Complete Works of Fyodor Dostoyevsky (861 page)

You write that everybody loves the new Tsar. I myself idolize him. I must confess that it is a great object to me to be promoted; but I may still have to wait a long time for my promotion to commissioned rank; and I should like to have something now, at once, on the occasion of the Coronation festivities. The best and wisest would be of course that I should ask for permission to publish.

I think of sending you very soon, privately, a pçem I have written about the Coronation. I might even send it “officially.” You will be sure to meet Hasford. (Governor-General of Siberia.) He soon starts, of course, for the Coronation. Could you not persuade him to present my poem to the Tsar? Would it not do? Tell me too up to what time I am safe in writing to you, for if you leave Petersburg, my letters might be lost, and that would be tiresome. I have already told you about my article on Russia. It has turned into a regular political pamphlet. Yet I should not like to erase a single word of that article. They will scarcely allow me to begin my literary activity with a pamphlet, however patriotic its contents may be. But the article was good, and I was satisfied with it. It interested me extraordinarily; Still, I have abandoned the task. For if I can’t get permission to publish it, why should I have all my trouble for nothing? Time is too precious now for me to waste it in writing for mere amusement. Besides, the political atmosphere has changed. And so, I have begun a new article: “Letters on Art.” The Grand-Duchess Maria Nikolayevna is President of the Academy of Arts. I intend to ask permission to dedicate this piece to her, and let it then appear anonymously. It is the fruit of ten years’ deliberation. I thought it out to the last detail as long ago as Omsk. It will have many original and burning passages, but I can’t answer for the execution of the whole. Probably many will disagree with me on various points. But I believe in my ideas, and that suffices me. I should like to ask Apollon Maikov to read it beforehand. Certain chapters contain whole pages from the pamphlet. It deals directly with the place of Christianity in art. But where shall I bring it out? If I let it appear as a separate publication, at most a hundred people will read it, for it is no novel, while in a journal I might get paid for it. Now, the
Sovremennik
was always hostile to me, and so was the
Moskvityanin.
In the
Roussky Viestnik
there has appeared the prelude to an article by Katkov on Pushkin, where the ideas expressed are in disaccord with mine. So there remains only the
Otetschestvennia Zapiski.
But I don’t know how matters stand with that journal. Would you therefore find out from Maikov and your brother whether there is any chance of publishing and being paid for the article, and tell me what they say; just speak of it casually, as it were. The principal thing is that the novel at which I’m now working affords me great enjoyment. Only with novels shall I ever make a name and attract public attention. All the same, it would be wiser to begin with a serious article (upon art) and try for permission to publish such an one; for nowadays people regard a novel as an inferior sort of thing. So I believe, at any rate....

[Dostoevsky reiterates his request that Vrangel will exert himself on his behalf.]

XXVIII. To his Brother Michael

SEMIPALATINSK,

May 1
1, 1858.

You beg me, my friend, to send you everything I write. I can’t remember (my memory is mostly very bad now) — I can’t remember whether I told you that I had approached Katkov (
Roussky Viestnik)
and offered him my co-operation on his paper; I promised that this very year I’d write a long tale for him if he would at once send me 500 roubles. Four or five weeks ago I got those 500 roubles and a very sensible and friendly letter from him. He writes that he is very glad of my co-operation, and at once responds to my request (about the 500 roubles). He begs me not to hurry myself in any way, and to write only at my leisure. That’s splendid. So now I am to write a long story for the
Roussky Viestnik;
the only trouble is that I haven’t arranged with Katkov about payment by the sheet — I wrote that I would leave that matter to him.

I want to write something this year also for the
Roussky Slovo
— not the novel, but a tale. I won’t write the novel till I’ve got out of Siberia. I must put it off till then. The motive of this book is most excellent, the principal figure is new and has never yet been done. But as to-day in Russia such a figure frequently emerges in actual life (so I conclude from the new movements and ideas of which everyone seems full), I feel sure that I shall succeed in enriching my novel, after my return, with fresh observations. (The “figure” is Raskolnikov, in “Crime and Punishment.”) One ought not to hurry, my friend; one must try to do nothing but what is good. You write, my dear fellow, that I am really very vain, and want to step forth now with a peculiarly distinguished work; and that therefore I sit patiently on my eggs, that the “distinguished work” may be hatched. Well, suppose it really were the case: at any rate, as I’ve now dropped the idea of bringing out the novel at present, and am working at two stories, which will both be only just tolerable, I don’t think there can be much talk of “hatching.” Where on earth did you pick up the theory that a picture should be painted “straight off,” and so forth? When did you come to that conclusion? Believe me, in all things labour is necessary — gigantic labour. Believe me that a graceful, fleet poem of Pushkin’s, consisting of but a few lines,
is
so graceful and so fleet simply because the poet has worked long at it, and altered much. That is solid fact. Gogol wrote at his “Dead Souls” for eight years. Everything that he did “straight off” was crude. People say that in Shakespeare’s MSS. there is not a single erasure. That’s why there are so many monstrous errors of taste in him. If he had worked more, the whole would have come off better. You evidently confuse the inspiration, that is, the first instantaneous vision, or emotion in the artist’s soul (which is always present), with the
work.
I, for example, write every scene down at once, just as it first comes to me, and rejoice in it; then I work at it for months and years. I let it inspire me, in that form, more than once (for I love it thus); here I add, there I take away; believe me that the scene always gains by it. One must
have
the inspiration; without inspiration one can’t of course begin anything.

You write that big fees are now being paid in your part of the world. Thus, Pissemsky got 200 or 250 roubles a sheet for his “Thousand Souls.” In such circumstances one could really live, and work at ease. But do you really think Pissemsky’s novel excellent? It is mediocre work — possibly a “
golden mean,”
but nevertheless mediocre. Come! is there one fresh thing in it — one thing of
his own,
that never before was done? All has been done before him, and done by the most modem writers too, particularly by Gogol. His are but ancient words to a new tune. “Distinguished work” after foreign patterns — home products from sketches by Benvenuto Cellini. It’s true I’ve read only the two first parts of the novel; papers reach us very late here. The end of the second part is utterly improbable, and entirely bad. Kalinovitch, who consciously betrays, is simply impossible. Kalinovitch, as the author had earlier depicted him, would have
had
to offer a sacrifice, propose marriage, intoxicate himself with his own nobility, and be convinced that he was incapable of any deception. Kalinovitch is so vain that he couldn’t possibly regard himself as a scoundrel. Of course he would take his pleasure all the same, spend a night with Nastenyka and then betray her; but only afterwards, under the pressure of actualities; and he would assuredly solace himself even then, and aver that he had acted nobly in this case also. But a Kalinovitch who consciously betrays, is repulsive and
impossible;
that is to say, such a person is possible, but he is not Kalinovitch. Enough of this nonsense.

I am weary of waiting for my leave.

[Here follow plans for what Dostoevsky will do when he gets his leave.]

XXIX. To his Brother Michael

SEMIPALATINSK,

May
9, 1859.

[At first he talks of his leave, which had been granted so long ago as March 18, but of which nothing was known in Semipalatinsk till May; and of business matters.]

You always write me such tidings as, for example, that Gontscharov has got 7,000 roubles for his novel, and that Katkov (from whom I now demand 100 roubles a sheet) has offered Turgenev 4,000 roubles for his “House of Gentlefolk” — which means 400 roubles a sheet. (I have read Turgenev’s novel at last. It is extraordinarily good.) My friend! I know very well that I don’t write as well as Turgenev; still the difference is really not so great, and I hope in time to write quite as well as he does. Why do
I,
then, in my need, allow myself to get only 100 roubles a sheet, while Turgenev, who has 2,000 serfs, gets 400 roubles? I am poor, and so must write in greater haste and
for
money; consequently I have to
spoil everything I do.

[Here follow considerations upon the terms which Dostoevsky thinks of offering to Kachelyov, editor of the
Roussky Slovo
.]

I am now finishing a story for Katkov; (“Stepanchikovo Village.”) it has got quite long — fourteen or fifteen sheets. I have already delivered three-quarters of it; the rest I shall send in the beginning of June. Now listen; Micha! This story has of course great faults and is, above all, extravagantly long; but I am perfectly certain that it has also the greatest merits and is my best work. I have been two years writing it (with an interruption in the middle, when I wrote “Uncle’s Dream”). The beginning and the middle are decently worked out, but the end was written in great haste. Still I have put my whole soul, my flesh and blood, into it. I will not say that I have therein expressed my whole self: that would be nonsense. I have much more to say. And there is, in this story, far too little of the human, that is, the passionate, element (as exemplified, for instance, in “A House of Gentlefolk “); but on the other hand it shows forth two colossal types, which I have been
working at and polishing
for five whole years; they are (as I believe) faultlessly drawn; wholly Russian types, and such as have been hitherto insufficiently studied in Russian literature. I know not whether Katkov will be able to appreciate the book, but if it is coldly received by the public I shall really despair. On this novel I build my highest hopes, and, above all, that of the certainty of my literary vocation.

[Henceforth the topic again is money.]

XXX. To Frau Stackenschneider

[PETERSBURG],

May
3, 1860.

HONOURED AND DEAR FRAU ST.

I have now been back in Petersburg three months, and have taken up my work again. The whole visit to Moscow seems like a dream to me now; here I am again amid the damp, the dirt, the ice from Ladoga Lake, (In the early part of the year the ice from Lake Ladoga comes floating down the Neva.) the tedium, and so on. Yes — back again, and I feel as if I were in a fever. That’s because of my novel. (“Injury and Insult.”) I want it to come off. I feel that there is poetry in it, and I know that on it depends my whole literary career. I shall have to work night and day for the next three months. But what a reward awaits me, when I’ve finished! Rest, a clear outlook on my surroundings, and the knowledge that I have done and attained what I wished. Perhaps I shall give myself, as a treat, a few months’ travel; but first of all I shall in any event come again to Moscow.

... Ambition is a good thing, but I think that one may take it as one’s aim only in things which one has set one’s-self to achieve, has made the reason for one’s existence. In anything else it’s nonsense. The only essential is to live with ease; and moreover one must sympathize with one’s fellow-creatures, and strive to win their sympathy in return. And if, indeed, one had no other determined aim, this would by itself more than suffice.

But I’m beginning to philosophize again. I have heard little or no news. Pissemsky is ill, suffering from rheumatism. I’ve been to see Apollon Maikov. He told me that Pissemsky rages, sulks, takes it very badly; that’s no wonder; such sufferings are great torment. By-the-bye, didn’t you know one Snitkin? He published some comic verses under the pseudonym of Ammos Schichkin. Only think: he fell ill suddenly, and died within six days. The Literary Relief Fund has undertaken to look after his family. It is very sad. But perhaps you didn’t know anything of him. I had a talk with Krestovsky lately. I like him very much. He wrote a poem the other day, and read it aloud to us with much pride. We told him with one voice that the poem was atrocious; it is our custom always to speak the truth. And what do you think? He wasn’t in the least offended. He is such a dear, noble youth! I like him better and better, and on some drinking-bout or other I mean to drink brotherhood with him. One often has such odd impressions! I always have this one — that Krestovsky must soon die. But whence it comes, I can’t possibly say.

We are thinking of starting a serious literary enterprise. We are all very busy about it. (The reference is to the journal
Vremya
(
The Times).)
Perhaps it will come off. All these plans are but the first step, but at any rate they indicate vitality. I know very well what “the first step” means, and I love it. It is better than any leap.

I have a frightful character, but not always — only at times. That’s my solace.

FYODOR DOSTOEVSKY.

XXXI. To Mme. V. D. Constantine

Paris,
September
1, 1862.

MY DEAR AND MUCH - HONOURED VARVARA DMITRYEVNA!

You have perhaps learnt from my letter to Pasha that I arrived happy and well in Paris, and have settled down here, though I hardly think I shall stay long. I don’t like Paris, though it’s frightfully grand. There’s a lot to see here, but when one undertakes the seeing, terrible boredom ensues. It would have been very different if I had come here as a student, to learn something: very different, for I should have had plenty to do, and should have
had
to see and hear a great deal; while for a tourist, who is merely observing customs, the French are disgusting, and the town as such is wholly unknown to me. The best things here are the wine and the fruit: the only things that in the long run don’t pall on one. Of my private affairs I won’t write you anything. “Letters are nonsense; only apothecaries write letters.” I will write only of a certain business matter. I have in fact a request to make of you, my dear Varvara Dmitryevna. You must know that on the way I stopped four days at Wiesbaden, and of course played roulette. And what do you think? I did not lose, but won; not, certainly, as much as I could have wished, no hundred thousand, but still a nice little sum.