Текст книги "Dostoevsky, Berdyaev, and Shestov. Three Russian Apostles of Freedom"

Автор книги: Daniel McNeill

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Текущая страница: 2 (всего у книги 5 страниц)

Raskolnikov is a holy man in reverse, that is, for Dostoevsky he is not a holy man at all and until he has himself discovered that his human nature when ruled only by the mind is foul, he will never be anything, nothing but a human nothing living in the categories where he thinks. He goes out of his little room a short time after his crime thinking not of the murders but only of walking about and finding some place to get rid of the objects he possesses taken from the pawnbroker that might be evidence of his involvement. He buries them under a huge stone. Then he walks on without resting. “He had a terrible longing for some distraction, but he did not know what to do, what to attempt. A new overwhelming sensation was gaining more and more mastery over him every moment; this was an immeasurable, almost physical, repulsion for everything surrounding him, an obstinate, malignant feeling of hatred. All who met him were loathsome to him – he loathed their faces, their movements, their gestures. If anyone had addressed him, he felt that he might have spat at him or bitten him…”

Who is mad, Marmeladov or Raskolnikov? If they are both mad then they are mad in two different ways completely. Before the murders just after the talk between Raskolnikov and Marmeladov in the tavern, we get a closer look at Marmeladov’s type of madness. It is profoundly human. The two leave the tavern and Raskolnikov aids the older, drunken man to walk home. Instead of walking into his one-room home with three starving children and his emaciated, sickly wife, Katerina Ivanova, Marmeladov drops to his knees in the doorway. “‘Ah!,’ she cried out in a frenzy, ‘he has come back! The criminal! The monster!…And where is the money? What’s in your pocket, show me! And your clothes are all different! Where are your clothes? Where is the money! Speak!’” All the money is gone. “She seized him by the hair and dragged him into the room. Marmeladov seconded her efforts by meekly crawling along on his knees.” Marmeladov’s madness separated him from his family but not by any means from human feeling and he returned to his family to remain with it full of remorse. Raskolnikov’s madness is purely of the mind so it is not Marmeladov’s kind of madness. It is a separation from human feeling. It is the doctrine of self-isolation taught by the mind whenever an ego submits to it that it wants to be nothing but an ego more powerful than all other egos, an ego that can not see with the eyes of a Dostoevsky that see that such an ego imprisoned by such a mind is worthless.

3

After the murder and after hiding the stolen objects, Raskolnikov returns to his small room. He is in a kind of delirium for five days, eating little, sleeping for long periods. His friend, the student Razumihin, looks over him and the servant girl in his rooming house, Nastasya, looks in on him at times offering food or tea. Razumihin informs him during one of his awakened periods that money has arrived from his mother and sister who will soon arrive in Petersburg. Razumihin, a young healthy positive type, uses the money to buy Raskolnikov a new set of clothes and he has brought to his room an acquaintance, the doctor Zossimov, to look over him. Raskolnikov treats them indifferently, even spitefully, paying little attention to them. Only when they start discussing the murders does Raskolnikov revive and give them his full attention. Pyotr Petrovitch Luzhin, a successful government official, arrives to present himself to Raskolnikov. He has recently become engaged to Raskolnikov’s sister. He is a forty-five-year-old positive figure. Raskolnikov has found out through a letter sent to him by his mother just before the murders that his young sister has accepted Luzhin’s proposal of marriage only to gain a higher more secure place in society for her mother and her brother Raskolnikov whom she loves dearly. Razumihin and Zossimov treat Luzhin respectfully, agreeing in their conversation with some of Luzhin’s liberal ideas. Raskolnikov accuses Luzhin, breaking in on the conversation, of putting his mother and sister up in a cheap boarding house in Petersburg. Worse still, influenced by what his mother has reported of what Luzhin said during his courtship, Raskolnikov again breaks in on the conversation. “‘And is it true,’ Raskolnikov asked Luzhin, in a voice quivering with fury and delight in insulting him, ‘is it true that you told your fiancee…within an hour of her acceptance, that what pleased you most…was that she was a beggar…because it was better to raise a wife from poverty, so that you may have complete control over her, and reproach her with your being her benefactor?’” After defending himself with some embarrassment, the insult soon drives Luzhin from Raskolnikov’s little room“How could you – how could you!” Razumihin says to Raskolnikov just after Luzhin leaves, “shaking his head in perplexity”.

“‘Let me alone – let me alone all of you!’ Raskolnikov cried in a frenzy. ‘Will you ever leave off tormenting me? I am not afraid of you! I am not afraid of anyone, anyone now! Get away from me. I want to be alone, alone, alone!’”

Razumihin and Zossimov leave at once but strangely Raskolnikov left alone does not remain in his room alone. His defense of his sister with his stinging insult to the man she is engaged to marry is the first genuinely human experience he has had since the murders and it perhaps motivates him to leave his room and seek some contact with the world outside of his room and his mind. Dostoevsky must bring his character into the everyday world of normal men and women if he is to somehow bring him also towards the world of human remorse which is never discovered in the human mind relying only on itself for guidance.

He dresses in his new set of clothes that Razumihin has bought for him, puts his rubles and his kopecks in his pocket, and steps out into the Petersburg night. It is eight o’clock with the sun setting and he does not think where he is going. Thought now, for some reason, tortures him. He now feels “that everything must be changed ‘one way or another’”. We have suddenly left thought, the world of thought, and have begun taking steps towards the world of feeling. He walks toward the Hay Market. He comes to a young man with a barrel organ accompanying the singing of a girl of fifteen hoping to earn a few kopecks. Raskolnikov stops and listens among two or three listeners. He takes out a five kopeck piece and puts it in the girl’s hand. He is on the street and among people and the man who sliced an axe onto the head of Lizaveta who “only put up her empty left hand” touches the hand of a girl. It is a sign, a brief sign from Dostoevsky, that his character has taken the first step to the only world that counts because it is the only world that is real, the human world. Dostoevsky will never read any sign, any of the thousands of signs in the universe without and in the mind within, that lead anywhere “upward” and “beyond” mentally or physically, spiritually or scientifically. He will follow no sign unless it leads to a purely human step.

A middle-aged man is standing idly by Raskolnikov as they listen to the boy and girl singing to music from a street organ. Raskolnikov tries for human contact with a stranger. “ ‘I love to hear singing to a street organ,’ said Raskolnikov, and his manner seemed strangely out of keeping with the subject. ‘I like it on cold, dark, damp autumn evenings – they must be damp – when all the passers-by have pale green, sickly faces, or better still when wet snow is falling straight down, when there’s no wind – you know what I mean? And the street lamps shine through it…’” “‘I don’t know…Excuse me’, muttered the stranger, frightened by the question and Raskolnikov’s strange manner, and he crossed over to the other side of the street.”

Raskolnikov’s manner is now strange in a way different from what it was before. Before his manner was strange because of his silence and his need to be separate from people around him. Now his manner is strange because of the way he talks to people in his surroundings. His need to talk seems like perhaps the first steps from his former silent madness ruled by his mind towards the Marmeladov kind of madness that has its origin in human feeling. But in Dostoevsky’s understanding of psychology, the mind and the soul are enemies and neither show any mercy to the other until one gives in to the other and commits itself because of its defeat to be the other’s servant. Raskolnikov has felt a minor touch of compassion and pressed five kopecks into the hand of a girl. He has sent off words of feeling and poetry to the astonished ears of a stranger. Something is making him speak. What if this something continues to put pressure on him? What if it presses him not to just talk but to talk about it? He had but one thought earlier when he left his room. His complete thought was “that all this must be ended today, once for all, immediately; that he would not return home without it, because he would not go on living like that.” Raskolnikov like Marmeladov has now a need to get everything out in the open.

His wanderings this night through the Hay Market and other places around Petersburg where normal people are doing normal things trying to enjoy the evening include a series of accidents. He tries to get information from hucksters in the Hay Market who had dealings with Lizaveta. He speaks to a young man standing before a shop. But he makes no progress with his questions. The young man quickly tires of talking to him and directs him laughing to an eating-house saying “you’ll find princesses there too.…La,la”. He crosses a square and pushes his way into a dense crowd of peasants. “He felt an unaccountable inclination to enter into conversation with people. But the peasants took no notice of him; they were all shouting in groups together.” He wandered off silently to a marketplace that he knew well with dram shops and eating-houses. He saw women running in and out of various festive establishments. From one came the sounds of singing, the tinkling of a guitar and shouts of merriment. He passed a drunken soldier swearing and smoking a cigarette. A beggar was quarrelling with another beggar and a drunk was lying right across the road. Life, in other words, the bald unthinking life of real people, humans, is all around him. He is now in the midst of life unfolding not intentionally but accidentally. Two women speak to him seductively. One asks him for six kopecks for a drink and he gives her fifteen. A woman “pock-marked…covered with bruises with her upper lip swollen” but nonetheless alive and, so to speak, greedy to continue living to her last breath sets Raskolnikov to thinking about life. “‘Where is it,’ thought Raskolnikov. ‘Where is it I’ve read that someone condemned to death says or thinks, an hour before his death, that if he had to live on some high rock, on such a narrow ledge that he’d have only the room to stand, and the ocean, everlasting darkness, everlasting solitude, everlasting tempest around him, if he had to remain standing on a square yard of space all his life, a thousand years, eternity, it were better to live so than to die at once! Only to live, to live and live! Life, whatever it may be!’” But Raskolnikov is still thinking not living and his thinking has him in such a firm grip that it will not allow him to live like those around him.

He remembers why he has come out, to get some newspapers to read what has been written about the murders. He enters a spacious and clean restaurant and orders tea and newspapers. Suddenly, as he searches the newspapers, the head clerk of the police station that he has recently visited on a matter not related to the murders, sits down smiling at his table. Zametov tells him that he has visited him recently at his room when he was lying on his couch sleeping. Raskolnikov talks to him strangely and insultingly. He accuses him of drinking champagne at others expense. He accuses him of taking money corruptly and profiting from everything. Zametov has sat down for friendly conversation and tells Raskolnikov he is speaking strangely and must still be unwell. The conversation goes on back and forth argumentatively with no normal human connection between the murderer and the police official. They begin on the subject that Raskolnikov has just been reading about in the newspapers, the murders of the two women. Raskolnikov gives a long description of what he would have done if he were the murderer to hide the objects that were stolen from the dead pawnbroker. But he describes to Zametov in great detail how he actually hid the objects under a stone without admitting to Zametov that he was the murderer and as though he were simply imagining for Zametov’s benefit how he would have hidden the objects. Zametov calls him a madman because he is fed up with Raskolnikov’s wild, strange imaginings. “‘And what if it was I who murdered the old woman and Lizaveta?’ he said suddenly and – realized what he had done.” Zametov decides Raskolnikov is merely joking or playing with him maliciously and refuses to believe him. But Raskolnikov has really said it! He has gotten the truth in his mind out in the company of men! It jolts him and he soon leaves the restaurant. “He went out, trembling all over from a sort of wild hysterical sensation, in which there was an element of insufferable rapture.” But this touch of sudden, intense life comes from a daring intentional act of the mind not from a sudden touch of remorse in the soul.

4

A series of accidents happen to Raskolnikov but his behavior is so intentional, intentional to the extreme, that when he sees evidence that a young girl, Sonya, the daughter of Marmeladov, possesses something infinitely gentle and unworldly in her soul, some hidden spiritual power that protects her from the world around her – – even when Raskolnikov sees clearly that such a spirit lives within her and he also understands that because of what is in her soul he himself is permanently joined to the young woman forever, even at such a moment that has all the appearance of a miracle, it does not affect his feelings because his rational madness, even in the face of a miracle, will not let him set his soul free.

Raskolnikov’s meeting with Marmeladov in a tavern after his visit to the old pawnbroker was the first accident. They do not know each other, yet Marmeladov is moved somehow to talk to young Raskolnikov and pour out his remorseful feelings to him without any restraint. We accept it as a reasonably possible occurrence because Raskolnikov is a completely believable character, an intelligent young student pursuing some odd adventure. Marmeladov’s ravings present us with a nice contrast to Raskolnikov’s rationality to such an extent that we do not hear with any feeling the odd things the father says about his daughter Sonya who has been driven to prostitution by her miserable poverty. Yet what a superb accident it is to set a young man soon to become an axe murderer of two women at the same table in a dismal tavern with a madman! The religious language Marmeladov uses appears to us to be nonsense. The concrete belief he expresses, that his daughter Sonya’s sins will be forgiven, is nonsense and the absurd reasoning he uses to explain why Sonya will be saved is nonsense carried to the extreme. Sonya will be saved because she has “loved much”. It is such nonsense that our minds do not allow us to see that something has already slipped secretly into Raskolnikov’s soul and our souls. Love! But we do not feel this love and our minds automatically reject it as nonsense. Marmeladov does feel it but he is nothing but a madman. His dear daughter is on the streets prostituting herself and he dares to say that she will be forgiven because she has loved! “Thy sins which are many,” Marmeladov raves, “are forgiven thee for thou hast loved much.” We are happy when the scene moves on and we are past such nonsense about the power of “love”. We must soon also hear mad talk from Marmeladov of people, drunkards, “made in the image of the beast”, who will be received into Christ’s kingdom, not because they love but because “not one of them believed himself to be worthy of this”. It is all nonsense that serves only as a nice contrast to the refined rational madness of Raskolnikov. We do not look for any new development of “love” in our story because it is about murder.

The next accident is that Marmeladov is so weakened and so drunk that he can not walk home unassisted. Raskolnikov is thus diverted from his extreme adventure of the mind by the practical job of helping his new acquaintance home. Because of his help, he finds out accidentally the address of Marmeladov’s family and even enters the room where his wife and three stepchildren live. Sonya, Marmeladov’s daughter, is not there and there seems little chance that Raskolnikov will ever meet her since she lives in another residence. He leaves on a window unnoticed the last few kopecks he has in his pockets for the starving family. On the stairs as he leaves the building, he regrets leaving the money thinking of the absent Sonya and her profession. He thinks not of how she will be saved by love but instead that money earned by her profession will provide food for her family and that leaving her family his last kopecks was stupid.

Later, after his five days spent in his room sleeping and in a delirium, when Raskolnikov puts on his new set of clothes and goes out walking through Petersburg at night, he is no longer acting as intentionally as a murderer should. His talk with people in the street is loose and unordinary. When he blurts out to the police clerk Zametov in the restaurant, “And what if it was I who murdered the old woman and Lizaveta?” he reveals that he is not fully in control of himself. He is now accident prone. As he leaves the restaurant, he “stumbled against Razumihin on the steps. They did not see each other till they almost knocked against one another.” He does not want to be with his friend. They talk back and forth and he breaks free from his company. He stops on a bridge and while looking at the setting sun and the dark water of the river, he accidentally views an intentional act of a woman in despair. She jumps off the bridge. She is pulled out of the water but Raskolnikov looks on “with a strange sense of indifference and apathy. He felt disgusted.” He leaves the river and walks towards the police station to “make an end” but on his way, he “turned into a side street and went two streets out of his way, possibly without any object, or possibly to delay a minute and gain time.” This accidental or intentional change of direction takes him to “the very gate of the house”. He goes in and up to the fourth floor and enters again the apartment, the scene of the crime. Does he return accidentally or intentionally? It is difficult to say but in any case it is a nice play between the accidental and the intentional if he returns by accident to the place of the murder that he committed intentionally. However when he leaves the house, he does have a very clear intention “for he had fully made up his mind to go to the police station and knew that it would all soon be over”. But on his way, he sees a crowd forming and went up to it. There has been an accident!

An accident that brings him once again accidentally into the world of the madman Marmeladov. A carriage has run over him. Only Raskolnikov knows his identity and his address. Marmeladov is so extremely wounded that Raskolnikov urges the police to call for a doctor and help him carry the injured man who is near death to his residence that is nearby. He shouts that he will pay the expenses. At the room of his wife, Katerina Ivanova, it is revealed by the doctor who examines Marmeladov that there is no hope. Marmeladov dies ten minutes later. His wife has sent her daughter Polenka, a child of eleven, to run to her stepsister’s residence. Marmeladov’s daughter Sonya arrives. Her father is able to raise himself up a little and beg her forgiveness. He dies embracing her. Raskolnikov confesses to Katerina Ivanova that Marmeladov was his friend. He gives the impoverished widow all the money he has, twenty roubles, and leaves.

The appearance of Sonya, “a small thin girl of eighteen with fair hair, rather pretty, with wonderful blue eyes” is a miracle. Or rather, her accidental appearance in Raskolnikov’s life gives him the opportunity, as we will see, of perceiving later when he gets to know her that a miracle, a miraculous indescribable something lives within her that is a source to her of divine strength. For the present however she does communicate something to Raskolnikov by her unexpected action that touches him deeply, something that can be described truly, given the absurd rational intentionality of our axe murderer, as a miraculous influence. As Raskolnikov is leaving the building and on the last steps, Polenka, the eleven-year-old stepsister of Sonya, calls after him to wait. Sonya has sent her after him to find out his name and where he lives.“Who sent you?” asks Raskolnikov. “‘Sister Sonya sent me,’ answered the girl, smiling…brightly.” “I knew it was sister Sonya sent you,” says Raskolnikov. “Mamma sent me too…when sister Sonya was sending me, mamma came up too and said, ‘Run fast, Polenka’” “Do you love sister Sonya?” asks Raskolnikov. “ ‘I love her more than anyone,’ Polenka answered with a peculiar earnestness, and her smile became graver.” “And will you love me?”, asks Raskolnikov.

A series of accidents has led an axe murderer, the murderer of Lizaveta who raised only one hand up as he was about to slice his axe into her head, to ask a child to love him. He certainly does not deserve her love but he receives it anyway in spite of what he has done: that is what makes it miraculous.

“By way of answer he saw the little girl’s face approaching him, her full lips naively held out to kiss him. Suddenly her arms as thin as sticks held him tightly, her head rested on his shoulder and the little girl wept softly, pressing her face against him.”

Sonya has sent a little angel to Raskolnikov and we will see that, despite her foul profession, Sonya is a divine woman or at least a woman whose soul is permanently influenced by something divine. But we should be careful and not begin thinking that Dostoevsky is out to show us angels or divine women as symbols of a divine world beyond and above us. He is not after some divine world up in the clouds. He is after what is inside humans and only what is truly inside them, holy or unholy. He has no eyes to look into the souls of people like Raskolnikov’s sister’s fiance, Luzhin, or bourgeois rational people in general because they have covered themselves over with layer after layer of stuffed-shirt rationalism and intentional behavior. They don’t look ever into their own souls and have condemned themselves to being soulless. But people like Sonya, degraded and humiliated by her poverty, defenseless, have nothing at all coming from the outside world or coming from what is superficial in their own nature to help them construct some kind of strong practical ego. Everything around them insults their nature and makes them suffer. They can be looked into by Dostoevsky because they have nothing left to give themselves except their soul. He is not against angels and saints but he is not interested in them. He is passionate about trying to see if there is anything divine on earth and he knows for certain that if there is it can only be found in the human soul, a place that accidentally became visible to him when the Tsar of all the Russians cancelled at the last moment his execution and gave him a second pair of eyes.