He had pictured a thousand times over his return to the office as he sat at home in misery. With horror and conviction he told himself that he would certainly hear behind him an ambiguous whisper, would see ambiguous faces, would intercept ominous smiles. What was his surprise when nothing of the sort happened. He was greeted with respect; he was met with bows; every one was grave; every one was busy. His heart was filled with joy as he made his way to his own room.
He set to work at once with the utmost gravity, he listened to some reports and explanations, settled doubtful points. He felt as though he had never explained knotty points and given his decisions so intelligently, so judiciously as that morning. He saw that they were satisfied with him, that they respected him, that he was treated with respect. The most thin-skinned sensitiveness could not have discovered anything.
At last Akim Petrovitch made his appearance with some document. The sight of him sent a stab to Ivan Ilyitch’s heart, but only for an instant. He went into the business with Akim Petrovitch, talked with dignity, explained things, and showed him what was to be done. The only thing he noticed was that he avoided looking at Akim Petrovitch for any length of time, or rather Akim Petrovitch seemed afraid of catching his eye, but at last Akim Petrovitch had finished and began to collect his papers.
“And there is one other matter,” he began as dryly as he could, “the clerk Pseldonimov’s petition to be transferred to another department. His Excellency Semyon Ivanovitch Shipulenko has promised him a post. He begs your gracious assent, your Excellency.”
“Oh, so he is being transferred,” said Ivan Ilyitch, and he felt as though a heavy weight had rolled off his heart. He glanced at Akim Petrovitch, and at that instant their eyes met. “Certainly, I for my part … I will use,” answered Ivan Ilyitch; “I am ready.”
Akim Petrovitch evidently wanted to slip away as quickly as he could. But in a rush of generous feeling Ivan Ilyitch determined to speak out. Apparently some inspiration had come to him again.
“Tell him,” he began, bending a candid glance full of profound meaning upon Akim Petrovitch, “tell Pseldonimov that I feel no ill-will, no, I do not!… That on the contrary I am ready to forget all that is past, to forget it all….”
But all at once Ivan Ilyitch broke off, looking with wonder at the strange behaviour of Akim Petrovitch, who suddenly seemed transformed from a sensible person into a fearful fool. Instead of listening and hearing Ivan Ilyitch to the end, he suddenly flushed crimson in the silliest way, began with positively unseemly haste making strange little bows, and at the same time edging towards the door. His whole appearance betrayed a desire to sink through the floor, or more accurately, to get back to his table as quickly as possible. Ivan Ilyitch, left alone, got up from his chair in confusion; he looked in the looking-glass without noticing his face.
“No, severity, severity and nothing but severity,” he whispered almost unconsciously, and suddenly a vivid flush over-spread his face. He felt suddenly more ashamed, more weighed down than he had been in the most insufferable moments of his eight days of tribulation. “I did break down!” he said to himself, and sank helplessly into his chair.
The End
The Grand Inquisitor, Fyodor Dostoevsky
Translation by H.P. Blavatsky
[Dedicated by the Translator to those sceptics who clamour so loudly, both in print and private letters—”Show us the wonder-working ‘Brothers,’ let them come out publicly—and we will believe in them!”]
[The following is an extract from M. Dostoevsky’s celebrated novel, The Brothers Karamazof, the last publication from the pen of the great Russian novelist, who died a few months ago, just as the concluding chapters appeared in print. Dostoevsky is beginning to be recognized as one of the ablest and profoundest among Russian writers. His characters are invariably typical portraits drawn from various classes of Russian society, strikingly life-like and realistic to the highest degree.
The following extract is a cutting satire on modern theology generally and the Roman Catholic religion in particular. The idea is that Christ revisits earth, coming to Spain at the period of the Inquisition, and is at once arrested as a heretic by the Grand Inquisitor. One of the three brothers of the story, Ivan, a rank materialist and an atheist of the new school, is supposed to throw this conception into the form of a poem, which he describes to Alyosha—the youngest of the brothers, a young Christian mystic brought up by a “saint” in a monastery—as follows: (—Ed. Theosophist, Nov., 1881)]
“Quite impossible, as you see, to start without an introduction,” laughed Ivan. “Well, then, I mean to place the event described in the poem in the sixteenth century, an age—as you must have been told at school—when it was the great fashion among poets to make the denizens and powers of higher worlds descend on earth and mix freely with mortals… In France all the notaries’ clerks, and the monks in the cloisters as well, used to give grand performances, dramatic plays in which long scenes were enacted by the Madonna, the angels, the saints, Christ, and even by God Himself. In those days, everything was very artless and primitive.
An instance of it may be found in Victor Hugo’s drama, Notre Dame de Paris, where, at the Municipal Hall, a play called Le Bon Jugement de la Tres-sainte et Gracièuse Vierge Marie, is enacted in honour of Louis XI, in which the Virgin appears personally to pronounce her ‘good judgment.’ In Moscow, during the prepetrean period, performances of nearly the same character, chosen especially from the Old Testament, were also in great favour. Apart from such plays, the world was overflooded with mystical writings, ‘verses’—the heroes of which were always selected from the ranks of angels, saints and other heavenly citizens answering to the devotional purposes of the age. The recluses of our monasteries, like the Roman Catholic monks, passed their time in translating, copying, and even producing original compositions upon such subjects, and that, remember, during the Tarter period!…
In this connection, I am reminded of a poem compiled in a convent—a translation from the Greek, of course—called, ‘The Travels of the Mother of God among the Damned,’ with fitting illustrations and a boldness of conception inferior nowise to that of Dante. The ‘Mother of God’ visits hell, in company with the archangel Michael as her cicerone to guide her through the legions of the ‘damned.’ She sees them all, and is witness to their multifarious tortures.
Among the many other exceedingly remarkably varieties of torments—every category of sinners having its own—there is one especially worthy of notice, namely a class of the ‘damned’ sentenced to gradually sink in a burning lake of brimstone and fire. Those whose sins cause them to sink so low that they no longer can rise to the surface are for ever forgotten by God, i.e., they fade out from the omniscient memory, says the poem—an expression, by the way, of an extraordinary profundity of thought, when closely analysed. The Virgin is terribly shocked, and falling down upon her knees in tears before the throne of God, begs that all she has seen in hell—all, all without exception, should have their sentences remitted to them. Her dialogue with God is colossally interesting. She supplicates, she will not leave Him.
And when God, pointing to the pierced hands and feet of her Son, cries, ‘How can I forgive His executioners?’ She then commands that all the saints, martyrs, angels and archangels, should prostrate themselves with her before the Immutable and Changeless One and implore Him to change His wrath into mercy and—forgive them all. The poem closes upon her obtaining from God a compromise, a kind of yearly respite of tortures between Good Friday and Trinity, a chorus of the ‘damned’ singing loud praises to God from their ‘bottomless pit,’ thanking and telling Him:
Thou art right, O Lord, very right,
Thou hast condemned us justly.
“My poem is of the same character.
“In it, it is Christ who appears on the scene. True, He says nothing, but only appears and passes out of sight. Fifteen centuries have elapsed since He left the world with the distinct promise to return ‘with power and great glory’; fifteen long centuries since His prophet cried, ‘Prepare ye the way of the Lord!’ since He Himself had foretold, while yet on earth, ‘Of that day and hour knoweth no man, no, not the angels of heaven but my Father only.’ But Christendom expects Him still. …
“It waits for Him with the same old faith and the same emotion; aye, with a far greater faith, for fifteen centuries have rolled away since the last sign from heaven was sent to man,
And blind faith remained alone
To lull the trusting heart,
As heav’n would send a sign no more.
“True, again, we have all heard of miracles being wrought ever since the ‘age of miracles’ passed away to return no more. We had, and still have, our saints credited with performing the most miraculous cures; and, if we can believe their biographers, there have been those among them who have been personally visited by the Queen of Heaven. But Satan sleepeth not, and the
