a gambler, left his children in ruins. Anna kept her head though and married a rich, older man. She did not marry for love, but to secure herself, and when her hub died half a dozen years after their marriage, she traveled Europe with Katya, and then settle back in the provinces of Russia taking on her aunt as well.

To me, it is unclear why Odinstova asked her aunt to live with her. "The Princess" took all of the best rooms in the house for herself and was grouchy. It may have had something to do with the fact that the Odinstovs were not well liked by the villagers and peasants in town, probably because their Father left a bad name for them, and because they thought Odinstov "traveled Europe" because she got pregnant and was trying to cover it up.

It is apparent that Odinstov likes extreme order and regularity in her home. She is not a woman of many interests or passions, except to be punctual and orderly. Despite her keen intelligence and openness to liberal ideas, Odinstov is very cold and passionless. She does not like having adventurous or wandering thoughts, and she is not a motivated person:

"Dreams sometimes danced in rainbow colors before her eyes even, but she breathed more freely when they died away, and did not regret them" (page 70).

and later:

"Sometimes coming out her her fragrant bath all warm and languorous, she would fall to musing on the insignificance of life, the sorrow, the labor, the malice of it... Her soul would be filled with sudden daring, and would flow with generous ardor, but a draft would blow from a half-closed window, and Anna Sergeyevna would shrink into herself, and feel plaintive and almost angry, and there was only one thing she cared for at that instant - to get away from that horrid wind" (page 70).

I think Odinstov is the most tragic character in this book! More so even than then cynical Bazarov and the lonely Pavel! To not have passions! To not love! To let your mind wander on both things sad and lovely, and then deprive yourself completely of any emotion! As humans, we are always trying to search for the meaning of life, and I think Odinstov is doing the same thing, but she does not allow herself to feel. By inviting Bazarov over to question him about his Nihilism shows she is interested in the answers of life and his philosophy, a philosophy that would sound appealing to a person who does not like to believe in anything like she does. She also doesn't seem very close to her only sister, Katya. 

Katya is described as, "not exactly shy, but diffident, and rather overawed by her sister, who had educated her, and who, or course, did not even suspect it," (page 69). Katya wants to live her own life, spread her wings, be free of the shackles of 'orderliness', and Odinstov doesn't even realize that her younger sister is sick of her. 

A line that I thought was interesting was:

Like all women who have not succeeded in loving, she wanted something, without herself knowing what. Strictly speaking, she wanted nothing; but it seemed to her that she wanted everything" (page 70). 

What does Turgenev mean by, "Like all women who have not succeeded in loving..."? What? Is that a woman's only chance at happiness? Do women have to love to get meaning out of their life? I'm not trying to be an overbearing feminist, but why did he say, "Like all women who have not succeeded in loving" ? Does this not apply to men?

This is a Romantic-era notion that annoys me. 

Despite the fact that this annoys me, the line does apply. I do not know what I am going to do with my life. I want to do everything. All of it. But I can't seem to put my finger down on one thing that I can commit to.

ANYWAYS:

Basically what happens is Bazarov falls in love with Odinstov. They have many evening talks about Nihilism, life, and orderliness. They challenge each other, and if Odinstov wasn't a robot, she would have fallen in love with Bazarov also. Sadly, when Bazarov proclaims his feelings, she basically rejects him. She doesn't say "No," but she doesn't say "Yes" either. The whole visit at the Odinstov's, Arkady was put on the back burner, pushed to hang out with the quiet Katya, and his and Bazarov's relationship starts to experience jealousy and friction. 

Bazarov and Arkady leave the Odinstovs and head for Bazarov's home.

TRAVEL

After Pavel and Bazarov have their fight, Bazarov presumably feels uncomfortable, unwelcome, and sick of the company he is with. He proposes to Arkady to travel to a ball that is being held by a family friend of Arkady's, Matvey Ilyich Kolyazin. Ilyich is a noblemen who tries to publicly appear as a liberal and sympathetic to the needs of the people of inferior classes. In reality, he is condescending and makes all inferiors in close contact feel on edge.

When Arkady and Bazarov reach the city that the ball is taking place in, they stop in to say hello to Ilyich and then decide to walk around the town for a bit. While walking, a man named Sitnikov runs up and heartily greets Bazarov. It is apparent that he somehow knows Bazarov from the past, but is a relation that Bazarov is annoyed by. 

Sitnikov is described by the narrator as a Slavophile, a Russian who believes that Russia should reject all Western ideas and go back to its own cultural roots. He dresses in "native" Russian clothes, and the distinction of the old clothes is sure to make people turn up their noses at him. He is a social pariah I am sure, but it appears that he likes the effect he has on people and the movement he is working toward. He clearly considers himself a disciple of Bazarov and was heavily influenced by him, but Bazarov is annoyed by him, and each time Bazarov tries to push him away, Sitnikov clings all the more.

Sitnikov reels the two in though, when he offers them free champagne. He says that he knows a very progressive and rich woman, Avdotya Nikitishna Kukshin, who would love to have a discussion with them and would gladly offer them food and drink. The three walk to Kukshins house and are indeed offered food and champagne, but Kukshin is eccentric to a point that annoys Bazarov, and Bazarov at one points stands up and walks out without any thank-you or good-bye. 

Bazarov and Arkady go to the ball, where they see Sitnikov and Kukshin, though they don't feel embarrassed or averted from them. After the experience with Kukshin, it is apparent that Bazarov does not think very highly of women's intellect. That all changes when Arkady and Bazarov meet the young widow, Odinstov. Odinstov is a great female thinker who is highly regarded by Kukshin, which doesn't say much seeing as how Bazarov does not think highly of Kukshin, and neither do I. But upon talking to her, both Bazarov and Arkady both hold great conversations with her and both become attracted to her, and by attracted, I mean love!

Odinstov looks at the two and sees Bazarov as an interesting intellectual and Arkady as a younger, adorable brother (poor Arkady), and she invites them both to her home, which is a few towns away. 

The two accept and travel there after the ball.

The highly regarded and highly proclaimed:

IVAN TURGENEV

I know. I know. I've been slacking.

Bazarov stays with the Kirsanov family for about a fortnight (which I learned is relative to two weeks), and while there, Bazarov continues to annoy the elder Kirsanovs, especially Pavel, but he begins making a weird relationship with the servants in the household. He is condescending but playful, yet the help love to be around him. Bazarov later makes the claim that he is "more Russian" than Pavel because he is of the people. His grandfather plowed the land like the majority of the Russian serfs. He says that money, culture, and following the status quo do not make a man more ethnically tied to their homeland. A rather good argument, though when looking back on Russian culture and history, people do stereotypically think of the Romanovs and the well-adorned, high class society.

THE FIGHT

What brings the visit to the Kirsanov home to an end, is a fight that Pavel and Bazarov have one evening at dinner.
They discuss the current English Patriarch system. Pavel and Nikolai revere the English for their organized government. They find it brilliantly practical that the British expect their peasants to behave a certain way, but the aristocrats also hold themselves to the same standard.
 Says Pavel:

"They do not abate one iota of their rights, and for that reason they respect the rights of others; they demand the fulfillment of obligations in dealing with them, and for that reason they fulfill their own obligations" (37).

Pavel associates himself with words like, "Aristocracy," "Liberalism," "Progress," and "Principles".

The essence of Nihilism really comes out in this scene. When Bazarov continues to disagree and counter Pavel, Pavel asks, "What do you do, then"?
What do Nihilists do? Because so far, it seems that they do nothing.
Bazarov describes exactly that.
Nihilists take no action. They take no action because there aren't enough honest men. Why work for peasants when the peasants are fools who believe in superstition and who spend all their extra earnings, not to better themselves, but to get drunk at the local "pot-house".
Nihilism is interesting then, at least from how Bazarov depicts it. This whole time he has been looking down on the Kirsanovs for being wealthy land owners and he made it seem like he wanted equality for all men, but now he is accusing peasants of being lazy and not worth working toward reform for.

It is ironic that Peter the Great worked for advancements in his country, advancements that Nikolai and Pavel obviously support and have been influenced by (they regularly speak French), yet, the youth now are working toward "improvements" that go against Peter's ideas of advancements.
Bazarov at one point denounces all government agencies. He basically says:
 Take a good hard look at our current political standing. Try and find one institution that does not call for a complete repudiation, rejection, or disownment.
When Bazarov says this, it sounds like he is calling for reform, but really, on Nihilist principle, he wants no action at all.

Personally, I just don't understand Nihilism. How can a country run without officials? How can a company run without CEO's organizing the workers? Bazarov claims that any hierarchy is unjust, but in reality, that is what life requires. There is always going to be a working class and there is always going to be an elite group, but that is because these groups are necessary.  
Someone has to do the organizing and administrating while someone else has to follow orders and complete tasks. How else would things get done? If there were no laws or order, some superior rule to govern, there would be chaos.
Bazarov claims to denounce all notions toward Romanticism, but it is a romantic thought in itself to believe that a country could go on supporting itself civilly without some sort of hierarchy. Wishful thinking Bazarov, wishful thinking.

The discussion between Pavel and Bazarov goes on further, and it really deserves a good reading for those of you following me. The chapter (X) goes into great length, reasoning through topics that I have not touched on here. If you find any points that you think deserve more discussion, please, post your thoughts! I would love to know what other people think of this.
Essentially, the fight ends with Pavel saying that Nihlism will never succeed, that there are too few of supporters for it to be a large, ground-breaking movement. Bazarov responds:

"All Moscow was burnt down, you know, by a penny candle," (42).

A magnificent quote I think. One of empowerment and inspiration. It reminds me of my favorite quote from the Disney movie Mulan, "A single grain of rice can tip the scale." So wise.

After the dinner ends, Nikolai ponders the evenings events.
To be honest, Arkady was kind of a dunce the entire argument, only interjecting once or twice and blindly supporting Bazarov on no grounds except for the fact that he idolizes him (and for what reasons, we do not know!). He didn't really do anything grand to make a parent proud. Still, Nikolai is despondent over the fact that his dear son his growing up and taking a course very different in life from his own. The innocent and blind love that Father and Son have for each other is beginning to wane. The strong connection and relationship that the two used to have is eroding.
Nikolai sums it up when he says to Pavel:

"Do you know what I was reminded of, brother? I once had a dispute with our late mother; she shouted, and wouldn't listen to me. At last I said to her, 'Of course, you can't understane me; we belong,' I said, 'to two different generations.' She was dereadfully offended, while I thought, 'It can't be helped. It's a bitter pill, but she has to swallow it.' You see, now, our turn has come, and our successors can say to us, 'You are not of our generation; swallow your pill' " (42).

How sad, but how true? I'm sure close to everyone has experienced this universal reality. That the parent or relation you once glorified, labeled as your one true confidant who understood you inside and out, has aged drastically in a matter of weeks. Their views seem so aged, their habits and manners archaic. And now when you have conversations, you are distracted by just how old they have become, or possibly, by how you never noticed their stale and flaked mannerisms before. 
I'm a ways away from it now, but how forlorn for the parent to find that they are at that point, that their children now look at them how they once also looked at their parents when they reached the terrible epiphany, the awareness of the difference in decades, and the differences in culture. 

The first scene in, "Fathers and Sons," starts with the character Nikolai Petrovich Kirsanov waiting in a carriage for his son to return from what is the equivalent of college. Throughout the first few chapters, Nikolai comes off as very naive. He is a liberal landowner, allowing his serf's to pay him a fixed sum of money each year (which turns out to be more convenient for them) and divides his property so that the serfs can farm on some of his plots to provide their own food and money. He even plans to clear away part of his forest to make even more room for them to farm.

Sounds like a pretty reasonable guy.

But it is apparent that the serfs are no longer content with their current situation. Though Nikolai initially seems like a generous landowner, the peasants homes are described as dark hovels with thatched roofs, gaping doorways, and slanting barns.  The serfs seem pretty agitated and have not yet paid Nikolai their due rent.The peasants even call his estate Lackland Farm.  Despite all of this apparent rising disonance within his serf population, Nikolai brushes it off and still plans to clear away his forest for their use.

What is interesting about Nikolai is that he is considered a Liberal Landowner, yet he refuses to keep freed serf's as house servants, for whatever reason (Serfdom kind of reminds me of American slavery and how southern whites associated to freed slaves), and he seems particularly interested in people's social status when meeting them.  In Russia at the time, people held several different names: their first name given by their parents, a pet name for at-home use, and  a Patronymic. A patronymic was a formal way of addressing people. It was formed by adding the suffix to one's father's name. People referred to each other by their patronymic rather than using Mr. or Mrs. as the English did, and one's social status could be determined by it.
When meeting Arkady's friend, Bazarov, for the first time, Nikolai is not bashful about asking for Bazarov's patronymic, a rather arrogant and snooty question if you ask me. Nikolai was clearly trying to figure out which side of the tracks Bazarov was coming from, and his blatancy made it quite uncomfortable for all those present.

 Arkady returns home very conflicted. He also has a childish excitement like his dad, but he has been instilled with modern views from his education which makes him more aware of the poverty on his Father's estate.
When Nikolai picks Arkady and Bazarov up in the carriage and they drive home, Arkady revels on being home and being in the countryside. Nikolai claims that it is because Arkady grew up in the country, but Arkady disagrees:

"Come, Dad, it makes no difference where a man is born"
"Still-"
"No, it makes absolutely no difference" (pg 7).

Even though they are referring to the countryside, there is a political undertone in how Arkady is trying to convince his father of modern views on birth right.

 Arkady has also taken on Bazarov as a friend, a very educated and modernistic peer.  Bazarov is studying natural sciences and though he is from a lower class than Nikolai and Arkady (only coming from a Surgeon family (gasp!)), he exagerated his lower origin by giving Nikolai the short, popular form of his patronymic rather than his more formal one. By doing this, and how he playfully relates to the servants, it is apparent that Bazarov thinks very little of the aristocracy. Bazarov is actually somewhat rude and does not act like a proper guest when in the presence of the elder Kirsanovs. He is sarcastic when speaking with them, "Only give order for my little box to be taken there."

I smirked when I read that.
 He is playing up the fact that he is less well-to-do than the Kirsanovs and finds the whole aristocracy a joke. This attitude can be attributed to his open Nihilist views. "A Nihilist is a man who does not bow down before any authority, who does not take any principle on faith, whatever reverence that principle may be enshrined in" (pg 17). 
Nikolai and Bazarov quickly become subtle enemies. Nikolai picks up on Bazarov's attitude and is annoyed by it, "He was beginning to feel a secret irritation. His aristocratic nature was revolted by Bazarov's absolute nonchalance. This surgeon's son was not only unintimidated, he even gave abrupt and indifferent answers, and in the tone of his voice there was something coarse, almost insolent" (pg 19).

You can see why Arkady is now put in an awkward position. His father and friend do not like each other whatsoever and do not put much effort into covering their feelings up. There is a distinct clash between Nikolai's classic views and Bazarov's modern, Nihilistic opinions. Arkady will no doubt have to make the choice between supporting his Father or supporting the modern views of reform.

Arkady tries to convert both his Father and Bazarov to having more kindred feelings toward each other. To Bazarov, Arkady describes the history of his Uncle Pavel, who lives with Nikolai on his estate. Arkady tries to show Bazarov that life even for the aristocrats isn't always easy and that his Uncle Pavel had endured much strife in his life. When Pavel had been young, he had fallen in love with a young Princess, Princess R-. This Princess could be considered a little crazy. She would throw herself at men, and then spend the whole next day crying and praying over the bible, and then later at night, throw herself at men again. Still, Pavel fell for her and gave up his high position in the military to pursue her while she traveled Europe. The Princess R- dismissed him and Pavel was heart broken and embarrassed. He took himself out of society and lived with Nikolai in the country, never to love again.


All that information and I'm only on Chapter 8.
More Soon!

Halleluiah!
I will officially be studying abroad this summer, taking a creative writing course and either a modern British literature or Victorian literature class! So with that being set, I am now enrolled in a Senior Seminar course discussing current issues in English, and also a "Masterpieces in European Literature" course.

For "Masterpieces,"  we are currently reading the Russian novel, "Fathers and Sons," by Ivan Turgenev. 
My professor pointed out that while we were reading, we should be asking questions in regards to some fundamental literary elements such as:

Plot - Character - Narrative Perspective -Theme - Symbolism

The questions include:

What is the order of events? What is the significance of them being described in that order?

What is the Central Conflict? What is the nature or basis of the conflict?

What are the Characters' patterns of choice? What are their motivations?

Are they static or dynamic? How do their patterns of choice change and why?

Is the narrator a participant in the plot? Why is it important that the narrator knows what it knows?

What are the themes? What does the author want readers to know about the subject?

Is there any symbolism that is apparent throughout the narrative?

Now for some History and Background!

"Fathers and Sons" is deliberately set before the liberation of the serf's in Russia, which occurred in 1861. Peter the Great, who died in 1725, had a lot of influence over Russian culture. Russia was, and still is, struggling to be categorized as either European or Asian because of its geographical location, kind of like how its debatable whether Michigan is part of the Mid-West or not (where do we belong?).   Peter the Great traveled through Europe and acknowledged that other countries flourished because of their modernization. He loved the sophisticated culture and modern luxuries. He took this idea back to Russia and tried to "Europe-inize" the country by updating the technologies used and making French the language of the elite nobles. In doing this, Russia associated itself with Europe rather than Asia, but it seems that many Europeans questioned Russia's continental status.

The Emancipation Manifesto took place in 1861 which allowed serfs to marry without their landowner's consent, own land and businesses, and purchase land. "Fathers and Sons," was written one year after the Emancipation Manifesto but the setting takes place before the manifesto.

 In class, we discussed how during the Enlightenment Period, all of the advancements in science actually caused a, "disenchantment" of people's world views. Newton's Laws of Physics explained phenomenons that people previously took as magic, fairies, ghosts, or God. The realization that everyday events could be explained mathematically caused a disenchantment in people. The young readily cast aside their innocent views of the world, while older generations voraciously held onto their classic beliefs. We can see this in the contrast between the naive Nikolai Kirsanov, and the young Arkady and Bazarov who have returned from college and have presumably been "disenchanted" by their modern education. 

I can already tell that some of the conflict seen will be Russia's struggle to identify itself as "European", between the revolting serfs and their landowners, but most predominately, the central conflict will be the clash between modern and classic beliefs, young and old generations: The struggle between Father and Son in an age of political strife.

Alrighty. Here it is! The first post for The Literate. Sorry about the cheesy name. It sounded sophisticated and refined at the time of creating a title.
So, this blog (Its weird to say. Blog.), will be dedicated to writing my responses to classic novels that I will be reading this semester. I hope that by doing this I can really delve into the themes of the story, understand the writing techniques that the author used, why they used them, what effect it had on the story, the general historic and cultural influences of the time period, and any significant life-altering events that may have occurred in the author's life at the time of writing.

I want to become a literary Chieftain! I want to read as many books as possible and know as much about them as I can.

I am expecting for this blog to get a bit eclectic. I'll probably post notes that I liked in class, how my peers respond to the story, and probably even how my life relates to the reading. Some really professional stuff.
As of right now, the list of books that will be read is still up in the air. With me considering to study abroad this summer, it has been a scramble to see which classes to take abroad and which ones to take this semester. Though a few of my classes seem like real treasures (David Copperfield sounds amazing!) (I'm not being sarcastic) (Really, I'm not!), I might have to sacrifice them this semester so that I can learn the material in a strange, foreign land... oooh ahhhh.

I also created this blog because I do not know what the hell I want to do with my life. Part of me is strongly  interested in Biology, but another part of me loves writing short stories and poems, and yet another part of me wants to suck the marrow out of every book I read. And of course, who doesn't want to be a world traveler? To inter-mix my interests in English, Biology, and traveling, I have been looking into writing for National Geographic, a classic magazine that millions have enjoyed for generations! Yet, this timeless and coined magazine seems to be in jeopardy, suffering from lack of sales (An assumption I made by looking at the insane amount of advertisement that the poor mag seems to carry). Still, to be a journalist for the most well-known magazine would be quite the triumph, and after reading, "Pink Boots and a Machete - My Journey from NFL Cheerleader to National Geographic Explorer" by Mireya Mayor, working for Nat. Geo. seems just the life for me!

But if journalism is my calling, I had better start journal-ing on something right?

So here it is. A blog all about my adventures through Literature Land! Hell, maybe I could end up working for the New York Times Book Review!