Complete Works of Fyodor Dostoyevsky (895 page)

And yet, has it anything to do with Dostoevsky? One feels rather as if one had been admitted to the kitchen where the cook is smashing the china, or to the drawing-room where the relations are gossiping in corners, while Dostoevsky sits upstairs alone in his study. He had, it is clear, an extraordinary power of absenting his mind from his body. The money troubles alone, one would think, were enough to drive him distracted. On the contrary, it was his wife who worried, and it was Dostoevsky, says his daughter, who remained serene, saying, ‘in tones of conviction, “We shall never be without money.” ‘ We catch sight of his body plainly enough, but it is rather as if we passed him taking his afternoon walk, always at four o’clock, always along the same road, so absorbed in his own thoughts that ‘he never recognized the acquaintance he met on the way’. They travelled in Italy, visited the galleries, strolled in the Boboli gardens, and ‘the roses blooming there struck their Northern imaginations’. But after working at The Idiot’ all the morning how much did he see of the roses in the afternoon? It is the waste of his day that is gathered up and given us in place of his life. But now and then, when Mlle Dostoevsky forgets the political rancours of the moment and the complex effect of the Norman strain upon the Lithuanian temperament, she opens the study door and lets us see her father as she saw him. He could not write if he had a spot of candle-grease on his coat. He liked dried figs and kept a box of them in a cupboard from which he helped his children. He liked eau-de-Cologne to wash with. He liked little girls to wear pale green. He would dance with them and read aloud Dickens and Scott. But he never spoke to them about his own childhood. She thinks that he dreaded discovering signs of his father’s vices in himself; and she believes that he ‘wished intensely to be like others’. At any rate, it was the greatest pleasure of her day to be allowed to breakfast with him and to talk to him about books. And then it is all over. There is her father laid out in his evening dress in his coffin; a painter is sketching him; grand dukes and peasants crowd the staircase; while she and her brother distribute flowers to unknown people and enjoy very much the drive to the cemetery.

More Dostoevsky.

Each time that Mrs Garnett adds another red volume to her admirable translations of the works of Dostoevsky we feel a little better able to measure what the existence of this great genius who is beginning to permeate our lives so curiously means to us. His books are now to be found on the shelves of the humblest English libraries; they have become an indestructible part of the furniture of our rooms, as they belong for good to the furniture of our minds. The latest addition to Mrs Garnett’s translation, The Eternal Husband’, including also The Double’ and ‘The Gentle Spirit’, is not one of the greatest of his works, although it was produced in what may be held to be the greatest period of his genius, between The Idiot’ and The Possessed’. If one had never read anything else by Dostoevsky, one might lay the book down with a feeling that the man who wrote it was bound to write a very great novel some day; but with a feeling also that something strange and important had happened. This strangeness and this sense that something important has happened persist, however, although we are familiar with his books and have had time to arrange the impression that they make on us.

Of all great writers there is, so it seems to us, none quite so surprising, or so bewildering, as Dostoevsky. And although ‘The Eternal Husband’ is nothing more than a long short story which we need not compare with the great novels, it too has this extraordinary power; nor while we are reading it can we liberate ourselves sufficiently to feel certain that in this or that respect there is a failure of power, or insight, or craftsmanship; nor does it occur to us to compare it with other works either by the same writer or by other writers. It is very difficult to analyse the impression it has made even when we have finished it. It is the story of one Velchaninov, who, many years before the story opens, has seduced the wife of a certain Pavel Pavlovitch in the town of T — . Velchaninov has almost forgotten her and is living in Petersburg. But now as he walks about Petersburg he is constantly running into a man who wears a crêpe hat-band and reminds him of someone he cannot put a name to. At last, after repeated meetings which bring him to a state bordering on delirium, Velchaninov is visited at two o’clock in the morning by the stranger, who explains that he is the husband of Velchaninov’s old love, and that she is dead. When Velchaninov visits him the next day he finds him maltreating a little girl, who is, he instantly perceives, his own child. He manages to take her away from Pavel, who is a drunkard and in every way disreputable, and give her lodging with friends, but almost immediately she dies. After her death Pavel announces that he is engaged to marry a girl of sixteen, but when, as he insists, Velchaninov visits her, she confides to him that she detests Pavel and is already engaged to a youth of nineteen. Between them they contrive to pack Pavel off to the country; and he turns up finally at the end of the story as the husband of a provincial beauty, and the lady, of course, has a lover.

These, at least, are the little bits of cork which mark a circle upon the top of the waves while the net drags the floor of the sea and encloses stranger monsters than have ever been brought to the light of day before. The substance of the book is made out of the relationship between Velchaninov and Pavel. Pavel is a type of what Velchaninov calls ‘the eternal husband’. ‘Such a man is born and grows up only to be a husband, and, having married, is promptly transformed into a supplement of his wife, even when he happens to have an unmistakable character of his own ... [Pavel] could only as long as his wife was alive have remained all that he used to be, but, as it was, he was only a fraction of a whole, suddenly cut off and set free, that is something wonderful and unique.’ One of the peculiarities of the eternal husband is that he is always half in love with the lovers of his wife, and at the same time wishes to kill them. Impelled by this mixture of almost amorous affection and hatred, he cannot keep away from Velchaninov, in whom he breeds a kind of reflection of his own sensations of attraction and repulsion. He can never bring himself to make any direct charge against Velchaninov; and Velchaninov is never able to confess or to deny his misconduct. Sometimes, from the stealthy way in which he approaches, Velchaninov feels certain that he has an impulse to kill him; but then he insists upon kissing him and cries out, ‘So, you understand, you’re the one friend left me now!’ One night when Velchaninov is ill and Pavel has shown the most enthusiastic devotion Velchaninov wakes from a nightmare to find Pavel standing over him and attempting to murder him with a razor. Pavel is easily mastered and slinks away shamefaced in the morning. But did he mean to murder him, Velchaninov muses, or did he want it without knowing that he wanted it?

But did he love me yesterday when he declared his feeling and said ‘Let us settle our account’? Yes, it was from hatred that he loved me; that’s the strongest of all loves ... It would be interesting to know by what I impressed him. Perhaps by my clean gloves and my knowing how to put them on ... He comes here ‘to embrace me and weep’, as he expressed it in the most abject way - that is, he came here to murder me and thought he came ‘to embrace me and to weep’. But who knows? If I had wept with him, perhaps, really, he would have forgiven me, for he had a terrible longing to forgive me! ... Ough! wasn’t he pleased, too, when he made me kiss him! Only he didn’t know then whether he would end by embracing me or murdering me ... The most monstrous monster is the monster with noble feelings ... But it was not your fault, Pavel Pavlovitch, it was not your fault: you’re a monster, so everything about you is bound to be monstrous, your dreams and your hopes.

Perhaps this quotation may give some idea of the labyrinth of the soul through which we have to grope our way. But being only a quotation it makes the different thoughts appear too much isolated; for in the context Velchaninov, as he broods over the blood-stained razor, passes over his involved and crowded train of thought without a single hitch, just, in fact, as we ourselves are conscious of thinking when some startling fact has dropped into the pool of our consciousness. From the crowd of objects pressing upon our attention we select now this one, now that one, weaving them inconsequently into our thought; the associations of a word perhaps make another loop in the line, from which we spring back again to a different section of our main thought, and the whole process seems both inevitable and perfectly lucid. But if we try to construct our mental processes later, we find that the links between one thought and another are submerged. The chain is sunk out of sight and only the leading points emerge to mark the course. Alone among writers Dostoevsky has the power of reconstructing these most swift and complicated states of mind, of re-thinking the whole train of thought in all its speed, now as it flashes into light, now as it lapses into darkness; for he is able to follow not only the vivid streak of achieved thought but to suggest the dim and populous underworld of the mind’s consciousness where desires and impulses are moving blindly beneath the sod. Just as we awaken ourselves from a trance of this kind by striking a chair or a table to assure ourselves of an external reality, so Dostoevsky suddenly makes us behold, for an instant, the face of his hero, or some object in the room.

This is the exact opposite of the method adopted, perforce, by most of our novelists. They reproduce all the external appearances - tricks of manner, landscape, dress, and the effect of the hero upon his friends - but very rarely, and only for an instant, penetrate to the tumult of thought which rages within his own mind. But the whole fabric of a book by Dostoevsky is made out of such material. To him a child or a beggar is as full of violent and subtle emotions as a poet or a sophisticated woman of the world; and it is from the intricate maze of their emotions that Dostoevsky constructs his version of life. In reading him, therefore, we are often bewildered because we find ourselves observing men and women from a different point of view from that to which we are accustomed. We have to get rid of the old tune which runs so persistently in our ears, and to realize how little of our humanity is expressed in that old tune. Again and again we are thrown off the scent in following Dostoevsky’s psychology; we constantly find ourselves wondering whether we recognize the feeling that he shows us, and we realize constantly and with a start of surprise that we have met it before in ourselves, or in some moment of intuition have suspected it in others. But we have never spoken of it, and that is why we are surprised. Intuition is the term which we should apply to Dostoevsky’s genius at its best. When he is fully possessed by it he is able to read the most inscrutable writing at the depths of the darkest souls; but when it deserts him the whole of his amazing machinery seems to spin fruitlessly in the air. In the present volume, The Double’, with all its brilliancy and astonishing ingenuity, is an example of this kind of elaborate failure; ‘The Gentle Spirit’, on the other hand, is written from start to finish with a power which for the time being turns everything we can put beside it into the palest commonplace.

Dostoevsky in Cranford.

It is amusing sometimes to freshen one’s notion of a great, and thus semi-mythical, character by transplanting him in imagination to one’s own age, shore, or country village. How, one asks, would Dostoevsky have behaved himself upon the vicarage lawn? In ‘Uncle’s Dream’, the longest story in Mrs Garnett’s new volume, he enables one to fancy him in those incongruous surroundings. Mordasov bears at any rate a superficial resemblance to Cranford. All the ladies in that small country town spend their time in drinking tea and talking scandal. A newcomer, such as Prince K., is instantly torn to pieces like a fish tossed to a circle of frenzied and ravenous seagulls. Mordasov cannot be altogether like Cranford, then. No such figure of speech could be used with propriety to describe the demure activities and bright-eyed curiosities of the English circle of ladies. After sending our imaginary Dostoevsky, therefore, pacing up and down the lawn, there can be no doubt that he suddenly stamps his foot, exclaims something unintelligible, and rushes off in despair. ‘The instinct of provincial newsmongers sometimes approaches the miraculous ... They know you by heart, they know even what you don’t know about yourself. The provincial ought, one would think, by his very nature to be a psychologist and a specialist in human nature. That is why I have been sometimes genuinely amazed at meeting in the provinces not psychologists and specialists in human nature, but a very great number of asses. But that is aside; that is a superfluous reflection.’ His patience is already exhausted; it is idle to expect that he will linger in the High-street or hang in a rapture of observation round the draper’s shop. The delightful shades and subdeties of English provincial life are lost upon him.

But Mordasov is a very different place from Cranford. The ladies do not confine themselves to tea, as their condition after dinner sometimes testifies. Their tongues wag with a fury that is rather that of the open market-place than of the closed drawing-room. Though they indulge in petty vices such as listening at keyholes and stealing the sugar when the hostess is out of the room, they act with the brazen boldness of viragos. One would be alarmed to find oneself left alone with one of them. Nevertheless, in his big rough way, Dostoevsky is neither savagely contemptuous nor sadly compassionate; he is genuinely amused by the spectacle of Mordasov. It roused, as human life so seldom did, his sense of comedy. He tries even to adapt his dialogue to the little humours of a gossiping conversation.

‘Call that a dance! I’ve danced myself, the shawl dance, at the breaking-up party at Madame Jamis’s select boarding-school - and it really was a distinguished performance. I was applauded by senators! The daughters of princes and counts were educated there! ... Only fancy’ [she runs on, as if she were imitating the patter of Miss Bates] ‘chocolate was handed round to everyone, but not offered to me, and they did not say a word to me all the time... The tub of a woman, I’ll pay her out!’