Conscious of physical exhaustion and boredom, he does not understand what is the matter with him, and what has happened. Horrified, he says to the doctor (Act I., Scene 3): “Here you tell me she is soon going to die and I feel neither love nor pity, but a sort of emptiness and weariness…. If one looks at me from outside it must be horrible. I don’t understand what is happening to my soul.” Finding themselves in such a position, narrow and unconscientious people generally throw the whole blame on their environment, or write themselves down as Hamlets and superfluous people, and are satisfied with that. But Ivanov, a straightforward man, openly says to the doctor and to the public that he does not understand his own mind. “I don’t understand! I don’t understand!” That he really doesn’t understand can be seen from his long monologue in Act III., where, tete-a-tete with the public, he opens his heart to it and even weeps.
The change that has taken place in him offends his sense of what is fitting. He looks for the causes outside himself and fails to find them; he begins to look for them inside and finds only an indefinite feeling of guilt. It is a Russian feeling. Whether there is a death or illness in his family, whether he owes money or lends it, a Russian always feels guilty. Ivanov talks all the time about being to blame in some way, and the feeling of guilt increases in him at every juncture. In Act I. he says: “Suppose I am terribly to blame, yet my thoughts are in a tangle, my soul is in bondage to a sort of sloth, and I am incapable of understanding myself….” In Act II. he says to Sasha: “My conscience aches day and night, I feel that I am profoundly to blame, but in what exactly I have done wrong I cannot make out.”
To exhaustion, boredom, and the feeling of guilt add one more enemy: loneliness. Were Ivanov an official, an actor, a priest, a professor, he would have grown used to his position. But he lives on his estate. He is in the country. His neighbours are either drunkards or fond of cards, or are of the same type as the doctor. None of them care about his feelings or the change that has taken place in him. He is lonely. Long winters, long evenings, an empty garden, empty rooms, the grumbling Count, the ailing wife…. He has nowhere to go. This is why he is every minute tortured by the question: what is he to do with himself?
Now about his fifth enemy. Ivanov is tired and does not understand himself, but life has nothing to do with that! It makes its legitimate demands upon him, and whether he will or no, he must settle problems. His sick wife is a problem, his numerous debts are a problem, Sasha flinging herself on his neck is a problem. The way in which he settles all these problems must be evident from his monologue in Act III., and from the contents of the last two acts. Men like Ivanov do not solve difficulties but collapse under their weight. They lose their heads, gesticulate, become nervous, complain, do silly things, and finally, giving rein to their flabby, undisciplined nerves, lose the ground under their feet and enter the class of the “broken down” and “misunderstood.”
Disappointment, apathy, nervous limpness and exhaustion are the inevitable consequence of extreme excitability, and such excitability is extremely characteristic of our young people. Take literature. Take the present time…. Socialism is one of the forms of this excitement. But where is socialism? You see it in Tihomirov’s letter to the Tsar. The socialists are married and are criticizing the Zemstvo. Where is Liberalism? Mihailovsky himself says that all the labels have been mixed up now. And what are all the Russian enthusiasms worth? The war has wearied us, Bulgaria has wearied us till we can only be ironical about it. Zucchi has wearied us and so has the comic opera.
Exhaustion (Dr. Bertensen will confirm this) finds expression not only in complaining or the sensation of boredom. The life of an over-tired man cannot be represented like this:
[Transcriber’s note: The line graph in the print version depicts a wavy horizontal “line” with minimal variation in the vertical direction. The ASCII diagram below gives a rough approximation.]
~~~~~~~~~~~~~~~~~~~~~~~~~
It is very unequal. Over-tired people never lose the capacity for becoming extremely excited, but cannot keep it up for long, and each excitement is followed by still greater apathy…. Graphically, it could be represented like this:
[Transcriber’s note: The line graph in the print version depicts a series of wavy horizontal segments punctuated by sharp “dips,” each horizontal segment a little lower than the one before. The ASCII illustration below gives a rough approximation.]
~~~~~~
\ ~~~~~~
\ / \ ~~~~~~
\/ \ / \ ~~~~~~
\ / \/
\/
The fall, as you see, is not continuous but broken. Sasha declares her love and Ivanov cries out in ecstasy, “A new life!” — and next morning he believes in this new life as little as he does in spooks (the monologue in Act III.); his wife insults him, and, fearfully worked up and beside himself with anger, he flings a cruel insult at her. He is called a scoundrel. This is either fatal to his tottering brain, or stimulates him to a fresh paroxysm and he pronounces sentence on himself.
Not to tire you out altogether I pass now to Dr. Lvov. He is the type of an honest, straightforward, hotheaded, but narrow and uncompromising man. Clever people say of such men: “He is stupid but his heart is in the right place.” Anything like width of outlook or unreflecting feeling is foreign to Lvov. He is the embodiment of a programme, a walking tendency. He looks through a narrow frame at every person and event, he judges everything according to preconceived notions. Those who shout, “Make way for honest labour!” are an object of worship to him; those who do not shout it are scoundrels and exploiters. There is no middle. He has been brought up on Mihailov’s [Translator’s Note: The author of second-rate works inculcating civic virtue with a revolutionary bias.] novels; at the theatre he has seen on the stage “new men,” i.e., the exploiters and sons of our age, painted by the modern playwrights. He has stored it all up, and so much so, that when he reads “Rudin” he is sure to be asking himself, “Is Rudin a scoundrel or not?” Literature and the stage have so educated him that he approaches every character in real life and in fiction with this question…. It is not enough for him that all men are sinners. He wants saints and villains!
He was prejudiced before he came to the district. He at once classed all the rich peasants as exploiters, and Ivanov, whom he could not understand, as a scoundrel. Why, the man has a sick wife and he goes to see a rich lady neighbour — of course he is a scoundrel! It is obvious that he is killing his wife in order to marry an heiress.
Lvov is honest and straightforward, and he blurts out the truth without sparing himself. If necessary, he will throw a bomb at a carriage, give a school inspector a blow in the face, or call a man a scoundrel. He will not stop at anything. He never feels remorse — it is his mission as “an honest worker” to fight “the powers of darkness”!
Such people are useful, and are for the most part attractive. To caricature them, even in the interests of the play, is unfair and, indeed, unnecessary. True, a caricature is more striking, and therefore easier to understand, but it is better to put your colour on too faint than too strong.
Now about the women. What do they love Ivanov for? Sarra loves him because he is a fine man, because he has enthusiasm, because he is brilliant and speaks with as much heat as Lvov does (Act I., Scene 7). She loves him so long as he is excited and interesting; but when he begins to grow misty in her eyes, and to lose definiteness of outline, she ceases to understand him, and at the end of Act III. speaks out plainly and sharply.
Sasha is a young woman of the newest type. She is well-educated, intelligent, honest, and so on. In the realm of the blind a one-eyed man is king, and so she favours Ivanov in spite of his being thirty-five. He is better