"The Brothers Karamazov" by Fyodor Dostoevsky

This is not a simple novel to explain due to its several-fold meanings and possible interpretations. I suffer from this difficulty in particular because of my keen interest in Russian history and the underground movement of the late nineteenth century. The novel can read as a political diatribe, a reflection on the importance of family ties, a criticism of the sensualists, or even a grand meditation on the gospels and the efficacy of religion. The latter is an angle I prefer to take, because it is perhaps most relevant in our time; a generation estranged from religious discipline and traveling along a comparatively secular and liberal path.

The past couple of years of reading on my part have been angled more or less to understanding moral dilemmas, and gathering a better knowledge of Christianity. I did intend to explore other religions but that may take some time. My reading of the Bible was not at all a loss; despite it being the King James edition which is needlessly intricate in the purpose it is, I gathered that there are some passages which resonate with meaning and could use being propagated in this time. My perspective is entirely detached from the religion itself; I did not gather upon my reading that a religion was necessary, that it was more or less a convenience to cultivate universal understanding.

So, I turn to this novel by Fyodor Dostoesvky which remains for myself one of the most insightful and philosophical work of the nineteenth century. The story focuses upon a family- the Karamazovs- whom are fragmented by the careless and sensualist lifestyle of the father Fyodor Karamazov. Two brothers, Ivan and Dmitri, begin to spend time with their father but on strained terms. Dmitri becomes close with his father but only through his depraved and sensualist lifestyle; Ivan, the fiercely intellectual son, becomes close but for reasons which are obscure. The youngest son, Alyosha, becomes very close to his father after leaving the monastic lifestyle. The simpler of the three, Alyosha, embodies the good-natured essence of Christianity and is an honest and generous spirit throughout the story. The story focuses upon the story of how these characters gradually become more intimate- or estranged in the case of Dmitri Karamazov- and a course of events proceeds which sees the brutal death of the father Fyodor Karamazov.

The story unfolds with breath-taking rapidity and shortly after being presented with a description of the family's background and the manner in which the sons of Karamazov have returned to him, and the father is vying for his the woman Dmitri is in love with, the story is taken to the setting of a monastery where the father arrives late for a reconciliation scene with his son. A character Father Zossima takes the objective, moralist role in this scene and appears as a paragon of virtue and insight. When confronted by Karamazov's volatile and unapproachable character a profound moment occurs when Zossima confronts Karamazov's behaviour:

"... Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to such a pass that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love."

-Fyodor Dostoesvky, The Brothers Karamazov, (Wordsworth Editions, 2007), p43-44

Karamazov responds of course by hyperbolically claiming he has been lying to himself and that he will change. He feigns respect to the holy man but then proceeds to behave outrageously, demonstrating how the lack of discipline and control in his life, the submission to sensuality and the lack of patience with others has ruined him. And all stemming from a past in which Karamazov was mocked and made a fool of; a history which he did not now regret and his shamefaced past making for a shamefaced future without moral constraints or significant family ties. The novel's key focus is on the disintegration of family values because of a tendency of people when they are younger to accept the ill treatment of others and then begin to see themselves from that perspective that the once hated. The tendency of people through moral depravity, lack of reasonable temperament in drinking and in spending time with people of loose virtue is to begin to become what they despise. The lie becomes their life and though the subconsciously resent it the body takes command and the mind rots into senselessness.

Dostoesvky's concern is the effect this has on family and community, and he paints a portrait of how one man's depravity can ruin the following generation of his children; Dmitri the nearly thoughtless sensualist, Ivan the unbelieving and pessimistic intellectual, and  Alyosha, the child who blinds himself to reality and gives his life to religion likely because of his need for something to believe in. Dostoesvky's dysfunctional family portrait, including an illegitimate child called Smernakov who plays an important role in the novel later, is an indictment against a society which makes itself callous with sensuality and a lack of moral practice:

"'If it were not for the Church of Christ there would be nothing to restrain the criminal from evil-doing, no real chastisement for it afterwards; none, that is, but the mechanical punishment spoken of just now, which in the majority of cases only embitters the heart; and not the real punishment, the only effectual one, the only deterrent and softening one, which lies in the recognition of sin by conscience.'"

- Ibid, p66

Again, this statement comes from father Zossima who, upon reflection, actually is a reflection upon a disintegrating presence of religion in society. His age and his apparently unrealistic hopes for mankind are a reflection upon how society was beginning to view religion. Fyodor Karamazov's reluctance to take him seriously is highly indicative of what Dostoevsky means to argue: that it is not only through religion that society must be bettered but through reforming the practice of lawyers and governments so that moral issues are not simply punished in a systematic manner, but that they be approached with empathy and a willingness to improve the perpetrator's value to society. 


In The Idiot Dostoevsky also presents this idea through his character Myshkin and condemns the bureaucratized and mechanical way society is heading towards, and he condemns actions which ought to be considered arbitrary and cruel. Dostoevsky's one determined idea throughout this novel is that Christian practice goes from hypothesis to actual; one can discern from his several monastery scenes that he does not approve completely of the monastic life, especially the hermetic kind, and only through Zossima who espouses deliberate and active Christian practise does he seem to do this.

The characters roots and personalities are developed and the novel arrives at a scene where Alyosha is confronted by the assertion from an acquaintance, Rakitin, that his brother Ivan is easily influenced by the notion of wealth and fame. A brilliant statement follows from this character who passes only briefly through the narrative, in what seems an espousal of Dostoevsky's own belief:

"'Ah, Misha, he has a stormy spirit. His mind is in bondage. He is haunted by a great, unsolved doubt. He is one of those who don't want millions, but an answer to their questions'

'That's plagiarism, Alyosha. You're quoting your elder's phrases. Ah, Ivan has set you a problem!' cried Rakitin, with undisguised malice. His face changed, and his lips twitched. 'And the problem's a stupid one. It is no good guessing it. Rack your brains- you'll understand it. His article is absurd and ridiculous. And did you hear his stupid theory just now: if there's no immortality of the soul, then there's no virtue, and everything is lawful... An attractive theory for scoundrels!... Not for scoundrels, but for pedantic poseurs, "haunted by profound, unsolved doubts". He's showing off, and what it comes to is, "on the one hand we cannot admit" and "on the other it must be confessed!" His whole theory is a fraud! Humanity will find in itself the power to live for virtue even without believing in immortality. It will find it in love for freedom, for equality, for fraternity.'"

- Ibid, p86

The statement comes out from nowhere but it makes a distinct impression upon Alyosha, for he begins to see why practice is just as important as having faith. The understanding that it is not a question of rational argument or faith, that it is a case of mutual love and desire to live fruitfully and freely. The reality is presented to us and it doesn't matter whether one is skeptical or holds a dear belief in a deity above; the pressing concern is to share, to be honest and divide wealth fairly and to allow opportunities for man to be free to make up his own mind. The idea comes in directly from the left with tenets which charged the French revolution and the upsurge of liberalism in the nineteenth century. It is not an affront to intellectualism, nor is it by any means hostile to religion; simply a little contemptuous and estranged. For what possible good can it do to have a faith which is not acted upon, and what could possible be achieved by sketicism and deflating the notion of faith? 


What is presented brilliantly, and somewhat abruptly, is the need for actual, deliberate action and immediately. The contempt is for those whom devote all hours of their life towards understanding it but in the process fail to see that the diminishing value of life is directly as a result of this, and the absence of virtuous figures leads to the decline of mutual love. The effect of this small idea that is offered to Alyosha leads his to take an active interest in a young boy who is about to lose his father. One can see what kind of ideas Dostoevsky is trying to bring across here.

"'...the science of this world, which has become a great power, has, especially in the last century, analysed everything divine handed down to us in the holy books. After this cruel analysis of the learned of this world have nothing left of all that was sacred of old. But they have only analysed the parts and overlooked the whole, and indeed their blindness is marvelous. Yet the whole still stands steadfast before their eyes, and the gates of hell shall not prevail against it. Has it not lasted nineteen centuries, is it not still a living, a moving power in the individual soul and in the masses of people? It is still as strong and living even in the souls of atheists, who have destroyed everything! For even those who have renounced Christianity and attack it, in their inmost being still follow the Christian ideal, for hitherto neither their subtlety nor the ardor of their hearts has been able to create a higher ideal of man and of virtue than the ideal given by Christ of old. When it has been attempted, the result has been only grotesque. Remember this especially, young man, since you are being sent out into the world by your departing elder. Maybe, remembering this great day, you will not forget my words, uttered from the heart for your guidance, seeing you are young, and with the temptations of the world are great and beyond your strength to endure. Well, now go, my orphan.'"

- Ibid, p186-187

This is the fascination I have with this particular speech within the Brothers Karamazov; Dostoevsky indirectly declares to the reader that the issue is now becoming a human issue. In encouraging Alyosha to leave the monastery father Zossima also encourages a new basis of Christianity; a practical, universal approach to the Gospels. The admission is that the reality of the world as it is is harsh, corrupting and possibly determined towards destruction, but the idea forwarded by Zossima is one to be learned from: the essence of the Gospels and the notion of Christ is pure, and charged with positivity. Regardless of atheism the ideas still reflect with a white, blinding glow; charity, goodwill, forgiveness and exception are the only things which might lead to an overall understanding. 

Dostoesvky is never one to suggest that the world as it is is friendly or welcoming; with a history like his of harsh truths and near-death experiences how could he see the world any other way? But the quality of his faith, not perhaps in any purely religious direction, but certainly in the shape of the ideals espoused in the Gospels is encouraging. Perhaps one of the first of his kind next to Victor Hugo to suggest that believing in the Gospels need not be tied so closely to the general practice of Christianity, he creates this new form of universal belief; an idealism blossoms forth which is abstract but inspiring, and attaches itself to human development. Zossima condemns the material world but also sings its praises; he says that it is corrupt and will corrupt, but he also means to suggest that there is still faith, but not the kind of faith that was. And in sending Alyosha out into this world Zossima entrusts him with a fading Christianity but still seems to believe that it is the best course of action. 

There is a sense of trust that ideas of compassion will survive as they have done before. Of course the light is dark and the skies above overcast but this is much the style of Dostoevsky; before illumination, darkness must reign and then subside. But the virtue and belief does not fade...