Dostoyevsky: The Problem of Pain, Part Two (4/4)

Dostoyevsky: The Problem of Pain, Part Two (4/4)

Description

Debating an atheist about evil is one thing, but how could we respond at the bedside of a dying child in the house of a desperate family? Dostoyevsky’s own son died at three years old, and interweaved in his Magnum Opus is a profound reflection on the result of tragedy––and how to keep tragedy from unraveling everything you care about.

Notable Quote

 And so we shall part, gentlemen. Let us agree here, by Ilyusha’s stone, that we will never forget––first, Ilyushechka, and second, one another. And whatever may happen to us later in life, even if we do not meet for twenty years afterwards, let us always remember how we buried the poor boy, who we once threw stones at––remember, there by the little bridge?––and whom afterwards we all came to love so much. He was a nice boy, a kind and brave boy, he felt honor and his father’s bitter offense made him rise up. And so, first of all, let us remember him, gentlemen, all our lives. And even though we may be involved with the most important affairs, achieve distinction or fall into some great misfortune––all the same, let us never forget how good we once felt here, all together, united by such good and kind feelings as made us, too, for the time that we loved the poor boy, perhaps better than we actually are.

My little doves––let me call you that––little doves, because you are very much like those pretty gray blue birds, now, at this moment, as I look at your kind, dear faces––my dear children, perhaps you will not understand what I am going to say to you, because I often speak very incomprehensibly, but still you will remember and some day agree with my words. You must know that there is nothing higher, or stronger, or sounder, or more useful afterwards in life, than some good memory, especially a memory from childhood, from the parental home. You hear a lot said about your education, yet some such beautiful, sacred memory, preserved from childhood, is perhaps the best education. If a man stores up many such memories to take into life, then he is saved for his whole life. And even if only one good memory remains with us in our hearts, that alone may serve some day for our salvation. Perhaps we will even become wicked later on, will even be unable to resist a bad action, will laugh at people’s tears and at those who say, as Kolya exclaimed today, ‘I want to suffer for all people’––and perhaps we will scoff wickedly at such people.

And yet, no matter how wicked we may be––and God preserve us from it––as soon as we remember how we buried Ilyusha, how we loved him in his last days, and how we’ve been talking just now, so much as friends, so together, by this stone, the most cruel and jeering man among us, if we should become so, will still not dare laugh within himself at how kind and good he was at this present moment! Moreover, perhaps just this memory alone will keep him from great evil, and he will think better of it and say: ‘Yes, I was kind, brave, and honest then.’ Let him laugh at himself, it’s no matter, a man often laughs at that is kind and good; it just comes from thoughtlessness; but I assure you, gentlemen, that as soon as he laughs, he will say at once in his heart: ‘No, it’s a bad thing for me to laugh, because one should not laugh at that!’

 Fyodor Dostoevsky,
The Brothers Karamazov, (New York: Alfred A. Knopf, 1992)

Episode Notes

  • The featured oil on canvas is called Portrait of an Unknown Woman by Ivan Nikolaevich Kramskoi (1837–1887). It was painted in 1883. I chose it because I think it perfectly depicts Grushenka: beautiful, mischevous and immoral. Grushenka is a central character in The Brothers Karamazov because she directly instigates the feud between Dimitri and Fyodor that leads to critical circumstantial evidence in Dimitri’s murder trial.
  • The featured piece is Piano Concerto No. 1 (Op. 23) – Allegro Non Troppo E Molto Maestoso by Pyotr Tchaikovsky (1840–1893), a Russian composer and contemporary of Dostoyevsky.