INTRODUCTION
TO THE UNPUBLISHED CHAPTER OF THE POSSESSED BY V. KOMAROVICH
The chapter of The Possessed, Stavrogin’s confession of his terrible crime, excluded from the completed novel, first became known to Merezhkovsky. Mrs. F. M. Dostoevsky (Anna Gregorievna Dostoevsky, Dostoevsky’s widow) originally intended to invite Merezhkovsky to edit the 1906 Jubilee Edition of Dostoevsky’s Works and showed him the precious fragment in manuscript. In his book, Tolstoi and Dostoevsky, M. preserved his first impression of that reading by saying that it surpasses the bounds of the possible in its concentrated expression of horror. A. G. Dostoevsky hesitated to publish the chapter in full, and gave parts of it only in her edition of 1906 as a supplement to The Possessed. Her hesitation is understandable: Stavrogin’s terrible confession was not a complete secret even to Dostoevsky’s contemporaries. Excluded from the novel at Katkov’s request, the Confession became known by hearsay, and round these rumours grew up the dark legend of Dostoevsky as a Marquis de Sade. It was the doing of his enemies and of faithless friends.[91] But the feeling which kept the author’s widow from publishing the fragment of The Possessed must not restrain the student of Dostoevsky. Indeed, the dark legend that Dostoevsky was a sensualist is based (by N. Strakhov chiefly) either on an obscure calumny, or on coarse and callous surmises as to the mystery of that troubled and too exacting conscience which was the mark of Dostoevsky’s character. And we believe that the surest way of freeing Dostoevsky’s memory from those false accusations is by means of open enquiry and the fullest understanding of Dostoevsky as an artist.
“The scene from Stavrogin (the rape, etc.),” of which Strakhov speaks in the letter to Tolstoi, is preserved in the Dostoevsky Archives which belong to the Pushkin Department of the Russian Academy of Sciences.[92] It is a note-book of seventy-seven pages carefully executed in the handwriting of A. G. Dostoevsky, a copy, although unfinished, of a hitherto unknown manuscript of Dostoevsky. It is not difficult to determine the place which had been intended for that fragment in The Possessed. The manuscript is headed “Chapter IX. At Tikhon’s.” From the contents it can be seen that the chapter so numbered must be referred to Part Second of the novel. In our fragment the following incidents are supposed to have already taken place: Shatov’s box on Stavrogin’s ear (the last chapter of Part I.) and Stavrogin’s conversation with Shatov in the night (the first chapter of Part II.). On the other hand Stavrogin’s public declaration of his marriage with Maria Timofeevna (Chapter X. Part II.) is only expected and is still being considered by Stavrogin and Tikhon. Thus, our Chapter IX. ought to follow immediately after Chapter VIII. of Part II. (“Ivan the Tsarevich”), where the maddened Peter Verkhovensky confesses in a passionate whisper his incredible love of Stavrogin, and where Stavrogin—in the highest state of tension (as was ever the case with Dostoevsky)—reveals his true self. (Stavrogin as Ivan Tsarevich, the unknown “he” of all Russia, is hiding himself, the “beautiful” and “sun,” but through Verkhovensky’s wiles is already enslaved by the demon of nihilism.) Yet Stavrogin has two ways and two inclinations which constitute the basis and centre of the novel so far as it affects the religious destinies of Russia. Apart from the temptations of nihilism, he, like the future Aliosha Karamazov, knows also the way to the monastery and to religious obedience. Thus after the embraces of the devil—Verkhovensky (in Chapter VIII.)—there is the confession to Tikhon (in our Chapter IX.).
The question which has to be answered first by the student of this fragment is the question of its relation to the text of the finished novel, The Possessed. Is this Chapter IX. a part of the artistic whole, which, against the artist’s wish, has accidentally been omitted, and which therefore must now be restored to its proper place in that whole? Or is it one of those numerous fragments of Dostoevsky’s, which, corresponding to some early but subsequently altered scheme of the novel, have been detached from the finished novel, and have not been included in the final text by the artist, but are now preserved only in Dostoevsky’s rough manuscripts as curious examples of the complex origin of his books? As to the first of these suppositions, the words of N. Strakhov, which there is no reason to distrust, speak quite clearly. “The scene from Stavrogin (the rape, etc.) Katkov did not want to publish.” Thus the omission of the chapter “At Tikhon’s” from the novel did not arise from the artist’s decision, but from an external cause, the request of the editor of the Russkìi Vèstnik where The Possessed was appearing.
Strakhov’s evidence is confirmed by the connection which exists between the omitted Chapter IX. and Dostoevsky’s creative activity generally, and also with The Possessed as an artistic whole.
The motif of a cruelly insulted little girl, developed in Stavrogin’s Confession, is evidently one of Dostoevsky’s long-standing and enduring ideas. In the year 1866, at the time of his friendship with the family of the Korvin-Krukovskys, Dostoevsky told this idea of his as “a scene from a novel planned by him in his youth.” The hero of the novel one morning goes over all his recollections in memory, and “suddenly in the very heat … of pleasant dreams and bygone experiences begins to feel an awkwardness—something like an inner pain, an alarm…. It appears to him that he must recollect something, and he makes efforts, strains his memory…. And suddenly, he actually called to mind, as vividly and realistically as if it had happened yesterday … whereas for all these twenty years it had not worried him at all. He remembered how once, after a night of debauchery and under provocation from his friends, he had raped a little girl of ten.”[93]
The connection between this idea and Stavrogin’s Confession is indisputable. The recollection of a sin after a long forgetfulness leads straight to the closing scene of Stavrogin’s Confession and to the last “vision.”
But there are several connecting links between that idea (which in 1866 he thought of as of long standing and remote) and Chapter IX. of The Possessed. Putting aside Crime and Punishment, where Svidrigailov’s vision before his death is also an echo of that idea, The Life of a Great Sinner, which was conceived by him in the years 1869 and 1870, was without doubt to have developed the theme of the injured girl.
The hero of The Life was meant to show by the whole course of his existence the religious consistency of life in general, and the inevitability of the acceptance of God. The Life in its first parts was to tell the story of the constant and increasing immersion of man in sin. To the artist this utter absorption of the hero in sin was a necessity. Here Dostoevsky by artistic experiment tested one of his dearest and most secret ideas—his belief that each personality and man’s life on earth generally will not desert, nor can desert, the kingdom of the Grace of the Spirit so long as it preserves itself entire; that sin has nothing ontological in itself; that man’s soul is by its very nature a “Christian.” If the notes of The Life are read attentively, one sees how Dostoevsky tries to bring the sin and downfall of his hero to the utmost limits, to the last boundary—and this is in order that Dostoevsky’s optimistic belief in the essential illumination of life through Grace should be more strikingly justified, and should prevail in the end of The Life where “everything is becoming clear,” and the (“great”) sinner turns to God and dies confessing his crime.
Sin, the deepest sin, is not innate in, but accidental to, man—this belief of Dostoevsky’s dominated The Life, and led the artist to contrive situations in which the extremes of sin could be shown. To Dostoevsky the violation of the little girl was an extreme of this sort. This theme was provided by the writer with a view to the religious trials of the hero of The Life, for among the notes of the plan there is the following: “He makes an attempt on the lame girl….”
It should be plain that Dostoevsky’s interest in this conception had risen not from personal recollections, and was not maintained by them, but by the artist’s desire to find some adequate way of expressing in the plot his religious conception of the world.
But it is not only the conception of Chapter IX. that is anticipated by the plan of The Life. There is a deeper and closer connection between them.
The note, “he makes an attempt on the lame girl,” occurring in the plan, is closely connected as a particular development of the general idea with the other note, “straight into the abyss.” But this last is intimately connected with another and quite different note, brief but of great significance in the eyes of Dostoevsky, “The Monastery.” The Great Sinner, the violator of the little girl, doing penance to Tikhon in the monastery, was meant to form the second part of The Life, and in the plan is sketched out by independent notes.
It is at the same time the artistic skeleton of our Chapter IX. of The Possessed. The relations between Tikhon and the Great Sinner merely anticipate the dialogue between Stavrogin and Tikhon. “He vowed obedience
