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Updated: May 15, 2025
Who can tell, in Dostoevsky's grim town-scenery, what there is at the end of the street, what lies round the next corner? Night stops the view or rather no ordinary, earthly night, but a sudden opacity, a fog that cannot be pierced or breathed. With Tolstoy nobody doubts that an ample vision opens in every direction.
And yet practically all of them remain separate and created beings. That is characteristic at once of Dostoevsky's mastery and his monstrous profusion. But the secret of Dostoevsky's appeal is something more than the multitude and thrill of his incidents and characters.
Certainly the lust of cruelty the lust of destruction for destruction's sake is the most conspicuous of the deadly sins in Dostoevsky's men and women. He may not be a "cruel author." Mr. J. Middleton Murry, in his very able "critical study," Dostoevsky, denies the charge indignantly. But it is the sensational drama of a cruel world that most persistently haunts his imagination.
There was no other English writer of the nineteenth century who to the same degree made all human experiences his own. His is poems are not poems about little children who win good-conduct prizes. They are poems of the agonies of life, poems about tragic severance, poems about failure. They range through the virtues and the vices with the magnificent boldness of Dostoevsky's novels.
Murry boldly faces the difficulty and attempts the definition. To him Dostoevsky's work is "the record of a great mind seeking for a way of life; it is more than a record of struggle, it is the struggle itself." Dostoevsky himself is a man of genius "lifted out of the living world," and unable to descend to it again. Mr.
That is the portrait of the man one sees behind Dostoevsky's novels a portrait one might almost have inferred from the novels. It is a figure that at once fascinates and repels. It is a figure that leads one to the edge of the abyss. One cannot live at all times with such an author.
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