DOSTOEVSKY 200
István Józsa
DEEP WHITE
|
"There is no wild writerly imagination that could invent a wilder story than life itself."
—F. M. Dostoevsky |
In The Brothers Karamazov by F. M. Dostoevsky, the primary stage for the events is the realm of the soul. It is there that emotions churn, mature, or overflow into actions, which ultimately manifest in extreme life situations. The focus is on capturing the human personality, following human fates, with the environment often serving merely as a backdrop. Two overused statements, though not without foundation, are oversimplifications that lead to a host of inadequate or flawed conclusions. Among these, Albert Kovács, the author of the afterword to the 1991 edition*, highlights and critiques the following: "He does not depict man in the world, but the world in man." His response, however, is limited to this: “(...) he does indeed depict man in the world, contrary to the program of the French nouveau roman.”
Remaining within the poles of man and world, Kovács’s assertion of "also" rather than "not...but" does not clarify much, and this is not merely a linguistic issue. In Dostoevsky’s case, as with the act of world-creation—let us call it, for now, prosaic—both poles hold true: the world’s comprehension by man and man’s self-comprehension presuppose one another. Knowledge inherently includes a certain level of self-knowledge, which in turn necessitates a perspective open to the world. This mutual interplay forms what Martin Heidegger, one of the 20th century’s last masters of epistemology, called the "hermeneutic circle."
Far more important than the mere existence of this circle in Dostoevsky’s work is its “imperfect,” or rather, distorted nature: on the "outer" side of the circle, events unfold rapidly and with great intensity, while "within," the torment and self-devouring are almost constant and prolonged. Together, these dynamics create the distinctively oppressive atmosphere Dostoevsky strived to evoke in his novellas and short novels (see Poor Folk, The Double, Notes from Underground, The Dream of a Ridiculous Man, etc.). The circle stretches from extreme life situations, through long-lasting—often decades-long—inner torment, sometimes culminating in late "redemption," to extreme reactions. However, the genius of Dostoevsky lies in never closing this circle. By keeping it open, he leads the narrative toward new extremes, intensifying it further. Thus, the narrative can be modeled as a self-expanding—and asymmetric—spiral composed of intersecting circles.
Dostoevsky’s human being: fallible, prodigal, a murderer, a penitent, a redeemer... Even if these "character states" have an epic, ultimately linear order, his portrayal of humanity closely aligns with that of Tolstoy. The latter writes in Resurrection: every person possesses every trait; there are no strictly "good" or "bad" people, and no distinctly delineated characters. What determines which trait becomes dominant, beneficial, or tragic at any given time and place, is—if we may put it in our own terms—always decided on the other side of the circle.
Let us leave it to psychologists to argue how "ahead of their time" or "precise and insightful" Dostoevsky’s psychological analyses were. Nor shall we delve into the question—since it suffices to remain on the level of declarations—that art has always preceded the plodding, typically (neo-)positivist sciences.
Dostoevsky’s depth psychology offers us thoughts that are still relevant today—artistically, psychologically, and philosophically, among other perspectives. By modeling the work this way, we gain insight into the entire novel and even Dostoevsky’s entire world. Thus, we recognize the powerful, downward-dragging forces of decay at play both externally—see the sociohistorical pathology—and internally—see human character. The Brothers Karamazov and Dostoevsky’s entire oeuvre pose the great question: WHY?
Yet, a 19th-century writer—especially Fyodor Mikhailovich Dostoevsky—does not stop at the search but offers solutions: he builds utopias (see Zosima’s autobiography in the novel). Perhaps the 21st century will be the era when the search itself becomes a value. Thus, Christian ideological doctrines—once again—are presented as responses to this grand external and internal decay. Their foundation, however, is "only" faith, their lifestyle "only" desire.
In Tolstoy’s aforementioned worldview, no decision is possible. Moreover, in his works, peasants are always the unjustly oppressed, the positive figures. László Németh was right: in Tolstoy’s prose, life reigns; in Dostoevsky’s, the soul. One represents the outer side of our circle, the other the inner. Dostoevsky is thus a realist: he recreates what he observes in his contemporary world and in the eternal layers of the human soul—the decay. Opposing this, he sets the desired Christian values. Many have analyzed the Russian writer’s stance—it is indeed Dostoevsky’s humanism, but in his unique way. One cannot enter Dostoevsky’s novel through "epic loopholes," as one cannot with his other works either, because "inside," without epistemological horizons, one becomes lost in their inexhaustible web and overwhelmed by one’s multitude of partial conclusions. Great emotions swirl here in an infinitely inward space.
Let us now place this swirling of great emotions onto Newton’s color wheel and see what emerges. Petőfi’s poetry radiates sunlight; Arany János’s text evokes glowing orange; Ady’s verse stirs with purple; Babits’s pen paints words parading in crimson. Dostoevsky’s prose—deep white. (...)
F. M. Dostoevsky: The Brothers Karamazov, Kriterion Publishing House,Bucharest, 1991
Just as white is the fusion of all colors, Dostoevsky’s deep white contains a swirl of profound thoughts and emotions. The writer explores humanity’s eternal themes, such as human nature, moral dilemmas, religion, politics, and social injustice.
Human Free Will: Dostoevsky emphasized the importance of human free will and moral responsibility. He believed people are free to choose between good and evil and must bear the consequences.
The Power of Forgiveness and Love: His works often highlight the transformative power of love and forgiveness, capable of redeeming even the greatest sinners.
Faith and Religion: Deeply religious, Dostoevsky often grappled with themes of faith, considering it essential for personal and societal transformation.
Human Suffering and the Depths of the Soul: Dostoevsky frequently explored human suffering, convinced that through suffering, one attains true humanity.
Social Injustice and Political Critique: He sharply criticized the societal inequalities and corrupt political systems of his time, depicting poverty, exclusion, and systemic corruption.
In his deep white prose, Dostoevsky wields the scalpel of moral scrutiny with unflinching precision, carving an ethical portrait of the individual incapable of communal coexistence.
It is said that a female student at the Faculty of Humanities in Cluj-Napoca once had to be hospitalized after reading Dostoevsky. On medical advice, she was prohibited from engaging with Dostoevsky’s works.
What is the effect of Dostoevsky’s prose? I asked this question to the AI, the largest and fastest bibliography available.
"Dostoevsky’s prose profoundly impacts readers in various ways. Here are a few examples of its influence:
The effects of Dostoevsky’s prose vary, depending on individual experiences and interests. For some, his works are enlightening and inspiring, while others find them overwhelming or provocative."
Remaining within the poles of man and world, Kovács’s assertion of "also" rather than "not...but" does not clarify much, and this is not merely a linguistic issue. In Dostoevsky’s case, as with the act of world-creation—let us call it, for now, prosaic—both poles hold true: the world’s comprehension by man and man’s self-comprehension presuppose one another. Knowledge inherently includes a certain level of self-knowledge, which in turn necessitates a perspective open to the world. This mutual interplay forms what Martin Heidegger, one of the 20th century’s last masters of epistemology, called the "hermeneutic circle."
Far more important than the mere existence of this circle in Dostoevsky’s work is its “imperfect,” or rather, distorted nature: on the "outer" side of the circle, events unfold rapidly and with great intensity, while "within," the torment and self-devouring are almost constant and prolonged. Together, these dynamics create the distinctively oppressive atmosphere Dostoevsky strived to evoke in his novellas and short novels (see Poor Folk, The Double, Notes from Underground, The Dream of a Ridiculous Man, etc.). The circle stretches from extreme life situations, through long-lasting—often decades-long—inner torment, sometimes culminating in late "redemption," to extreme reactions. However, the genius of Dostoevsky lies in never closing this circle. By keeping it open, he leads the narrative toward new extremes, intensifying it further. Thus, the narrative can be modeled as a self-expanding—and asymmetric—spiral composed of intersecting circles.
Dostoevsky’s human being: fallible, prodigal, a murderer, a penitent, a redeemer... Even if these "character states" have an epic, ultimately linear order, his portrayal of humanity closely aligns with that of Tolstoy. The latter writes in Resurrection: every person possesses every trait; there are no strictly "good" or "bad" people, and no distinctly delineated characters. What determines which trait becomes dominant, beneficial, or tragic at any given time and place, is—if we may put it in our own terms—always decided on the other side of the circle.
Let us leave it to psychologists to argue how "ahead of their time" or "precise and insightful" Dostoevsky’s psychological analyses were. Nor shall we delve into the question—since it suffices to remain on the level of declarations—that art has always preceded the plodding, typically (neo-)positivist sciences.
Dostoevsky’s depth psychology offers us thoughts that are still relevant today—artistically, psychologically, and philosophically, among other perspectives. By modeling the work this way, we gain insight into the entire novel and even Dostoevsky’s entire world. Thus, we recognize the powerful, downward-dragging forces of decay at play both externally—see the sociohistorical pathology—and internally—see human character. The Brothers Karamazov and Dostoevsky’s entire oeuvre pose the great question: WHY?
Yet, a 19th-century writer—especially Fyodor Mikhailovich Dostoevsky—does not stop at the search but offers solutions: he builds utopias (see Zosima’s autobiography in the novel). Perhaps the 21st century will be the era when the search itself becomes a value. Thus, Christian ideological doctrines—once again—are presented as responses to this grand external and internal decay. Their foundation, however, is "only" faith, their lifestyle "only" desire.
In Tolstoy’s aforementioned worldview, no decision is possible. Moreover, in his works, peasants are always the unjustly oppressed, the positive figures. László Németh was right: in Tolstoy’s prose, life reigns; in Dostoevsky’s, the soul. One represents the outer side of our circle, the other the inner. Dostoevsky is thus a realist: he recreates what he observes in his contemporary world and in the eternal layers of the human soul—the decay. Opposing this, he sets the desired Christian values. Many have analyzed the Russian writer’s stance—it is indeed Dostoevsky’s humanism, but in his unique way. One cannot enter Dostoevsky’s novel through "epic loopholes," as one cannot with his other works either, because "inside," without epistemological horizons, one becomes lost in their inexhaustible web and overwhelmed by one’s multitude of partial conclusions. Great emotions swirl here in an infinitely inward space.
Let us now place this swirling of great emotions onto Newton’s color wheel and see what emerges. Petőfi’s poetry radiates sunlight; Arany János’s text evokes glowing orange; Ady’s verse stirs with purple; Babits’s pen paints words parading in crimson. Dostoevsky’s prose—deep white. (...)
F. M. Dostoevsky: The Brothers Karamazov, Kriterion Publishing House,Bucharest, 1991
Just as white is the fusion of all colors, Dostoevsky’s deep white contains a swirl of profound thoughts and emotions. The writer explores humanity’s eternal themes, such as human nature, moral dilemmas, religion, politics, and social injustice.
Human Free Will: Dostoevsky emphasized the importance of human free will and moral responsibility. He believed people are free to choose between good and evil and must bear the consequences.
The Power of Forgiveness and Love: His works often highlight the transformative power of love and forgiveness, capable of redeeming even the greatest sinners.
Faith and Religion: Deeply religious, Dostoevsky often grappled with themes of faith, considering it essential for personal and societal transformation.
Human Suffering and the Depths of the Soul: Dostoevsky frequently explored human suffering, convinced that through suffering, one attains true humanity.
Social Injustice and Political Critique: He sharply criticized the societal inequalities and corrupt political systems of his time, depicting poverty, exclusion, and systemic corruption.
In his deep white prose, Dostoevsky wields the scalpel of moral scrutiny with unflinching precision, carving an ethical portrait of the individual incapable of communal coexistence.
It is said that a female student at the Faculty of Humanities in Cluj-Napoca once had to be hospitalized after reading Dostoevsky. On medical advice, she was prohibited from engaging with Dostoevsky’s works.
What is the effect of Dostoevsky’s prose? I asked this question to the AI, the largest and fastest bibliography available.
"Dostoevsky’s prose profoundly impacts readers in various ways. Here are a few examples of its influence:
- Psychology and Human Nature: His works delve into the depths of human psychology, illuminating the complexity of the human psyche, moral dilemmas, and internal conflicts.
- Ethical and Moral Questions: Dostoevsky challenges societal norms and ethical principles, encouraging readers to reflect on good, evil, sin, and what defines true humanity.
- Character Development and Psychological Insight: His richly developed characters reveal motivations and emotions, inviting readers to trace their transformation.
- Social and Political Critique: He critiques societal injustices, abuses of power, and systemic corruption.
- Conscience and Faith: Dostoevsky engages deeply with themes of conscience, faith, and the philosophical dimensions of human existence.
The effects of Dostoevsky’s prose vary, depending on individual experiences and interests. For some, his works are enlightening and inspiring, while others find them overwhelming or provocative."
