Generations later, another Russian reacts the same way under the new regime. Feyda Nikitin in _The Age of Longing_ has been orphaned by childbirth and a counter-revolutionary firing squad. The last message from his father’s eyes was one of “unshakable faith in the Great Change, and of a childlike belief in the marvels and happiness which it would bring.” This was enough to start Feyda on a career whose apex is the listing of Frenchmen to be liquidated after Russian conquest. The character of Feyda serves to bridge the gap between men like Shawcross, Robinson, and Razumov and those who are motivated by a similar but much more powerful force--spiritual bastardy. One of these is the most demoniac of all Dostoyevsky’s possessed, Pyotr Verhovensky. He publicly ridicules his father: “the man’s only seen me twice in his life and then by accident.” It would be easy to make a case basing Pyotr’s anarchistic politics upon a partial transference of his resentment of parental rejection from old Stepan, his father, to Russia, his fatherland. Tony Maggiore, the hero-villain of _Caesar’s Angel_, is called “the terrible child--the child who had never known childhood.” Canon Borda’s analysis of Fabrizio del Dongo’s violent behavior is also based upon childhood experiences: “He is a younger son who feels himself wronged because he is not the eldest.” There are also characters like Joe Yerkes in _The Grand Design_ who set out to change a society in which they feel at a social and economic disadvantage. The houseboy and then protégé of a professor, Yerkes is eventually led, chiefly by his feelings of inferiority and insecurity, to join the Communist Party and to work at organizing auto workers. These activities are a means, though never acknowledged, through which he can try to change the existing society into one in which he will enjoy a higher status and more prestige. In _The Secret Agent_ the Professor’s failure in a series of jobs had turned him into a revolutionary determined to destroy the society which had rejected him. Jim Nolan had fought “the system” as a lone, dispirited antagonist. The example of cell-mates had finally channeled this antagonism into Communism, because “the hopelessness wasn’t in them.... There was conviction that sooner or later they would win their way out of the system they hated.” Some few individuals, like Disraeli’s exemplary young men, enter politics out of a sense of _noblesse oblige_. But more enter from a feeling of protest. Don Paolo’s reflections in _Bread and Wine_ emphasize the emotional nature of this motivation in revolutionaries: