The Conception of the Human Being in the Thought of Dostoyevsky- Boudia Smael

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    THE CONCEPTION OF THE HUMAN BEING IN THE

    THOUGHT OF DOSTOYEVSKY

    ----------

    BOUDIA Smal

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    Introduction

    We will start our reflexion with a quotation of Emile de Vogu, which, at first glance,

    seems to object any possibility of a reflexion on the human being to Dostoyevsky :

    Honest Latin one makes what he wants of his mind, or at least he believes him; he does not

    doubt his power to check, to regulate and to run this subjected force. To the Russian of

    Dostoevski, she is unruly, their thought, unbound as a spring of machine which avoids themechanic, goes about things by jumps and by bounds, with sudden transitions of tears in the

    laugh.

    But what Emile de Vogu conceives as being exclusively peculiar to the characters evolving

    in the novels of Dostoevski is in fact the place of the highlighting of unsuspected elements at

    the human being:

    As soon as a painter tries, in his work, to translate and to express a personal vision, this new

    aspect of nature that he offers us parried us paradoxical first, insincre us and almost

    monstrous [] I think that Dostoevski opens our eyes on some phenomena, which perhaps

    are the same rare steps but what simply we had not been able to point out. In front of the

    complexity which almost every human being introduces, look strives spontaneously and

    almost unconsciously for simplification. 1

    Contrary to this "simplification", purpose of which is to return reason of all aspects of the

    individual, it is all thought founded on eternal and frozen norms that is implicated. The

    reflexion of Dostoyevsky comes to break the harmonious definition of the human being:

    This human rocking is what differentiates us [] For Dostoyevsky, nothing is more

    marvelous than the man, just because of this instability, of this possibility of the best and of

    the worst 2

    But, since is highlights his aspect, a remark is obvious in view of the composition of the

    novels of Dostoyevsky: how is it possible to clear a consistent thought in this abundance of

    characters which this last offers us in these writings? This doubt thinks it is reinforced due to

    1A. Gide,Dostoevski, Paris, 1970, Gallimard, p. 153-1542

    J. Madaule, The Christianity of Dostoevski, Paris, 1939, Bloud et Gay, p. 180

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    the fact that, to Dostoyevsky, the characters give a very big difference of point of view,

    feelings and social positions.

    In it, we will answer that far from being an obstacle, these constituting characteristics of the

    originality of the novels of Dostoyevsky give us to the opposite the possibility of going up

    very close to his reflexion on the individual. Indeed, while being in intersection between the

    structure of its novels and of the speech advocated by this or that character Dostoyevsky

    opens us the ways of a specific model of representation of the human being, of the whole

    philosophy of the body and of the interindividual reports, through a romantic writing.

    The essential originality of Dostoyevsky is fond of the fact that it uses romantic form to

    express a very philosophical thought. Other authors as Rousseau can be considered to be

    novelist and philosopher. But, to this last, philosophical speech is inserted inside the romantic

    woof, he can therefore be extracted easily there, as for example The Profession of Faith of

    the Savoyard Vicar in Emile. To Dostoyevsky, on the contrary, both romantic and

    philosophical speeches are absolutely inseparable: it is indoors even the structure of the novel,

    in the roles that the characters, in the reports hold which they maintain between them that the

    philosophical contents of the novel are.

    Where from the necessity to not detach the ideas of their context and of the whole novel

    where they set up, because otherwise they lose all their sense:

    His aesthetic ideas must be evaluated finally in their natural environment, in the artistic

    matrix of his novels. Her one perceives their contradictory unity, their reason to be.

    Dostoyevsky's philosophical ideas, when examined outside their natural environment, to lose

    both their vitality and tightens unity, strives to disintegrate. 3

    It is therefore important to consider that all these elements implicate a choice reflected on

    behalf of the writer. In his writings, is present at it a romantic writing of the body, of the

    cheval glass. This specific inscription of the flesh of the characters is significant for the

    philosopher, and leaves shown through a philosophical conception of human phenomenon. It

    is in it that Dostoyevsky is with tremendous learning experience, this one offers an original

    "transcription" of the human being, he expresses in an unpublished way the perceptive,

    linguistic or ethical life of the man. It is therefore a question of deepening the philosophy of

    the "written world", and especially "written beings", since Dostoyevsky paints us of

    conscience independent and liberated at the farthest from traditional romantic necessities.

    3R.L. Jackson,Dostoievskys Quest for Form, New Haven and London, 1966, Yale University Press, p. 186

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    The novels of Dostoevski offers a reduced and every time unique vision of real life, in his

    novels takes place the picture of particular existence there where all spheres of experience

    mingle: perception, feelings, reflexion, actions. Nevertheless, the novel exceeds the practical

    life and restrained to a daily horizon, impossible to total, always delimited by the indecision

    of future and the ignorance of one. What he brings precisely a chance to grab a life in its

    wholeness, to synthesize the various aspects, perhaps to draw lessons from it, while remaining

    faithful to the sphere of what is lived. Philosophy must therefore disclose, within the text, a

    specific presentation of the human being. The novels of Dostoyevsky become so the place of

    analysis where romantic imagination constitutes a "fundamental philosophical ground".

    So, in a first part, we shall study the voice to show that the characters in Dostoyevskys

    novels have a polyphonic character.

    Then, in a second part, we shall treat connections between Dostoyevskys thought and the

    psychology of his time.

    To end on the reflexion of Dostoecski about the history.

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    I The voice in Dostoyevskys novels

    An aspect of the writing of Dostoyevsky can allow us to begin disclosing its

    conception of subject. Indeed, striking detail, Dostoyevsky has a very particular way to

    represent its characters: there is, at home, an almost complete absence of physical

    descriptions. To Dostoyevsky a character far from being entirely defined in its physical

    objectivity, a voice resounds first in ears as:

    It is in your voice that I trust, when I am with you. I understand well that it will be never

    possible to be equal 4

    Voice constitutes therefore the relay favoured between the characters but not only, because its

    role also consists in bringing to light the complex structure of the personality. The

    psychological depth of the character is illustrated by variations and wealth of voice. The

    characters of Dostoyevsky impose themselves by the feature of their voices, each has its way

    of speaking, inimitable:

    To Dostoyevsky, it is impossible to admit from the first words, not by the contents of the

    speech, but in the simple sound of voice, if it is Fiodor Pavlovitch Karamazov who speaks, or

    the father Zossima, Raskolnikov or Svidrigalov5

    It is style, or rather as it should be said, the mixture of styles which makes exist the character.

    Proof is the face of Marmeladov in . This one cannot be defined

    by his place in a bit simple social classification, the one that the passers-by give him to

    explain the reason of its behaviour :

    It was allowed to fall on the bench, exhausted, without looking more at anybody, as though

    he had forgotten all that encircled him and it fell in a deep imagining. Its words had made

    impression; silence reigned one instant, but soon the laugh, swearwords and insults resumed.

    Here is the judge!

    got mixed up into his lie.

    Civil servant, goes! 6

    4

    . M. ,5D. Merejkovski, Tolsto and Dostoevski, Paris, 1903, p. 2826

    . M. ,

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    This last word in Russian "" has a very definite sense, and explains why the clients

    of the cabaret consider Marmeladov to belong to another class. All purpose of Dostoevski is

    therefore going to show the simplicity of this classification. Indeed, in speeches of

    Marmeladov, it is possible to identify sentences of official, administrative style, sentences of

    emotional novel, and many others. Marmeladov is therefore in the intersection of group

    almost loosened. The capacity to represent these groups, make it a typical character, dwindles

    therefore particularly. It is these characteristics which bring all their depth to the characters.

    This coexistence of numerous voice finds its explanation due to the fact that, to Dostoyevsky,

    voice is not the production of a subject which coincides with itself. It would be rather the

    distraught expression of a being that lost his truth and gets worried about the place of his

    programme: of the place of eloquent subject. The text of Dostoyevsky will come therefore as

    a confrontation of discursive authorities. He does not form a totalisable structure including an

    unit of subject and of sense. This tension constitutes the surrounding middle of the novels of

    Dostoyevsky, this one is as the metaphor of its internal conflict. Dostoyevsky goes therefore

    contrary to the notion of me unique who work to conceal underground exchanges and to erase

    the structure differentiated from alleged "subject". By putting numerous voices forward,

    Dostoyevsky displays the plural character of the human being. Numerous voices return Andr

    Gide to internal dialogue as the pointing out very just:

    Their voice parried us no already more foreign; what do I say? It is in us that we hear them

    to have talks.7

    With what heads mainly as well the voice of the characters as their relations is the

    unavoidable "conflict" of the body crossed by numerous forces. The flesh is a kind of living

    writing where force prints sound vibrations; sense fans out there and gets lost there as in a

    maze ways of which it draws itself.

    This polyphonic being returns directly to the heroes, these have so a numerous language, but

    also contradictory feelings and it simultaneously:

    It is minutes in the life of people where their physiognomy is very much difficult to

    describe. For example, I remember that near Nicolas Vsvolodovitch, Mary Timofievna,

    grabbed with fear, got up and linked hands as if to plead him; but at the same time, I also

    remember him, in its look an insane joy shone which corrupted almost its features, one of this

    huge joy which the man is often unable to support... I do not undertake to explain this

    coexistence of opposite feelings.

    Stavroguine, in his last letter, also demonstrates this coexistence of opposite feelings:7A. Gide,Dostoevski, op. cit., p.63

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    I am still capable, as I always was, of desiring to do something good, and of feeling pleasure

    from it; at the same time I desire evil and feel pleasure from that too. 8

    There is no more ideal unit, more speech without fault, but from everywhere the lively bones

    of lived contradictions:

    It [our inner, moral world] represent a boundless, bottomless ocean of emotions, imperatives

    and ideals, whose dynamics are so contradictory that Dostoyevsky gave up working out any

    unambiguous, single-value of positive ethics. 9

    The discovery of depths makes appear an epoch filled with contradictions which did not leave

    appear everyday life. Instability, and disappointment are only discovered there to see that no

    revelation on oneself is possible. The more the human being approaches his bottom to

    Dostoyevsky and the more seems to him obvious decomposition and dispersion of his own

    picture; the more he approaches basic principles, the more he approaches the feeling of his

    absence to be. This is why preference is granted in the basic salary, in the stable: one thinks

    straightaway as multiplicity, as absence of identity to one, as pluralisation of error.

    This idea of a permanent similar identity in itself, entirely highlights returns in the possibility

    of a foreseeable subject, where from any uncertainty could be abolished. In

    Dostoyevsky relates this possibility through the man of the basement. This one in

    the course of his reflexion, comes from it to think that science will teach that the Man is a

    "key of piano", all that the human being will fullfill will not be dependent any more on its

    will, but will occur all alone, in accordance with the laws of science. It will just be enough to

    discover these laws and the man will not answer his acts anymore, life will become therefore

    extraordinarily easy:

    Science itself will teach man (though to my mind its a superfluous luxury) that he never has

    really had any caprice or will of his own, and that he himself is something of the nature of a

    piano-key or the stop of an organ, and that there are, besides, things called the laws of nature;

    so that everything he does is not done by his willing it, but is done of itself, by the laws of

    nature. Consequently we have only to discover these laws of nature, and man will no longer

    have to answer for his actions and life will become exceedingly easy for him. All human

    actions will then, of course, be tabulated according to these laws, mathematically, like tables

    of logarithms up to 108,000, and entered in an index; or, better still, there would be published

    certain edifying works of the nature of encyclopaedic lexicons, in which everything will be so

    8

    . M. ,9V. A. Kuvakin,A History of Russian Philosophy: From the Tenth to the Twentieth Centuries, Chapter 27 :Fyodor Dostoyevsky, Prometheus Books, p. 376

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    clearly calculated and explained that there will be no more incidents or adventures in the

    world.

    Thenthis is all what you saynew economic relations will be established, all ready-made

    and worked out with mathematical exactitude, so that every possible question will vanish in

    the twinkling of an eye, simply because every possible answer to it will be provided. Then the

    Palace of Crystal will be built. 10

    10. M. ,

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    What is played is the report of the interiority of the characters in what takes place and in what

    they make. Lise, in , opposes similarly, in Aliocha who has just

    predicted that humiliated Snguirev, who tore and milled with feet on the money which was

    given him, well they could another time pick him up:

    Say to me, Alexi Fiodorovitch, isn't there in all our debate contempt for this poor

    person... because we dissect his soul with some height, he seems to me? 14

    By there Aglaa and Lise, it is Dostoyevsky who does not want that his characters are in this

    point foreseeable. Dostoyevsky does not want that intrigue follows from their portrait. Where

    from the double postulation of worry to put down the psychology of each and to sever the

    drawing. His characters have a psychology, but the shadow makes a hole in it which she

    conceals, by the unconscious, by the unexpected and by the mystery which follows directly

    from the recognition of the depth of interiority :

    Dostoyevsky composes a picture where what matters especially and first, it is the sharing

    out of light. She emanates from the single home In a novel of Stendhal, of Tolstoy light is

    constant, equal, diffuse; all objects are lighted of the same way, they are also seen of all

    quoted; they have no shadow. And yet what matters especially in a book of Dostoyevsky, just

    as in a picture of Rembrandt, it is shadow. Dostoyevsky puts together his characters and his

    events, and casts on them an intense light, so that she hits them only on one side only. Each of

    his characters baths in shadow.15

    Dostoyevsky, as Rembrandt does not "finish" their representation, they always leave a part of

    shadow:

    The unity and boundlessness of the world are such that they are also reflected in each of it

    separate parts, especially in man, who is both cosmic and chaotic at the same time.

    Dostoyevsky sometimes designated this special essence of man by the word secret or

    mystery. 16

    It is this recalcitrant element in any argumentation that comes to mean the painter as well as

    the novelist or the philosopher. Freud will note later that the mental recollections of the

    pictures of the dream is not only made according to whites and omissions but with them.

    What we see always learns of what we do not see, and Dostoyevsky points out that there will

    always remain a part of unaccountable. This part of shadow allows him not to move aside

    what it is unstable, in the grip of riot and of future at the individual:

    14

    . M. , 15A. Gide,Dostoevski, op. cit., p.142

    16V. A. Kuvakin,A History of Russian Philosophy: From the Tenth to the Twentieth Centuries, op. cit., p. 374

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    The great figures of the foreground, him [Dostoyevsky] does not paint them, as one might

    say, but lets them paint a self-portrait themselves, everything in the course of the book, in a

    never finished, continuously changeable portrait. His main characters always stay in training,

    always badly clear of shadow as Rembrandt. 17

    The great figures of the dostoevskian novels are individuals' history in future. In

    , Dostoyevsky puts this aspect forward particularly. History relates what it would be

    possible to call an "interlude" in the life of Veltchaninov and Troussotski. And it is not any

    more at all grotesque characters than they see evolving:

    Yes, he was there ; he fought now with upper reason, before, he would have never thought

    about it.18

    This passage put at the beginning of work translates the reappraisal of Veltchaninov.

    Dostoevski describes us as a character haunted by the memory of the crossed errors.

    Veltchaninov lead puts to an individual in the grip of the change, which becomes aware of its

    complexity according to narration. This realization goes hand in hand with perception to other

    one - in this case Troussovski - of an interiority which he was far from suspecting. All the

    intrigue concentrates around these two characters, and shows that the interest of Dostoevski

    fronts door everything on individuals in the grip of change, complex as well in their report to

    themselves as in their relation to others. That is why at the end of the novel both characters

    sprung back, Veltchaninov is once again a man elegant and full of insurance, he "corrected

    itself ". Troussotski remarried to a lady dressed in a showy way and therefore apparently took

    back the situation of . The story can therefore end because there is nothing

    more to tell, because Dostoyevsky describes characters who change, evolve, thus different

    classic characters. But since they approached all complexity which conceals the human being

    to Dostoyevsky, another question immediately comes to settle: that to know if it is possible to

    live with? And if yes, how can it be possible to live with? Let us suppose that the thought of

    Dostoyevsky gives us possibilities of reflexion on this questioning:

    Dostoyevskys philosophy is not a system of proofs and answers. Its purport is to help man

    to live in the world of real contradictions, in the infinite world, never knowable completely, at

    once ordered and elemental and predictable [] The unity and boundlessness of the world are

    such that they are also reflected in each of it separate parts, especially in man, who is both

    cosmic and chaotic at the same time. 19

    17A. Gide,Dostoevski, op. cit., p.72

    18

    . M. , 19V. A. Kuvakin,A History of Russian Philosophy: From the Tenth to the Twentieth Centuries, op. cit., p. 374

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    All the question is now to know how to control this "chaos".

    III Dostoyevsky and (his) history

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    Dostoyevsky leaves this observation: there is not living subject unified, but fair a

    relating stability, always to win, unit is not precondition, base from which a subject can be

    formed as such. It goes contrary to idea that a subject, that his unit is something that it has in

    itself. It is therefore from the multiplicity that an individual can and must find a balance. It is

    in the report of all these entities which an individual can take form. It is the reason for which

    dialogue takes such a big importance in the Dostoyevskys novels. Dialogue is form under

    who Dostoyevsky can envisage a problem. He leans over a question by means of many

    characters whom he stages:

    Dostoyevsky is clumsy when he expresses himself in his proper name [] The ideas are

    almost never absolute; they remain almost always related to the characters who express

    them. 20

    It is therefore with the intention of making speak what is deeper in him than, as one goes

    along his creation, this one multiplies characters, strong individualities, they are the place of

    its thought, the fruit of its personal history which it transposes in the space of the novel:

    , ,

    - , ? , ;

    "", , ,

    , . 21

    This extract makes us understand that the characters that populate its novels are its different

    faces, and the novel the place of their confrontation. While scooping out in the bottom of

    himself, Dostoyevsky envisages a problem of the own history. And it is an adjournment of its

    past which Dostoyevsky performs and that gives body to all its reflexion. It is thanks to his

    personal experience that Dostoyevsky can write the books, all his characters are the product of

    its own examination.

    It is in this respect that comes out as being particularly interesting. Indeed, it is not

    insignificant that Dostoyevsky, in spite of the failure which meets this book declares:

    I have ever thrown nothing in literature more serious than this idea

    The adventures of Goliadkine, the "hero" of, prefigure some of the characters who

    populate the subsequent novels. And it is in a feeling of faintness that Dostoyevsky introduces

    us from the beginning of Goliadkine history :

    20

    A. Gide,Dostoevski, op. cit., p.13321. M. , , 1873, , , 2004, ,

    . 409

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    http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)
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    From his bed he ran straight to a little round looking-glass that stood on his chest of

    drawers. Though the sleepy, short-sighted countenance and rather bald head reflected in the

    looking-glass were of such an insignificant type that at first sight they would certainly not

    have attracted particular attention in any one, yet the owner of the countenance was satisfied

    with all that he saw in the looking-glass. "What a thing it would be," said Mr. Golyadkin in an

    undertone, "what a thing it would be if I were not up to the mark today, ifsomething were

    amiss, if some intrusive pimple had made its appearance, or anything else unpleasant had

    happened; so far, however, there's nothing wrong, so far everything's all right.22

    Of the confident impression of an individual who receives as being always equal to himself in

    the mirror, the hero smells to break the feeling of "something" that comes to taint this too

    simple unit of subject. This confusion which takes over Goliadkine in front of its mirror is

    sign before runner of the perception of multiplicity which composes it. The Double relates the

    difficulty in being able to take the multiplicity of perspectives, the risks which includes this

    coexistence in the breast of an individual:

    I am advancing the idea, Anton Antonovitch, that persons who wear a mask have become

    far from uncommon, and that nowadays it is hard to recognize the man beneath the

    mask . . .23

    What Goliadkine rejects, it is that he is the product of its "masks" himself. By rejecting these

    characteristics, it is itself that he ends up rejecting. The double of Goliadkine is therefore the

    sudden appearance of a different point of view, all the problem for the hero is that this other

    point of view will never be taken, what redraws us this history is the impossibility of taking

    this multiplicity. Goliadkine has many different viewpoints, but these do not make him a full

    individual. Far from being rich in his experiments, this one rejects them on the contrary. And

    it up to this point of no return where its different points of view acquire an autonomy, an

    independence which come to sap the coherence of the character. Dostoyevsky warns therefore

    against this "immobility" of thought with which every human being is confronted. But by

    narrating the misfortunes of Goliadkine, it is not only its reader whom he tells, but it is also

    itself. Because, important thing, it is necessary to underline that, just as "",

    Dostoyevsky does not consider Goliadkine to be an external face to its own personality. On

    the contrary, to be very close to the process of writing of the novelist, it is necessary to

    consider Goliadkine to be one of his facets, an aspect of himself whom he had to overcome.

    That is why in a letter to its brother of the beginning of September, 1845, Dostoyevsky called

    22. M. ,

    23. M. ,

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    http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)http://ru.wikipedia.org/wiki/%D0%94%D0%B2%D0%BE%D0%B9%D0%BD%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B2%D0%B5%D1%81%D1%82%D1%8C)
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    himself a Goliadkine". Dostoyevsky shows that the attention carried to its own included

    history as uninterrupted modification of perspectives on self and on the world allows to

    emphasize the different interpretations which constituted so much stages for a personality.

    By what an individual passed allows to receive the different elements, sometimes even

    contradictory, which constituted him. An individual is a group of episodes linked in a

    consistent way and formed by a very big number of harmonised and controlled powerful and

    controversial tendencies. There is idea in Dostoyevsky where all that we made is also

    essential to who we are. So unit - very relating - of an individual is a continuous process of

    integration of features of character, habits and actions. Individuality can become visible and

    exist really only in time. It is this always renewed try by unification of past with its gift, a

    patient research work, job of development and of constant re-elaboration of an individual

    taken in future. This mastery passes by the capacity to accept the responsibility of all what we

    made and to suppose that all that we made constitutes each of our persons.

    The route of Nitochka Niezvanova in the eponymous novel of Dostoyevsky is significant of

    the history of the novelist and is situated as a counterpoint to the character of Goliadkine. This

    work can indeed be read as the novel of childhood and of ill-treated womanhood. It is by

    communication, by reflexion and writing that Nitochka overcomes the anxiety; it is by

    telling this story, main pathological episodes of which are his, that Dostoyevsky allows us to

    foresee one of the most significant stages of the route of men and of writer. In this dynamics

    there is the desire of recognizing and organizing all that was made, to constitute an

    individuality by accepting all the moments of our life, good or bad. This retrospective glance

    allows to become rather flexible to use all that we make and will make as elements inside a

    changeable, never completely finished individual.

    To accept the present it is to accept all which drove to it. The meaning of past lives lies in its

    relation with the future. The events of our past allow to realize something who inclines us to

    accept us entirely. The reconciliation with its past can be fulfilled only when they realized that

    the sense of past is based on its importance for future. We can take seriously a past event and

    try to admit it in a complex plan, in a life where this one will come to enrich the personality.

    If we succeed in melting it in a personality, if we succeed in seeing the things of past

    assembling to modify, then we can transform the melancholy and the sadness, the fury, the

    pain and the effort into experience and into knowledge to make the material of the future.

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    Conclusion

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    It is therefore possible to conclude from it that it is in a reflexion on one that invites us

    Dostoyevsky, included as a research of identity, an identity included to Dostoyevsky as

    "narrative identity". Subject must be built because identity is itself to construct in and by the

    story. Far from being able to settle as a precondition, it is the fruit of a life examined and told.

    While telling one succeeds in understanding, individually or collectively. Any constitution of

    an identity implies a "poetics" which does not aim the fiction but indeed the reality, and the

    narrative is the mediation necessary for our experience of time. So, no more than he has a

    direct access to the being, the subject has a direct access to himself. The narrative

    configuration shows the necessity of a mediation by the story and it's the same for the

    understanding of one :

    The narrative identity can include the change, the mutability, in the cohesion of a life. The

    subject can constitute himself at the same time as a reader and as a writer of its own life [...]

    The story of a life is transformed by all true or fictitious stories that a subject tells on itself.

    This reconfiguration makes life itself a tissue of told stories.24

    In this research process, there is a subject which can understand himself better, or who can

    begin to understand himself. It is not only for Dostoyevsky to be read, but to act deeply on the

    reader, by communicating his thoughts, his personal experience, and to learn from it. It is in

    this reflection, in this work of recollection and of organization that Dostoyevsky shows all his

    talent.

    24P. Ricoeur, Time and Narrative 3, Paris, 1991, Seuil, p. 444-445

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