The Complete Works of Fyodor Dostoyevsky. Fyodor DostoyevskyЧитать онлайн книгу.
having left her husband, she defies the world, her gradual growing irritability, down to the final catastrophe, bears on it the stamp of something which must have happened just in that very way and no other.
But, as far as Tolstoy’s own development is concerned, Levin is the most interesting figure in the book. This character is another landmark in Tolstoy’s search after truth; he is constantly putting accepted ideas to the test; he is haunted by the fear of sudden death, not the physical fear of death in itself, but the fear that in the face of death the whole of life may be meaningless; a peasant opens a new door for him and furnishes him with a solution to the problem — to live for one’s soul: life no longer seems meaningless.
Thus Levin marks the stage in Tolstoy’s evolution of his abandoning materialism and of seeking for the truth in the Church. But the Church does not satisfy him. He rejects its dogmas and its ritual; he turns to the Gospel, but far from accepting it, he revises it. He comes to the conclusion that Christianity as it has been taught is mere madness, and that the Church is a superfluous anachronism. Thus another change comes about, which is generally regarded as the change cutting Tolstoy’s life in half; in reality it is only a fresh right-about-turn of a man who is searching for truth in blinkers. In his Confession, he says: “I grew to hate myself; and now all has become clear.” He came to believe that property was the source of all evil; he desired literally to give up all he had. This he was not able to do. It was not that he shrank from the sacrifice at the last; but that circumstances and family ties were too strong for him. But his final flight from home in the last days of his life shows that the desire had never left him.
Art was also subjected to his new standards and found wanting, both in his own work and in that of others. Shakespeare and Beethoven were summarily disposed of; his own masterpieces he pronounced to be worthless. This more than anything shows the pride of the man. He could admire no one, not even himself. He scorned the gifts which were given him, and the greatest gifts of the greatest men. But this landmark of Tolstoy’s evolution, his turning his back on the Church, and on his work, is a landmark in Russian history as well as in Russian art. For far less than this Russian thinkers and writers of high position had been imprisoned and exiled. Nobody dared to touch Tolstoy. He fearlessly attacked all constituted authority, both spiritual and temporal, in an epoch of reaction, and such was his prestige that official Russia raised no finger. His authority was too great, and this is perhaps the first great victory of the liberty of individual thought over official tyranny in Russia. There had been martyrs in plenty before, but no conquerors.
After Anna Karenina, Tolstoy, who gave up literature for a time, but for a time only, nevertheless continued to write; at first he only wrote stories for children and theological and polemical pamphlets; but in 1886 he published the terribly powerful peasant drama: The Powers of Darkness. Later came the Kreutzer Sonata, the Death of Ivan Ilitch, and Resurrection. Here the hero Nehludov is a lifeless phantom of Tolstoy himself; the episodes and details have the reality of his early work, so has Maslova, the heroine; but in the squalor and misery of the prisons he shows no precious balms of humanity and love, as Dostoyevsky did; and the book has neither the sweep and epic swing of War and Peace, nor the satisfying completeness of Anna Karenina. Since his death, some posthumous works have been published, among them a novel, and a play: The Living Corpse. He died, as he had lived, still searching, and perhaps at the end he found the object of his quest.
Tolstoy, even more than Pushkin, was rooted to the soil; all that is not of the soil — anything mystic or supernatural — was totally alien to him. He was the oak which could not bend; and being, as he was, the king of realistic fiction, an unsurpassed painter of pictures, portraits, men and things, a penetrating analyst of the human heart, a genius cast in a colossal mould, his work, both by its substance and its artistic power, exercised an influence beyond his own country, affected all European nations, and gives him a place among the great creators of the world. Tolstoy was not a rebel but a heretic, a heretic not only to religion and the Church, but in philosophy, opinions, art, and even in food; but what the world will remember of him are not his heretical theories but his faithful practice, which is orthodox in its obedience to the highest canons, orthodox as Homer and Shakespeare are orthodox, and like theirs, one of the greatest earthly examples of the normal and the sane.
To say that Dostoyevsky is the antithesis to Tolstoy, and the second great pillar of Russian prose literature, will surprise nobody now. Had one been writing ten years ago, the expression of such an opinion would have met with an incredulous smile amongst the majority of English readers of Russian literature, for Dostoyevsky was practically unknown save for his Crime and Punishment, and to have compared him with Turgenev would have seemed sacrilegious. Now when Dostoyevsky is one of the shibboleths of our intelligentsia, one can boldly say, without fear of being misunderstood, that, as a creator and a force in literature, Dostoyevsky is in another plane than that of Turgenev, and as far greater than him as Leonardo da Vinci is greater than Vandyke, or as Wagner is greater than Gounod, while some Russians consider him even infinitely greater than Tolstoy. Let us say he is his equal and complement. He is in any case, in almost every respect, his antithesis. Tolstoy was the incarnation of health, and is above all things and preeminently the painter of the sane and the earthly. Dostoyevsky was an epileptic, the painter of the abnormal, of criminals, madmen, degenerates, mystics. Tolstoy led an even, uneventful life, spending the greater part of it in his own country house, in the midst of a large family. Dostoyevsky was condemned to death, served a sentence of four years’ hard labour in a convict settlement in Siberia, and besides this spent six years in exile; when he returned and started a newspaper, it was prohibited by the Censorship; a second newspaper which he started came to grief; he underwent financial ruin; his first wife, his brother, and his best friend died; he was driven abroad by debt, harassed by the authorities on the one hand, and attacked by the liberals on the other; abused and misunderstood, almost starving and never well, working under overwhelming difficulties, always pressed for time, and ill requited for his toil. That was Dostoyevsky’s life.
Tolstoy was a heretic; at first a materialist, and then a seeker after a religion of his own; Dostoyevsky was a practising believer, a vehement apostle of orthodoxy, and died fortified by the Sacraments of the Church. Tolstoy with his broad unreligious opinions was narrow-minded. Dostoyevsky with his definite religious opinions was the most broadminded man who ever lived. Tolstoy hated the supernatural, and was alien to all mysticism. Dostoyevsky seems to get nearer to the unknown, to what lies beyond the flesh, than any other writer. In Tolstoy, the Peter the Great element of the Russian character predominated; in Dostoyevsky that of Mwyshkin, the pure fool. Tolstoy could never submit and humble himself. Submission and humility and resignation are the keynotes and mainsprings of Dostoyevsky. Tolstoy despised art, and paid no homage to any of the great names of literature; and this was not only after the so-called change. As early as 1862, he said that Pushkin and Beethoven could not please because of their absolute beauty. Dostoyevsky was catholic and cosmopolitan, and admired the literature of foreign countries — Racine as well as Shakespeare, Corneille as well as Schiller. The essence of Tolstoy is a magnificent intolerance. The essence of Dostoyevsky is sweet reasonableness. Tolstoy dreamed of giving up all he had to the poor, and of living like a peasant; Dostoyevsky had to share the hard labour of the lowest class of criminals. Tolstoy theorized on the distribution of food; but Dostoyevsky was fed like a beggar. Tolstoy wrote in affluence and at leisure, and re-wrote his books; Dostoyevsky worked like a literary hack for his daily bread, ever pressed for time and ever in crying need of money.
These contrasts are not made in disparagement of Tolstoy, but merely to point out the difference between the two men and between their circumstances. Tolstoy wrote about himself from the beginning of his career to the end; nearly all his work is autobiographical, and he almost always depicts himself in all his books. We know nothing of Dostoyevsky from his books. He was an altruist, and he loved others better than himself.
Dostoyevsky’s first book, Poor Folk, published in 1846, is a descendant of Gogol’s story The Cloak, and bears the influence, to a slight extent, of Gogol. In this, the story of a minor public servant battling against want, and finding a ray of light in corresponding with a girl also in poor circumstances, but who ultimately marries a rich middle-aged man, we already get all Dostoyevsky’s peculiar sweetness; what Stevenson called his “lovely goodness,” his almost intolerable pathos, his love of the disinherited and of the failures of life. His next