Never again did Dostoevski write a book containing so little of himself, and so little of the native Russian element. Leaving out the exaggeration, it might apply to almost any village in any country, and instead of sympathy, it shows only scorn. The scheming mother, who attempts to marry her beautiful daughter to a Prince rotten with diseases, is a stock figure on the stage and in novels. The only truly Russian personage is the young lover, weak-willed and irresolute, who lives a coward in his own esteem.
This novel was immediately followed by another within the same year, Stepanchikovo Village, translated into English with the title The Friend of the Family. This has for its hero one of the most remarkable of Dostoevski’s characters, and yet one who infallibly reminds us of Dickens’s Pecksniff. The story is told in the first person, and while it cannot by any stretch of language be called a great book, it has one advantage over its author’s works of genius, in being interesting from the first page to the last. Both the uncle and the nephew, who narrate the tale, are true Russian characters: they suffer long, and are kind; they hope all things, and believe all things. The household is such a menagerie that it is no wonder that the German translation of this novel is called Tollhaus oder Herrenhaus? Some of the inmates are merely abnormal; others are downright mad. There is not a natural or a normal character in the entire book, and not one of the persons holds the reader’s sympathy, though frequent drafts are made on his pity. The hero is a colossal hypocrite, hopelessly exaggerated. If one finds Dickens’s characters to be caricatures, what shall be said of this collection? This is the very apotheosis of the unctuous gasbag, from whose mouth, eternally ajar, pours a viscous stream of religious and moral exhortation. Compared with this Friend of the Family, Tartuffe was unselfish and noble: Joseph Surface modest and retiring; Pecksniff a humble and loyal man. The best scene in the story, and one that arouses outrageous mirth, is the scene where the uncle, who is a kind of Tom Pinch, suddenly revolts, and for a moment shakes off his bondage. He seizes the fat hypocrite by the shoulder, lifts him from the floor, and hurls his carcass through a glass door. All of which is in the exact manner of Dickens.
One of the most characteristic of Dostoevski’s novels, characteristic in its occasional passages of wonderful beauty and pathos, characteristic in its utter formlessness and long stretches of uninspired dulness, is Downtrodden and Oppressed. Here the author gives us the life he knew best by actual experience and the life best suited to his natural gifts of sympathetic interpretation. Stevenson’s comment on this story has attracted much attention. Writing to John Addington Symonds in 1886, he said: “Another has been translated — Humiliés et Offensés. It is even more incoherent than Le Crime et le Châtiment, but breathes much of the same lovely goodness, and has passages of power. Dostoevski is a devil of a swell, to be sure.” There is no scorn and no satire in this book; it was written from an overflowing heart. One of the speeches of the spineless young Russian, Alosha, might be taken as illustrative of the life-purpose of our novelist: “I am on fire for high and noble ideals; they may be false, but the basis on which they rest is holy.”
Downtrodden and Oppressed is full of melodrama and full of tears; it is four times too long, being stuffed out with interminable discussions and vain repetitions. It has no beauty of construction, no evolution, and irritates the reader beyond all endurance. The young hero is a blazing ass, who is in love with two girls at the same time, and whose fluency of speech is in inverse proportion to his power of will. The real problem of the book is how either of the girls could have tolerated his presence for five minutes. The hero’s father is a melodramatic villain, who ought to have worn patent-leather boots and a Spanish cloak. And yet, with all its glaring faults, it is a story the pages of which ought not to be skipped. So far as the narrative goes, one may skip a score of leaves at will; but in the midst of aimless and weary gabble, passages of extraordinary beauty and uncanny insight strike out with the force of a sudden blow. The influence of Dickens is once more clearly seen in the sickly little girl Nelly, whose strange caprices and flashes of passion are like Goethe’s Mignon, but whose bad health and lingering death recall irresistibly Little Nell. They are similar in much more than in name.
Dostoevski told the secrets of his prison-house in his great book Memoirs of a House of the Dead — translated into English with the title Buried Alive. Of the many works that have come from prison-walls to enrich literature, and their number is legion, this is one of the most powerful, because one of the most truthful and sincere. It is not nearly so well written as Oscar Wilde’s De Profundis; but one cannot escape the suspicion that this latter masterpiece was a brilliant pose. Dostoevski’s House of the Dead is marked by that naïve Russian simplicity that goes not to the reader’s head but to his heart. It is at the farthest remove from a well-constructed novel; it is indeed simply an irregular, incoherent notebook. But if the shop-worn phrase “human document” can ever be fittingly applied, no better instance can be found than this. It is a revelation of Dostoevski’s all-embracing sympathy. He shows no bitterness, no spirit of revenge, toward the government that sent him into penal servitude; he merely describes what happened there. Nor does he attempt to arouse our sympathy for his fellow-convicts by depicting them as heroes, or in showing their innate nobleness. They are indeed a bad lot, and one is forced to the conviction that they ought not to be at large. Confinement and hard labour is what most of them need; for the majority of them in this particular Siberian prison are not revolutionists, offenders against the government, sent there for some petty or trumped-up charge, but coldblooded murderers, fiendishly cruel assassins, wife-beaters, dull, degraded brutes. But the régime, as our novelist describes it, does not improve them; the officers are as brutal as the men, and the floggings do not make for spiritual culture. One cannot wish, after reading the book, that such prisoners were free, but one cannot help thinking that something is rotten in the state of their imprisonment. Dostoevski brings out with great clearness the utter childishness of the prisoners; mentally, they are just bad little boys; they seem never to have developed, except in an increased capacity for sin. They spend what time they have in silly talk, in purposeless discussions, in endeavours to get drink, in practical jokes, and in thefts from one another. The cruel pathos of the story is not in the fact that such men are in prison, but that a Dostoevski should be among them. Here is a delicate, sensitive man of genius, in bad health, with a highly organised nervous system, with a wonderful imagination, condemned to live for years in slimy misery, with creatures far worse than the beasts of the field. Indeed, some of the most beautiful parts of the story are where Dostoevski turns from the men to the prison dog and the prison horse, and there finds true friendship. His kindness to the neglected dog and the latter’s surprise and subsequent devotion make a deep impression. The greatness of Dostoevski’s heart is shown in the fact that although his comrades were detestable characters, he did not hate them. His calm account of their unblushing knavery is entirely free from either vindictive malice or superior contempt. He loved them because they were buried alive, he loved them because of their wretchedness, with a love as far removed from condescension as it was from secret admiration of their bold wickedness. There was about these men no charm of personality and no glamour of desperate crime. The delightful thing about Dostoevski’s attitude is that it was so perfect an exemplification of true Christianity. No pride, no scorn, no envy. He regarded them as his brothers, and one feels that not one of the men would ever have turned to Dostoevski for sympathy and encouragement without meeting an instant and warm response. That prison was a great training-school for Dostoevski’s genius, and instead of casting a black shadow over his subsequent life, it furnished him with the necessary light and heat to produce a succession of great novels.
Their production was, however, irregular, and at intervals he continued