An Outline of Russian Literature Part 6

He never became a Catholic, holding that the Eastern Church _qua_ Church had never been cut off from the West, and that only one definite schism had been condemned; but he believed in the necessity of a universal Church. He was the first intellectual Russian to point out to a generation which took atheism as a matter of course that they were possibly inferior instead of superior to religion. He believed in Russia; he had nothing against the Slavophile theory that Russia had a divine mission; only he wished to see that mission divinely performed.

He believed in the East of Christ, and not in that of Xerxes. He died in 1900, before he had finished his _Magnum Opus_, a work on moral philosophy written on a religious basis. He preached self-effacement; pity towards one's fellow men; and reverence towards the supernatural.

His whole work is a defence of moral principles, written with the soul of a poet, the knowledge of a scholar, and the brilliance of a dialectician. It is only lately that his books have gained the appreciation which they deserve; they are certainly more in harmony with the present generation than with that of the sixties and the seventies. His _Three Conversations_ has been translated into English.

Vladimir Soloviev stands in a niche of his own, isolated from the crowd by his own originality, his brilliance, and his prematurity; he was _intempestivus_.

To the same epoch belong four other important writers, each occupying a place apart from the current stream of literary or political influences: one because he was a satirist, one because he wrote for the stage, and the two others because one impartially, and the other bitterly, dared to criticize the Radicals.

MICHAEL SALTYKOV (1826-89), who wrote under the name of Shchedrin, holds a unique place in Russian literature, not only because he is a writer of genius, but because he is one of the world's great satirists. Unlike Russian satirists before him, Krylov, Gogol, and Griboyedov, good-humoured irony or sharp rapier thrusts of wit do not suffice him; he has in himself the _saeva indignatio_, and he expresses it with all the concentrated spite that he can muster, which is all the more deadly from being used with perfect control. His work is bulky, and fills eleven thick volumes; some of it is quite out of date and at the present day almost unintelligible; but all that deals with the fundamental essentials of the Russian character, and not with the pa.s.sing episodes of the day, has the freshness of immortality. At the outset of his career, he was banished to Vyatka, where he remained from 1848-56, an exile, which gave him a rich store of priceless material. His experiences appeared in his _Sketches of Provincial Life_ in 1886-7.

He describes the good old times and the officials of the good old times, with diabolic malice and with an unequalled eye for the ironical, the comic, the topsy-turvy, and the true; and while he is as observant as Gogol, he is as bitter as Swift. He puts his characters on the stage and makes them relate their experiences; thus we hear how the collector of the dues manages to combine the maximum amount of robbery with the minimum amount of inconvenience. In his pictures of prison life, the prisoners tell their own stories, sometimes with unaffected frankness, sometimes with startling cynicism, and sometimes the story is obscured by a whole heap of lies. The prisoners are of different cla.s.ses; one is an ex-official who states that he was a statistician who got into trouble over his figures; wis.h.i.+ng to levy dues on a peasant's property, he had demanded the number, not of their bee-hives, but of their bees, and wrote in his list: "The peasant Sidorov possesses two horses, three cows, nine sheep, one calf, and thirty-nine thousand nine hundred and ninety-seven bees."

Unfortunately he was betrayed by the police inspector.

Saltykov's satire deals entirely with the middle cla.s.s, the high officials, the average official, and the minor public servants; and his best-known work, and one that has not aged any more than Swift has aged, is his _History of a City according to the original doc.u.ments_.

In this he tells of the city of _Glupov_, _Fool-City_, where the people were such fools that they were not content until they found some one to rule them who was stupider than they were themselves. The various phases Russia had gone through are touched off; the mania for regulations, the formalism, the official red-tape, the persecution of independent thought, and the oppression of original thinkers and writers; the ultimate ideal is that introduced by the last ruler of Glupov (the history lasts from 1731 to 1826), of turning the country into barracks and reducing every one and everything to one level--in which the regime of the period of Nicholas I is satirized; until in the final picture, as fine in its way as Pope's close of the _Dunciad_, the stream rises, and refusing to be stopped by the dam, carries everything away. The style parodies that of the ancient chroniclers; and its chief intent lies not in the satirizing of any particular events or person, but in the shafts of light, sometimes bitter, and sometimes inexpressibly droll, it throws on the Russian system of administration and on the Russian character.

In his _Pompaduri_, Saltykov dissects and vivisects the higher official,--the big-wig,--and in his sketches from the "Domain of Moderation and Accuracy," he writes, in little, the epic of the minor public servant--the man who is never heard of, who is included in the term of "the rest," but who, nevertheless, is a cogwheel in the machinery, without which the big-wigs cannot act or execute. No more supreme piece of art than this piece of satire exists. The typical minor official is drawn in all the variations of his miserable and pitiable species, and in all the phases of his ign.o.ble and sometimes tragical career, with a pen dipped in scorn and stinging malice, not unblent with a grave pity, which always exists in the work of the greatest satirists--"Peace to all such, but there was one ..." for instance--and wielded with terrible certainty of touch. This epic of the _Molchalins_ of life--the typical officials who cease to be men--was the story of a great part of the Russian population; and in its essence, a great deal of it remains true to-day, while all of it remains artistically enjoyable.

Saltykov continued to write during the whole of his long life. His field of satire ranges from the days before serfdom to the epoch of the reforms, extends to the days of the Russo-Turkish War, and pa.s.ses the frontier into the West. It is impossible here even to name all his works; but there is one, written in the decline of his life, which has a solid historical as well as a rich and varied artistic interest.

This is his _Poshenkhonskaya Starina_; it is practically the history of his childhood, his upbringing, and the state of affairs which existed at that time, the life lived by his parents and their neighbours, the landed proprietors and their serfs. With amazing impartiality, without exaggeration, and yet with evidences of deep feeling and pa.s.sionate indignation, all the more striking from being both rare and expressed with reserve, he paints on a large and crowded canvas the life of the masters and their serfs. A long gallery of men and women is opened to one; tragedy, comedy, farce, all are here--in fact, life--life as it was then in a remote corner of the country.

Here Saltykov's spite and malice give way to higher strokes of tragic irony and pity; and the work has dignity as well as power In the bulk of Saltykov's early work there is much dross, much venom, and much ephemeral tinsel that has faded; the stuff of this book is stern and enduring; its subject-matter would not lose a particle of interest in translation. The Russians have been ungrateful towards Saltykov, and have been inclined to neglect his work, the lasting element of which is one of the most original, precious, and remarkable possessions of Russian literature.

The complement of Saltykov is LESKOV (or, as he originally called himself, _Stebnitsky_). The character of his work, its reception by the reading public on the one hand, and by the professional critics on the other, is one of the most striking object-lessons in the history of Russian literature and Russian literary criticism. Leskov has been long ago recognized by educated Russia as a writer of the first rank; what is best in his work, which is bulky and unequal, has the unmistakable hall-mark of the cla.s.sics; he is with Gogol and Saltykov, and the novelists of the first rank. Educated Russia is fully aware of this. n.o.body disputes Leskov his place, nor denies him his supreme artistic talent, his humour, his vividness, his colour, his satire, the depth of his feeling, the richness of his invention. In spite of this, there is no Russian writer who has so acutely suffered from the didactic and partisan quality of Russian criticism.

His literary career began in 1860. Like Saltykov, he paints the period of transition that followed the epoch of the great Reforms. In spite of this, as late as 1902, no critical biography, no serious work of criticism, had been devoted to his books. All Russia had read him, but literary criticism had ignored him. It is as if English literary criticism had ignored d.i.c.kens until 1900.

The reason of this neglect is not far to seek. Saltykov was an independent thinker; he belonged to no literary or political camp; he criticized the partisans of both camps with equal courage; and the partisans could not and did not forgive him. Like Saltykov, Leskov saw what was going on in Russia; with penetrating insight and observation he realized the evils of the old order; like Saltykov, he was filled with indignation, and perhaps to a greater degree than Saltykov, he was filled with pity. But, whereas Saltykov's work was purely destructive--an onslaught of brooms in the Augean stables--Leskov begins where Saltykov ends. Like Saltykov and like Gogol before him, the old order inspires him with laughter, sometimes with bitter laughter, at the absurdities of the old regime and its results; but he does not confine himself to destructive irony and sapping satire. With PISEMSKY, another writer of first-cla.s.s talent, of the same epoch, Leskov was the first Russian novelist--Griboyedov had already antic.i.p.ated such criticism in _Gore ot Uma_, in his delineation of Chatsky,--to have the courage to criticize the reformers, the men of the new epoch; and his criticism was not only negative but creative; he realized that everything must be "reformed altogether." He then asked himself whether the new men, who were engaged in the task of reform, were equal to their task. He came to the conclusion not only that they were inadequate, but that they were setting about the business the wrong way, and he had the courage to say so. He was the first Russian novelist to say he disbelieved in Liberals, although he believed in Liberalism; and this was a sentiment which no Liberal in Russia could admit then, and one which they can scarcely admit now.

His criticism of the Liberals was creative, and not negative, in this: that, instead of confining himself to pointing out their weakness and the mistaken course they were taking, he did his best to point out the right path. Dostoyevsky was likewise subjected to the same ostracism.

Turgenev suffered from it; but the genius of Dostoyevsky and the art of Turgenev overstepped the limits of all barriers and frontiers.

Europe acclaimed them. Leskov's criticism being more local, the ostracism, although powerless to prevent the popularity of his work in Russia, succeeded for a time in keeping him from the notice of Western Europe. This barrier is now being broken down. One of Leskov's masterpieces, _The Sealed Angel_, was lately translated into English; but he is one of the most difficult authors to translate because he is one of the most native.

A far bitterer and more pessimistic note is heard in the work of Pisemsky. He attacks the new democracy mercilessly, and not from any predilection towards the old. His most important work, _The Troubled Sea_ (1862), was a terrific onslaught on Radical Russia; and Pisemsky paid the same price for his pessimistic a.n.a.lysis as Leskov did for his impartiality, namely social ostracism.

The work of OSTROVSKY (1823-86) belongs to the history of the Stage, to which he brought slices of real life from the middle cla.s.s; the townsmen, the minor public servants, merchants great and small, and rogues, a _milieu_ which he had observed in his youth, his father having been an attorney to a Moscow merchant. Ostrovsky may be called the founder of modern Russian realistic comedy and drama. In spite of the epoch at which his plays were written (the fifties and the sixties), there is not a trace of _Scribisme_, no tricks, no effective exits or curtains; he thus antic.i.p.ated the form of the quite modern drama by about seventy years. His plays hold the stage now in Russia, and form part of the stock repertories every season. They give, moreover, just the same lifelike impression whether read or seen acted; and they are as interesting from a literary as they are from a historical or dramatic point of view, interesting because they are intensely national, and as Russian as beer is English.

This brief summary of the epoch would be still more incomplete than it is without the mention of yet another novelist, GRIGOROVICH. Although on a lower level of art and creative power than Pisemsky and Leskov, he was the pioneer in Russian literature of peasant literature. He antic.i.p.ated Turgenev's _Sportsman's Sketches_, and for the first time made Russian readers cry with sympathy over the annals of the peasant.

Like Turgenev, he was a great landscape painter. In his "Fishermen" he paints the peasant and the artisan's life, and in his "Country Roads"

he gives a picture of the good old times--replete with rich humour, and in sharp contrast to Saltykov's sunless and trenchant etching of the same period. Humour, the pathos of the poor, landscape--these are his chief qualities.

CHAPTER VI

TOLSTOY AND DOSTOYEVSKY

With TOLSTOY and DOSTOYEVSKY, we come not only to the two great pillars of modern Russian literature which tower above all others like two colossal statues in the desert, but to two of the greatest figures in the literature of the world. Russia has not given the world a universal poet, a Shakespeare, a Dante, a Goethe, or a Moliere; for Pushkin, consummate artist and inspired poet as he was, lacks that peculiar greatness which conquers all demarcations of frontier and difference of language, and produces work which becomes a part of the universal inheritance of all nations; but Russia has given us two prose-writers whose work has done this very thing. And between them they sum up in themselves the whole of the Russian soul, and almost the whole of the Russian character; I say almost the whole of the Russian _character_, because although between them they sum up all that is greatest, deepest, and all that is weakest in the Russian _soul_, there is perhaps one element of the Russian _character_, which, although they understood it well enough, their genius forbade them to possess. If you take as ingredients Peter the Great, Dostoyevsky's Mwyshkin--the idiot, the pure fool who is wiser than the wise--and the hero of Gogol's _Revisor_, Hlestyakov the liar and wind-bag, you can, I think, out of these elements, reconst.i.tute any Russian who has ever lived. That is to say, you will find that every single Russian is compounded either of one or more of these elements.

For instance, mix Peter the Great with a sufficient dose of Hlestyakov, and you get Boris G.o.dunov and Bakunin; leave the Peter the Great element unmixed, and you get Bazarov, and many of Gorky's heroes; mix it slightly with Hlestyakov, and you get Lermontov; let the Hlestyakov element predominate, and you get Griboyedov's Molchalin; let the Mwyshkin element predominate, with a dose of Hlestyakov, and you get Father Gapon; let it predominate without the dose of Hlestyakov, and you get Oblomov; mix it with a dose of Peter the Great, you get Herzen, Chatsky; and so on. Mix all the elements equally, and you get Onegin, the average man. I do not mean that there are necessarily all these elements in every Russian, but that you will meet with no Russian in whom there is not to be found either one or more than one of them.

Now, in Tolstoy, the Peter the Great element dominates, with a dose of Mwyshkin, and a vast but unsuccessful aspiration towards the complete characteristics of Mwyshkin; while in Dostoyevsky the Mwyshkin predominates, blent with a fiery streak of Peter the Great; but in neither of them is there a touch of Hlestyakov. In Russia, it constantly happens that a man in any cla.s.s, be he a soldier, sailor, tinker, tailor, rich man, poor man, plough-boy, or thief, will suddenly leave his profession and avocation and set out on the search for G.o.d and for truth. These men are called _Bogoiskateli_, Seekers after G.o.d. The one fact that the whole world knows about Tolstoy is that, in the midst of his great and glorious artistic career, he suddenly abjured literature and art, denounced worldly possessions, and said that truth was to be found in working like a peasant, and thus created a sect of Tolstoyists. The world then blamed him for inconsistency because he went on writing, and lived as before, with his family and in his own home. But in reality there was no inconsistency, because there was in reality no break. Tolstoy had been a _Bogoiskatel_, a seeker after truth and G.o.d all his life; it was only the manner of his search which had changed; but the quest itself remained unchanged; he was unable, owing to family ties, to push his premises to their logical conclusion until just before his death; but push them to their logical conclusion he did at the last, and he died, as we know, on the road to a monastery.

Tolstoy's manner of search was extraordinary, extraordinary because he was provided for it with the eyes of an eagle which enabled him to see through everything; and, as he took nothing for granted from the day he began his career until the day he died, he was always subjecting people, objects, ideas, to the searchlight of his vision, and testing them to see whether they were true or not; moreover, he was gifted with the power of describing what he saw during this long journey through the world of fact and the world of ideas, whether it were the general or the particular, the ma.s.s or the detail, the vision, the panorama, the crowd, the portrait or the miniature, with the strong simplicity of a Homer, and the colour and reality of a Velasquez. This made him one of the world's greatest writers, and the world's greatest artist in narrative fiction. Another peculiarity of his search was that he pursued it with eagle eyes, but with blinkers.

In 1877 Dostoyevsky wrote: "In spite of his colossal artistic talent, Tolstoy is one of those Russian minds which only see that which is right before their eyes, and thus press towards that point. They have not the power of turning their necks to the right or to the left to see what lies on one side; to do this, they would have to turn with their whole bodies. If they do turn, they will quite probably maintain the exact opposite of what they have been hitherto professing; for they are rigidly honest." It is this search carried on by eyes of unsurpa.s.sed penetration between blinkers, by a man who every now and then did turn his whole body, which accounts for the many apparent changes and contradictions of Tolstoy's career.

Another source of contradiction was that by temperament the Lucifer element predominated in him, and the ideal he was for ever seeking was the humility of Mwyshkin, the pure fool, an ideal which he could not reach, because he could not sufficiently humble himself. Thus when death overtook him he was engaged on his last and his greatest voyage of discovery; and there is something solemn and great about his having met with death at a small railway station.

Tolstoy's works are a long record of this search, and of the memories and experiences which he gathered on the way. There is not a detail, not a phase of feeling, not a shade or mood in his spiritual life that he has not told us of in his works. In his _Childhood, Boyhood and Youth_, he re-creates his own childhood, boyhood and youth, not always exactly as it happened in reality; there is _Dichtung_ as well as _Wahrheit_; but the _Dichtung_ is as true as the _Wahrheit_, because his aim was to recreate the impressions he had received from his early surroundings. Moreover, the searchlight of his eyes even then fell mercilessly upon everything that was unreal, sham and conventional.

As soon as he had finished with his youth, he turned to the life of a grown-up man in _The Morning of a Landowner_, and told how he tried to live a landowner's life, and how nothing but dissatisfaction came of it. He escapes to the Caucasus, and seeks regeneration, and the result of the search here is a masterpiece, _The Cossacks_. He goes back to the world, and takes part in the Crimean war; he describes what he saw in a battery; his eagle eye lays bare the _splendeurs et miseres_ of war more truthfully perhaps than a writer on war has ever done, but less sympathetically than Alfred de Vigny--the difference being that Alfred de Vigny is innately modest, and that Tolstoy, as he wrote himself, at the beginning of the war, "had no modesty."

After the Crimean war, he plunges again into the world and travels abroad; and on his return to Russia, he settles down at Yasnaya Polyana and marries. The hero of his novel _Domestic Happiness_ appears to have found his heart's desire in marriage and country life.

It was then that he wrote _War and Peace_, which he began to publish in 1865. He always had the idea of writing a story on the Decembrist movement, and _War and Peace_ was perhaps the preface to that unwritten work, for it ends when that movement was beginning. In _War and Peace_, he gave the world a modern prose epic, which did not suffer from the drawback that spoils most historical novels, namely, that of being obviously false, because it was founded on his own recollection of his parents' memories. He gives us what we feel to be the very truth; for the first time in an historical novel, instead of saying "this is very likely true," or "what a wonderful work of artistic reconstruction," we feel that we were ourselves there; that we knew those people; that they are a part of our very own past. He paints a whole generation of people; and in Pierre Bezukhov, the new landmarks of his own search are described. Among many other episodes, there is nowhere in literature such a true and charming picture of family life as that of the Rostovs, and nowhere a more vital and charming personality than Natasha; a creation as living as Pushkin's Tatiana, and alive with a reality even more convincing than Turgenev's pictures of women, since she is alive with a different kind of life; the difference being that while you have read in Turgenev's books about n.o.ble and exquisite women, you are not sure whether you have not known Natasha yourself and in your own life; you are not sure she does not belong to the borderland of your own past in which dreams and reality are mingled. _War and Peace_ eclipses all other historical novels; it has all Stendhal's reality, and all Zola's power of dealing with crowds and ma.s.ses. Take, for instance, a masterpiece such as Flaubert's _Salammbo_; it may and very likely does take away your breath by the splendour of its language, its colour, and its art, but you never feel that, even in a dream, you had taken part in the life which is painted there. The only bit of unreality in _War and Peace_ is the figure of Napoleon, to whom Tolstoy was deliberately unfair.

Another impression which Tolstoy gives us in _War and Peace_ is that man is in reality always the same, and that changes of manners are not more important than changes in fas.h.i.+ons of clothes. That is why it is not extravagant to mention _Salammbo_ in this connection. One feels that, if Tolstoy had written a novel about ancient Rome, we should have known a score of patricians, senators, scribblers, clients, parasites, matrons, courtesans, better even than we know Cicero from his letters; we should not only feel that we _know_ Cicero, but that we had actually known him. This very task--namely, that of reconst.i.tuting a page out of Pagan history--was later to be attempted by Merezhkovsky; but brilliant as his work is, he only at times and by flashes attains to Tolstoy's power of convincing.

_Anna Karenina_ appeared in 1875-76. And here Tolstoy, with the touch of a Velasquez and upon a huge canvas, paints the contemporary life of the upper cla.s.ses in St. Petersburg and in the country. Levin, the hero, is himself. Here, again, the truth to nature and the reality is so intense and vivid that a reader unacquainted with Russia will in reading the book probably not think of Russia at all, but will imagine the story has taken place in his own country, whatever that may be. He shows you everything from the inside, as well as from the outside. You feel, in the picture of the races, what Anna is feeling in looking on, and what Vronsky is feeling in riding. And with what reality, what incomparable skill the gradual dawn of Anna's love for Vronsky is described; how painfully real is her pompous and excellent husband; and how every incident in her love affair, her visit to her child, her appearance at the opera, when, after 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 circ.u.mstances 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 p.r.o.nounced 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. n.o.body dared to touch Tolstoy. He fearlessly attacked all const.i.tuted 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 unsurpa.s.sed painter of pictures, portraits, men and things, a penetrating a.n.a.lyst 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 ant.i.thesis to Tolstoy, and the second great pillar of Russian prose literature, will surprise n.o.body 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 s.h.i.+bboleths 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 Vand.y.k.e, 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 ant.i.thesis. Tolstoy was the incarnation of health, and is above all things and pre-eminently 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 Censors.h.i.+p; 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, hara.s.sed 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 broad-minded 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 cla.s.s 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 circ.u.mstances. 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 circ.u.mstances, 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 book, _Letters from a Dead House_, has a far more universal interest. It is the record of his prison experiences, which is of priceless value, not only on account of its radiant moral beauty, its perpetual discovery of the soul of goodness in things evil, its human fraternity, its complete absence of egotism and pose, and its thrilling human interest, but also on account of the light it throws on the Russian character, the Russian poor, and the Russian peasant.

In 1866 came _Crime and Punishment_, which brought Dostoyevsky fame.

This book, Dostoyevsky's _Macbeth_, is so well known in the French and English translations that it hardly needs any comment. Dostoyevsky never wrote anything more tremendous than the portrayal of the anguish that seethes in the soul of Raskolnikov, after he has killed the old woman, "mechanically forced," as Professor Bruckner says, "into performing the act, as if he had gone too near machinery in motion, had been caught by a bit of his clothing and cut to pieces." And not only is one held spellbound by every s.h.i.+fting hope, fear, and doubt, and each new pang that Raskolnikov experiences, but the souls of all the subsidiary characters in the book are revealed to us just as clearly: the Marmeladov family, the honest Razumikhin, the police inspector, and the atmosphere of the submerged tenth in St.

Petersburg--the steaming smell of the city in the summer. There is an episode when Raskolnikov kneels before Sonia, the prost.i.tute, and says to her: "It is not before you I am kneeling, but before all the suffering of mankind." That is what Dostoyevsky does himself in this and in all his books; but in none of them is the suffering of all mankind conjured up before us in more living colours, and in none of them is his act of homage in kneeling before it more impressive.

This book was written before the words "psychological novel" had been invented; but how all the psychological novels which were written years later by Bourget and others pale before this record written in blood and tears! _Crime and Punishment_ was followed by _The Idiot_ (1868). The idiot is Mwyshkin, who has been alluded to already, the wise fool, an epileptic, in whom irony and arrogance and egoism have been annihilated; and whose very simplicity causes him to pa.s.s unscathed through a den of evil, a world of liars, scoundrels, and thieves, none of whom can escape the influence of his radiant personality. He is the same with every one he meets, and with his unsuspicious sincerity he combines the intuition of utter goodness, so that he can see through people and read their minds. In this character, Dostoyevsky has put all his sweetness; it is not a portrait of himself, but it is a portrait of what he would have liked to be, and reflects all that is best in him. In contrast to Mwyshkin, Rogozhin, the merchant, is the incarnation of undisciplined pa.s.sion, who ends by killing the thing he loves, Nastasia, also a creature of unbridled impulses,--because he feels that he can never really and fully possess her. The catastrophe, the description of the night after Rogozhin has killed Nastasia, is like nothing else in literature; lifelike in detail and immense, in the way in which it makes you listen at the keyhole of the soul, immense with the immensity of a great revelation. The minor characters in the book are also all of them remarkable; one of them, the General's wife, Madame Epanchin, has an indescribable and playful charm.

_The Idiot_ was followed by _The Possessed_, or _Devils_, printed in 1871-72, called thus after the Devils in the Gospel of St. Luke, that left the possessed man and went into the swine; the Devils in the book are the hangers-on of Nihilism between 1862 and 1869. The book antic.i.p.ated the future, and in it Dostoyevsky created characters who were identically the same, and committed identically the same crimes, as men who actually lived many years later in 1871, and later still.

The whole book turns on the exploitation by an unscrupulous, ingenious, and iron-willed knave of the various weaknesses of a crowd of idealist dupes and disciples. One of them is a decadent, one of them is one of those idealists "whom any strong idea strikes all of a sudden and annihilates his will, sometimes for ever"; one of them is a maniac whose single idea is the production of the Superman which he thinks will come, when it will be immaterial to a man whether he lives or dies, and when he will be prepared to kill himself not out of fear but in order to kill fear. That man will be G.o.d. Not the G.o.d-man, but the Man-G.o.d. The plan of the unscrupulous leader, Peter Verkhovensky, who was founded on Nechaev, a Nihilist of real life, is to create disorder, and amid the disorder to seize the authority; he imagines a central committee of which he pretends to be the representative, organizes a small local committee, and persuades his dupes that a network of similar small committees exist all over Russia; his aim being to create them gradually, by persuading people in every plot of fresh ground that they exist everywhere else.

Thus the idea of the book was to show that the strength of Nihilism lay, not in high dogmas and theories held by a large and well-organized society, but in the strength of the will of one or two men reacting on the weaker herd and exploiting the strength, the weakness, and the one-sidedness of its ideals, a herd which was necessarily weak owing to that very one-sidedness. In order to bind his disciples with a permanent bond, Verkhovensky exploits the _idee fixe_ of suicide and the superman, which is held by one of his dupes, to induce him to commit a crime before he kills himself, and thus make away with another member of the committee who is represented as being a spy. Once this is done, the whole committee will be jointly responsible, and bound to him by the ties of blood and fear. But Verkhovensky is not the hero of the book. The hero is Stavrogin, whom Verkhovensky regards as his trump card, because of the strength of his character, which leads him to commit the most outrageous extravagances, and at the same time to remain as cold as ice; but Verkhovensky's whole design is shattered on Stavrogin's character, all the murders already mentioned are committed, the whole scheme comes to nothing, the conspirators are discovered, and Peter escapes abroad.