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Chapter 23
Themes
Key
LitCharts assigns a color and icon to each theme in Fathers and Sons, which you can use to track the themes throughout the work.
Tradition and Progress
Nature vs. Materialism
Love vs. Nihilism
Generational Conflict
Summary
Analysis
Two hours later, Pavel knocks on Bazarov’s door. He says he has just one question for Bazarov. Politely he inquires into Bazarov’s views on “single combat or dueling in general.” “Theoretically,” Bazarov replies, dueling is absurd, but practically, it’s another matter. This makes Pavel’s decision easier; he has made up in his mind to fight Bazarov. Shocked, Bazarov asks why. Pavel explains that Bazarov isn’t wanted there; “I cannot endure you; I despise you.”
Dueling was a contentious matter in imperial Russia. Technically forbidden, gentlemen still sometimes resorted to it as a way to settle their differences—as seen in popular Russian literature, like Pushkin’s Eugene Onegin. Pavel’s challenge has been sparked by the kiss he witnessed in the garden, but the kiss is also just an excuse—he’s been wanting to fight Bazarov practically since their first meeting.
Themes
Bazarov coolly agrees to accept Pavel’s challenge “like a gentleman.” They then discuss the conditions for the duel, deciding to dispense with any flimsy pretext beyond their mutual dislike, and agree to meet the next morning behind the copse. They will each fire two shots at ten paces, and Piotr will serve as witness. Pavel even offers the use of one of his own pistols, promising that he hasn’t shot them in about five years. Bazarov concedes that this is “very comforting news.” They bid one another goodbye, with surreal courtesy.
The discussion between the two men, with its almost overdone courtesy, contrasts with the violence they’ve agreed to engage in, pointing to the empty pretense surrounding aspects of conventional, polite society. The stilted politeness also injects a comic note into an otherwise grim occasion.
Themes
Bazarov tries to resume his studies, but his composure is lost. He wonders what prompted the duel—would Pavel really act this way on his brother’s behalf? Was the kiss so offensive? He realizes that Pavel must be in love with Fenichka himself. He is distracted for the rest of the day, and his sleep is filled with confused dreams.
Despite his objection to all things romantic, Bazarov is now forced to face, in the most direct way possible, the effects of thwarted love. Of course, while Pavel apparently has true feelings for Fenichka, those are also tied up with his love for the unattainable Princess R., as well as his longstanding hatred of Bazarov.
Themes
The next morning is “glorious,” shining with dew and filled with lark song. Bazarov explains the impending duel to a terrified Piotr. He makes his way to the copse, thinking what “idiocy” it all is, but not feeling afraid. Soon Pavel appears, and he loads the pistols while Bazarov measures out the paces. Bazarov notes the “absurdity” of what they’re doing, which Pavel grants, but he assures Bazarov that he means to fight him “in grim earnest.”
As elsewhere in the novel, the irrepressible beauties of nature stand out despite human folly and obliviousness. While the larks carry on with their song, the two men prepare for their deadly showdown.
Themes
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Bazarov and Pavel get ready and begin walking toward each other. Suddenly Bazarov hears a bullet whizz past his ear. He quickly fires toward Pavel without aiming. Pavel grabs his thigh; there’s blood trickling down his white pants. Bazarov immediately drops his pistol and asks Pavel if he is wounded. Pavel says that each of them has the right to another shot, but Bazarov replies that he is “no longer the duelist but a doctor.” Pavel pales and soon faints.
It’s possible that Bazarov’s failure to aim, wounding Pavel nonetheless, is a reference to a similar scene in Pushkin’s Eugene Onegin. Notably, Bazarov immediately steps forward to help Pavel—suggesting that he’s not without humanity and that he doesn’t harbor real hostility toward his opponent.
Themes
Bazarov examines the wound and determines it isn’t serious. Soon Pavel comes around. Pavel sends the shaken Piotr for a droshky and bandages Pavel’s wound; then the two sit together in awkward silence, each aware “that the other had taken his measure.”
At the very least, Bazarov’s willingness to go through with the duel seems to have raised his status a bit in Pavel’s eyes. However, failing to obtain the goal of one or both of them killing the other, they’re still in the awkward position of having to deal with one another’s presence for the time being. The whole scene suggests that dueling is a useless historical relic that does no good for society; and Pavel’s and Bazarov’s generational conflict hasn’t been decisively resolved.
Themes
They agree that Nikolai mustn’t know exactly what happened. Instead they’ll claim that they had a falling-out over politics. Suddenly Nikolai is galloping toward them in great alarm, demanding to know what’s happened. Pavel pretends that Bazarov had insulted Sir Robert Peel, leading to an altercation, and that it’s all Pavel’s fault. Nikolai asks Bazarov to tend to his brother until they’re able to find another doctor.
Sir Robert Peel was a British statesman of the previous generation, a figure whom Pavel, with his fondness for English aristocracy, presumably held in esteem. It’s a transparently flimsy pretext, though, and Nikolai seems to sense that there’s more to the story.
Themes
An hour later, Pavel is resting in bed, joking with everyone, while the rest of the house descends into chaos. Nikolai watches over his brother that night; Pavel is feverish. Toward morning, Pavel suddenly remarks that Fenichka resembles “Nellie” (Princess R.). Pavel says that he loves “that worthless creature” and will not let “an insolent upstart” lay a finger on her. Nikolai has no idea who he’s talking about.
In his delirium, Pavel admits to his feelings for Fenichka (linked to his love for Princess R.), but Nikolai remains innocent of his meaning; he never knows that Pavel loved Fenichka or that Bazarov had kissed her.
Themes
The next morning Bazarov comes to say goodbye to everyone. Nikolai stumbles over his words, promising he doesn’t hold anything against Bazarov. Bazarov impatiently leaves, not saying goodbye to Fenichka. As he rides off, he thinks, “These damned little gentry!”
Bazarov’s disdain for the gentry has only been heightened by his experiences at Maryino. He’s been pulled into a foolish dispute and acted beneath his principles as a result. Without Arkady present, he doesn’t have a mediating figure between himself and what he disdains and realizes all the more forcefully how much he hates it.
Themes
Pavel has to stay in bed for a week. Fenichka is agitated and withdrawn. One day Pavel detains her, asking her why she has been behaving so strangely. She promises him that she loves Nikolai and no one else. She also tells him that she is not to blame in any way for what Pavel saw in the arbor; she would rather die than be suspected of going behind Nikolai’s back. Pavel, tearful himself, begs Fenichka to always love his brother and never forsake him; Pavel’s “whole wasted life stirred within him.”
Pavel hears the truth about what he witnessed in the garden and, mindful of all he’s suffered in his unrequired yearnings for Princess R., he makes Fenichka promise to be loyal to his brother. If he will never have love, he wants an assurance that Nikolai will not be similarly deprived. Romance is an inevitable force that must be reckoned with, in Turgenev’s view—not something that can be dodged and reasoned with, as Bazarov tries to do.
Themes
Nikolai comes in with baby Mitya; Fenichka embraces them and quickly leaves. Pavel gravely asks his brother to carry out one request: to marry Fenichka. Nikolai, amazed, says that he has only refrained from doing so out of respect for Pavel. Pavel admits that he can be a snob, but that now it’s time for them to put aside worldly vanity. Nikolai embraces him. After he leaves, Pavel determines to go abroad once he’s recovered and to remain there until he dies.
Pavel’s urge to his brother to marry both shows his desire to free himself from temptation, as well as his genuine love for Nikolai and desire for his happiness. Pavel also acknowledges that love can’t always be subject to the prejudices of conventional society. Unlike Bazarov’s conflation of love with foolish convention, he’s able to draw a distinction between true love and convention; to uphold a place for marriage, even if that marriage won’t meet with societal approval.
Themes
