Complete Works of Fyodor Dostoyevsky (630 page)

I have finished.  Perhaps some reader may care to know: what has become of my “idea,” and what is the new life that is beginning for me now, to which I refer so mysteriously?  But that new life, that new way which is opening before me is my “idea,” the same as before, though in such a different form, that it could hardly be recognised.  But I cannot enter into that in this story, that is something quite different.  My old life has passed away completely, and the new is just beginning.  But I will add one essential matter:  Tatyana Pavlovna, a true and dear friend to me, pesters me almost every day with exhortations to enter the university:  “When you’ve taken your degree,” she says, “then you can consider the position, but now you must finish your studies.”  I must confess I am considering her suggestion, but I don’t know how I shall decide.  Among other objections I have urged that I have not the right to continue my studies, as it is my duty now to work to maintain mother and Liza; but she offers to undertake this, and she says her means are sufficient to do so all the time I am at the university.  I have determined at last to ask the advice of some one.  Looking about me, I have chosen that some one carefully and critically.  I have fixed on Nikolay Semyonovitch, my former tutor in Moscow, the husband of Marie Ivanovna.  Not so much that I need advice about anything, but I feel an irresistible longing to hear the opinion of this outsider, who is a rather coldly egoistic, but undoubtedly clever man.  I have sent him my whole manuscript, asking him to keep it secret from every one, especially Tatyana Pavlovna, because I have not shown it to any one so far.  The manuscript came back to me a fortnight later, and with it a rather long letter.  From this letter I make a few extracts, as I find in them a certain general view and something that may be explanatory.  Here are the extracts.

3

“. . . You could never have employed your leisure time more profitably, my ever precious Arkady Makarovitch, than in writing this autobiography!  You have given yourself, so to say, an unflinching account of your first stormy, perilous steps on the path of life.  I quite believe that you may by this exposition have to a great extent ‘re-educated yourself,’ to use your own expression.  I shall not, of course, venture upon the smallest criticism: though every page makes one reflect . . . for instance, the circumstance, that you so long and so obstinately retained possession of the ‘document’ — is highly characteristic. . . .  But that is only one remark out of hundreds, which I permitted myself.  I greatly appreciate also, the fact of your deciding to confide to me, and apparently to me alone, ‘the secret of your idea,’ to use your own expression.  But your request that I should give you my opinion on that ‘idea’ I must resolutely refuse: to begin with, it would be out of place in a letter, and secondly, I am not prepared to give an answer off-hand; I must ruminate upon it further.  I will only observe that your ‘idea’ is distinguished by originality, whereas young men of the present generation, for the most part, throw themselves into ready-made ideas, of which there is always an ample provision, and which are a source of danger.  Your idea, for instance, did at any rate save you for the time from the ideas of Messrs. Dergatchev and Co. certainly less original than yours.  Finally I am absolutely in agreement with that honoured lady, Tatyana Pavlovna, whom I had till now failed to esteem as she deserves, though I know her personally.  Her plan that you should enter the university will be of the greatest possible benefit for you.  Study and life will undoubtedly in three or four years widen the horizon of your ideas and aspirations, and if after the university you still desire to return to your ‘idea,’ there will be nothing to prevent it.

“Now allow me, though you have not requested it, to give you frankly some thoughts and impressions that have occurred to my mind while perusing your extremely candid ‘autobiography.’  Yes, I agree with Andrey Petrovitch, that one might well feel anxiety about you and your SOLITARY YOUTH.  And there are more than a few lads like you, and there really is always a danger of their talents leading them astray, either into secret sensuality, or a latent desire for lawlessness.  But this thirst for lawlessness proceeds most frequently, perhaps, from a latent craving for discipline and ‘seemliness’ — (I am using your own words).  Youth is pure, just because it is youth.  Perhaps in these precocious impulses of madness, there lie concealed a craving for discipline and a search for truth, and whose fault is it that some young people of to-day see that truth and that discipline in such stupid and ridiculous things, that one cannot imagine how they can believe in them!  I may mention, by the way, that in the recent past, a generation ago at most, such interesting lads were not so much to be pitied, for in those days they almost always ended by successfully attaching themselves to our most highly cultivated class and merging into it and even if they did at the onset recognise their own lack of order and consistency, the lack of nobility even in their family surroundings, the lack of an ancestral tradition, and of fine finished forms of social life, it was a gain for them, for they consciously strove towards all this and thereby learned to prize it.  Nowadays the position is somewhat different, for there is scarcely anything the young can attach themselves to.

“I will explain by comparison, or, so to say, by analogy.  If I had been a Russian novelist and had talent I should certainly have chosen my heroes from the old nobility, because only in that type of cultivated Russian is it possible to find at least that outward semblance of fine order and aesthetic beauty so necessary in a novel to produce an artistic effect on the reader.  I am not joking when I say this, although I am not a nobleman myself, as you are indeed aware.  Pushkin selected the subject for his future novels from the ‘Traditions of the Russian Family,’ and believe me that everything beautiful we have had so far is to be found therein.  Everything that has been brought to some sort of perfection, anyway.  I don’t say this because I am accepting unconditionally the truth and justness of that beauty; but at least there were completely worked out forms of honour and duty which have never existed anywhere in Russia except in the nobility, even in the most rudimentary shape.  I speak as a calm man seeking calm.

“Whether that honour was a good thing, and whether that duty was a true one — is a secondary question.  What to my mind is of most consequence is the finality of the forms and the existence of some sort of order, not prescribed from above, but developed from within.  Good heavens, what matters most of all for us is to have any sort of order of our own!  All hopes for the future and, so to say, restfulness of outlook lie in our having something at last built up, instead of this everlasting destruction, instead of chips flying in all directions, rubbish and disorder which has led to nothing for two hundred years.

“Don’t accuse me of Slavophilism; I only say this from misanthropy, for my heart is heavy!  Something is happening to us to-day and in the recent past, the very opposite of what I have imagined above.  It is not that the worthless attach themselves to the highest stratum of society, but, on the contrary, with light-hearted haste, fragments are torn from what is fine and noble and thrown into one mass with the lawless and the envious.  And there have been many instances of fathers and heads of what have been cultured families, laughing at what their children perhaps would have liked to believe in.  What is more, they eagerly display to their children their spiteful pleasure at the sudden licence to be dishonest, which they have all at once deduced, wholesale, from something.  I am not speaking of the true progressives, dear Arkady Makarovitch, but only of that rabble, so numerous it seems, of whom it has been said ‘grattez le Russe et vous verrez le Tatare,’ and believe me there are by no means so many true liberals, true and noble friends of humanity among us, as we have imagined.

“But all this is theorising; let us come back to our supposed novelist.  The position of our novelist in this case would be perfectly definite; he could not write in any other form but the historical, for there is no fine type in our day, and if there were remnants of it left they would not, according to the prevalent ideas of the day, have retained their beauty.  Oh! and in historical form it is possible to depict a multitude of extremely attractive and consolatory details!  It is possible so to fascinate the reader indeed that he will take the historical picture for the possible and the actual.  Such a work, if executed with great talent, would belong not so much to Russian literature as to Russian history.

“It would be a picture artistically worked out of the Russian ideal, having a real existence so long as it was not guessed that it was an ideal.  The grandson of those heroes who have been depicted in a picture of a Russian family of the upper middle cultivated class during three generations, side by side with and in connection with Russian history — that descendant of his forefathers would not be depicted in his modern type except in a somewhat misanthropic solitary and distinctly melancholy aspect.  He is even bound to appear a somewhat strange figure, so that the reader might from the first glance recognise him as one retreating from the field of action, and might be convinced there was no field of action left for him.  A little further and even that misanthrope, that grandson of heroes, will disappear entirely; new characters will appear, unknown to us as yet, and a new ideal; but what sort of characters?  If they are without beauty, then the Russian novel is impossible in the future.  But alas! will the novel be the only thing impossible?

“I will not pursue this further, but will hasten back to your manuscript.  Consider, for instance, both the families of M. Versilov (for this once I will venture to be quite open).  I won’t enlarge on Andrey Petrovitch himself; but he is anyway of a good old family.  He is a nobleman of ancient lineage, and at the same time a Parisian communard.  He is a true poet and loves Russia, yet denies her absolutely.  He is without any sort of religion, but yet almost ready to die for something indefinite, to which he cannot give a name, but in which he fervently believes, like a number of Russian adherents of European civilisation of the Petersburg period of Russian history.  But enough of him.  As for his legitimate family, I won’t discuss his son, and indeed, he is not worthy of the honour.  All who have eyes know what upstarts like that come to in Russia, and what they bring others to as well.  Then his daughter, Anna Andreyevna — she is surely a girl of strong character?  A figure on the scale of the Mother Abbess Mitrofania, not that I mean to predict anything criminal — which would be unjust on my part.

“If you can assure me, Arkady Makarovitch, that that family is an exceptional phenomenon it will rejoice my heart.  But would it not be on the contrary a truer conclusion, that a multitude of unquestionably aristocratic Russian families are with irresistible force passing in masses into exceptional families and mingling with them in the general lawlessness and chaos.  A typical example of such an exceptional family is sketched by you in your manuscript.  Yes, Arkady Makarovitch, you are A MEMBER OF AN EXCEPTIONAL FAMILY, in contrary distinction to the aristocratic types who have had such a very different childhood and adolescence from yours.

“I must say I should not like to be a novelist whose hero comes of an exceptional family!

“To describe him is an ungrateful task and can have no beauty of form.  Moreover these types are in any case transitory, and so a novel about them cannot have artistic finish.  One may make serious mistakes, exaggerations, misjudgments.  In any case, one would have to guess too much.  But what is the writer to do who doesn’t want to confine himself to the historical form, and is possessed by a longing for the present?  To guess . . . and make mistakes.

“But such an autobiography as yours might serve as material for a future work of art, for a future picture of a lawless epoch already passed.  Oh, when the angry strife of the day has passed, and the future has come, then a future artist will discover beautiful forms for depicting past lawlessness and chaos.  Then such autobiographies as yours — so long as they are sincere — will be of use and provide material in spite of their chaotic and fortuitous character . . . they will preserve at any rate some faithful traits by which one may guess what may have lain hidden in the heart of some raw youth of that troubled time — a knowledge not altogether valueless since from raw youths are made up the generations.”

THE END

Translated by Constance Garnett

Dostoyevsky’s final novel was published as a serial in
The Russian Messenger
in 1880.
The Brothers Karamazov
tells the story of a patricide, in which each of the murdered man’s sons share a varying degree of complicity. The novel is a spiritual drama of moral struggles concerning faith, doubt and reason, offering a complex narrative steeped with ethical debates of God, free will and morality. Since its first publication, the novel has been acclaimed as one of the supreme achievements of nineteenth century Russian literature. Dostoyevsky intended
The Brothers Karamazov
to be the first part in an epic story titled
The Life of a Great Sinner
, but he died less than four months after the publication.