LadySera wrote:I'm about a third in and now that I realize it is a parable about Russia I can see the future to come. Fyodor, does he represent the flaws in the general population or the flaws of Russian leaders?
Both, I think, but he also represents a primal strength in Russia. Where ever Dostoyevsky uses 'Karamazov', it helps to read 'Russia'. Fyodor is parent of four streams of Russian life, the passionate sensual seen in Dmitri, the rational modern seen in Ivan, the spiritual ascetic seen in Alyosha, and the degraded corruption seen in Pavel. The denial of the identity of Pavel (Smerdy) indicates the systematic avoidance practiced by the society, whereby there is a secret degradation that all know of but all connive in hiding.
Fyodor is rich, capable, fecund, deluded and passionate. In this he is a parable for Russian identity, the society as a whole. His bad relation with Dmitri, his eldest son, indicates the inherent tensions between the old and the new, when both the old and the new are driven primarily by emotion and instinct. Both Fyodor and Dmitri are compared to insects, which seems very pointed in its description of the passionate element in Russian character as driven by ruthless instinct.
Fyodor Pavlovitch was an obstinate and cunning buffoon, yet, though his will was strong enough “in some of the affairs of life,” as he expressed it, he found himself, to his surprise, extremely feeble in facing certain other emergencies. He knew his weaknesses and was afraid of them. There are positions in which one has to keep a sharp look out. And that’s not easy without a trustworthy man, and Grigory was a most trustworthy man. Many times in the course of his life Fyodor Pavlovitch had only just escaped a sound thrashing through Grigory’s intervention, and on each occasion the old servant gave him a good lecture. But it wasn’t only thrashings that Fyodor Pavlovitch was afraid of. There were graver occasions, and very subtle and complicated ones, when Fyodor Pavlovitch could not have explained the extraordinary craving for some one faithful and devoted, which sometimes unaccountably came upon him all in a moment. It was almost a morbid condition. Corrupt and often cruel in his lust, like some noxious insect, Fyodor Pavlovitch was sometimes, in moments of drunkenness, overcome by superstitious terror and a moral convulsion which took an almost physical form. “My soul’s simply quaking in my throat at those times,” he used to say. At such moments he liked to feel that there was near at hand, in the lodge if not in the room, a strong, faithful man, virtuous and unlike himself, who had seen all his debauchery and knew all his secrets, but was ready in his devotion to overlook all that, not to oppose him, above all, not to reproach him or threaten him with anything, either in this world or in the next, and, in case of need, to defend him—from whom? From somebody unknown, but terrible and dangerous.
The poem of Dmitri to Alyosha:
everything in the world is a riddle! And whenever I’ve happened to sink into the vilest degradation (and it’s always been happening) I always read that poem about Ceres and man. Has it reformed me? Never! For I’m a Karamazov. For when I do leap into the pit, I go headlong with my heels up, and am pleased to be falling in that degrading attitude, and pride myself upon it. And in the very depths of that degradation I begin a hymn of praise. Let me be accursed. Let me be vile and base, only let me kiss the hem of the veil in which my God is shrouded. Though I may be following the devil, I am Thy son, O Lord, and I love Thee, and I feel the joy without which the world cannot stand.
Eternal joy fosters the soul of all creation. Her secret ferment fires the cup of life with flame. Joy beckons the grass to turn each blade towards the light. Solar systems have evolved from chaos and dark night, filling the realms of boundless space beyond the sage’s sight. All things that breathe drink joy from provident nature’s gracious breast. Birds and beasts and creeping things follow where she leads. Joy gives to man the delight in victory and passion, to angels—vision of God’s throne, to insects—sensual lust.
But enough poetry! I am in tears; let me cry. It may be foolishness that every one would laugh at. But you won’t laugh. Your eyes are shining, too. Enough poetry. I want to tell you now about the insects to whom God gave “sensual lust.” To insects—sensual lust. I am that insect, brother, and it is said of me specially. All we Karamazovs are such insects, and, angel as you are, that insect lives in you, too, and will stir up a tempest in your blood. Tempests, because sensual lust is a tempest—worse than a tempest! Beauty is a terrible and awful thing! It is terrible because it has not been fathomed and never can be fathomed, for God sets us nothing but riddles. Here the boundaries meet and all contradictions exist side by side. I am not a cultivated man, brother, but I’ve thought a lot about this. It’s terrible what mysteries there are! Too many riddles weigh men down on earth. We must solve them as we can, and try to keep a dry skin in the water. Beauty! I can’t endure the thought that a man of lofty mind and heart begins with the ideal of the Madonna and ends with the ideal of Sodom. What’s still more awful is that a man with the ideal of Sodom in his soul does not renounce the ideal of the Madonna, and his heart may be on fire with that ideal, genuinely on fire, just as in his days of youth and innocence. Yes, man is broad, too broad, indeed. I’d have him narrower. The devil only knows what to make of it! What to the mind is shameful is beauty and nothing else to the heart. Is there beauty in Sodom? Believe me, that for the immense mass of mankind beauty is found in Sodom. Did you know that secret? The awful thing is that beauty is mysterious as well as terrible. God and the devil are fighting there and the battlefield is the heart of man. But a man always talks of his own ache. Listen, now to come to facts.”
