Читать книгу Anton Tchekhov, and Other Essays - Lev Shestov - Страница 8

The content of The Tedious Story thus reduces to the fact that the professor, expressing his 'new' thoughts, in essence declares that he finds it impossible to acknowledge the power of the 'idea' over himself, or conscientiously to fulfil that which men consider the supreme purpose, and in the service whereof they see the mission, the sacred mission of man. 'God be my judge, I haven't courage enough to act according to my conscience,' such is the only answer which Tchekhov finds in his soul to all demands for a 'conception.' This attitude towards 'conceptions' becomes second nature with Tchekhov. A conception makes demands; a man acknowledges the justice of these demands and methodically satisfies none of them. Moreover, the justice of the demands meets with less and less acknowledgment from him. In The Tedious Story the idea still judges the man and tortures him with the mercilessness peculiar to all things inanimate. Exactly like a splinter stuck into a living body, the idea, alien and hostile, mercilessly performs its high mission, until at length the man firmly resolves to draw the splinter out of his flesh, however painful that difficult operation may be. In Ivanov the rôle of the idea is already changed. There not the idea persecutes Tchekhov, but Tchekhov the idea, and with the subtlest division and contempt. The voice of the living nature rises above the artificial habits of civilisation. True, the struggle still continues, if you will, with alternating fortunes. But the old humility is no more. More and more Tchekhov emancipates himself from old prejudices and goes—he himself could hardly say whither, were he asked. But he prefers to remain without an answer, rather than to accept any of the traditional answers. 'I know quite well I have no more than six months to live; and it would seem that now I ought to be mainly occupied with questions of the darkness beyond the grave, and the visions which will visit my sleep in the earth. But somehow my soul is not curious of these questions, though my mind grants every atom of their importance.' In contrast to the habits of the past, reason is once more pushed out of the door with all due respect, while its rights are handed over to the 'soul,' to the dark, vague aspiration which Tchekhov by instinct trusts more than the bright, clear consciousness which beforehand determines the beyond, now that he stands before the fatal pale which divides man from the eternal mystery. Is scientific philosophy indignant? Is Tchekhov undermining its surest foundations? But he is an overstrained, abnormal man. Certainly you are not bound to listen to him; but once you have decided to do so then you must be prepared for anything. A normal person, even though he be a metaphysician of the extremest ethereal brand, always adjusts his theories to the requirements of the moment; he destroys only to build up from the old material once more. This is the reason why material never fails him. Obedient to the fundamental law of human nature, long since noted and formulated by the wise, he is content to confine himself to the modest part of a seeker after forms. Out of iron, which he finds in nature ready to his hand, he forges a sword or a plough, a lance or a sickle. The idea of creating out of a void hardly even enters his mind. But Tchekhov's heroes, persons abnormal par excellence, are faced with this abnormal and dreadful necessity. Before them always lies hopelessness, helplessness, the utter impossibility of any action whatsoever. And yet they live on, they do not die. A strange question, and one of extraordinary moment, here suggests itself. I said that it was foreign to human nature to create out of a void. Yet nature often deprives man of ready material, while at the same time she demands imperatively that he should create. Does this mean that nature contradicts herself, or that she perverts her creatures? Is it not more correct to admit that the conception of perversion is of purely human origin. Perhaps nature is much more economical and wise than our wisdom, and maybe we should discover much more if instead of dividing people into necessary and superfluous, useful and noxious, good and bad, we suppressed the tendency to subjective valuation in ourselves and endeavoured with greater confidence to accept her creations? Otherwise you come immediately—to 'the evil gleam,' 'treasure-digging,' sorcery and black magic—and a wall is raised between men which neither logical argument nor even a battery of artillery can break down. I hardly dare hope that this consideration will appear convincing to those who are used to maintaining the norm; and it is probably unnecessary that the notion of the great opposition of good and bad which is alive among men should die away, just as it is unnecessary that children should be born with the experience of men, or that red cheeks and curly hair should vanish from the earth. At any rate it is impossible. The world has many centuries to its reckoning, many nations have lived and died upon the earth, yet as far as we know from the books and traditions that have survived to us, the dispute between good and evil was never hushed. And it always so happened that good was not afraid of the light of day, and good men lived a united, social life; while evil hid itself in darkness, and the wicked always stood alone. Nor could it have been otherwise.

All Tchekhov's heroes fear the light. They are lonely. They are ashamed of their hopelessness, and they know that men cannot help them. They go somewhere, perhaps even forward, but they call to no one to follow. All things are taken from them: they must create everything anew. Thence most probably is derived the unconcealed contempt with which they behave to the most precious products of common human creativeness. On whatever subject you begin to talk with a Tchekhov hero he has one reply to everything: Nobody can teach me anything. You offer him a new conception of the world: already in your very first words he feels that they all reduce to an attempt to lay the old bricks and stones over again, and he turns from you with impatience, and often with rudeness. Tchekhov is an extremely cautious writer. He fears and takes into account public opinion. Yet how unconcealed is the aversion he displays to accepted ideas and conceptions of the world. In The Tedious Story, he at any rate preserves the tone and attitude of outward obedience. Later he throws aside all precautions, and instead of reproaching himself for his inability to submit to the general idea, openly rebels against it and jeers at it. In Ivanov it already is sufficiently expressed; there was reason for the outburst of indignation which this play provoked in its day. Ivanov, I have already said, is a dead man. The only thing the artist can do with him is to bury him decently, that is, to praise his past, pity his present, and then, in order to mitigate the cheerless impression produced by death, to invite the general idea to the funeral. He might recall the universal problems of humanity in any one of the many stereotyped forms, and thus the difficult case which seemed insoluble would be removed. Together with Ivanov's death he should portray a bright young life, full of promise, and the impression of death and destruction would lose all its sting and bitterness. Tchekhov does just the opposite. Instead of endowing youth and ideals with power over destruction and death, as all philosophical systems and many works of art had done, he ostentatiously makes the good-for-nothing wreck Ivanov the centre of all events. Side by side with Ivanov there are young lives, and the idea is also given her representatives. But the young Sasha, a wonderful and charming girl, who falls utterly in love with the broken hero, not only does not save her lover, but herself perishes under the burden of the impossible task. And the idea? It is enough to recall the figure of Doctor Lvov alone, whom Tchekhov entrusted with the responsible rôle of a representative of the all-powerful idea, and you will at once perceive that he considers himself not as subject and vassal, but as the bitterest enemy of the idea. The moment Doctor Lvov opens his mouth, all the characters, as though acting on a previous agreement, vie with each other in their haste to interrupt him in the most insulting way, by jests, threats, and almost by smacks in the face. But the doctor fulfils his duties as a representative of the great power with no less skill and conscientiousness than his predecessors—Starodoum[1] and the other reputable heroes of the old drama. He champions the wronged, seeks to restore rights that have been trodden underfoot, sets himself dead against injustice. Has he stepped beyond the limits of his plenipotentiary powers? Of course not; but where Ivanovs and hopelessness reign there is not and cannot be room for the idea.

They cannot possibly live together. And the eyes of the reader, who is accustomed to think that every kingdom may fall and perish, yet the kingdom of the idea stands firm in saecula saeculorum, behold a spectacle unheard of: the idea dethroned by a helpless, broken, good-for-nothing man! What is there that Ivanov does not say? In the very first act he fires off a tremendous tirade, not at a chance comer, but at the incarnate idea—Starodoum-Lvov. 'I have the right to give you advice. Don't you marry a Jewess, or an abnormal, or a blue-stocking. Choose something ordinary, greyish, without any bright colours or superfluous shades. Make it a principle to build your life of clichés. The more grey and monotonous the background, the better. My dear man, don't fight thousands single-handed, don't tilt at windmills, don't run your head against the wall. God save you from all kinds of Back-to-the-Landers' advanced doctrines, passionate speeches. … Shut yourself tight in your own shell, and do the tiny little work set you by God. … It's cosier, honester, and healthier.'

Doctor Lvov, the representative of the all-powerful, sovereign idea, feels that his sovereign's majesty is injured, that to suffer such an offence really means to abdicate the throne. Surely Ivanov was a vassal, and so he must remain. How dare he let his tongue advise, how dare he raise his voice when it is his part to listen reverently, and to obey in silent resignation? This is rank rebellion! Lvov attempts to draw himself up to his full height and answer the arrogant rebel with dignity. Nothing comes of it. In a weak, trembling voice he mutters the accustomed words, which but lately had invincible power. But they do not produce their customary effect. Their virtue is departed. Whither? Lvov dares not own it even to himself. But it is no longer a secret to any one. Whatever mean and ugly things Ivanov may have done—Tchekhov is not close-fisted in this matter: in his hero's conduct-book are written all manner of offences; almost to the deliberate murder of a woman devoted to him—it is to him and not to Lvov that public opinion bows. Ivanov is the spirit of destruction, rude, violent, pitiless, sticking at nothing: yet the word 'scoundrel,' which the doctor tears out of himself with a painful effort and hurls at him, does not stick to him. He is somehow right, with his own peculiar right, to others inconceivable, yet still, if we may believe Tchekhov, incontestable. Sasha, a creature of youth and insight and talent, passes by the honest Starodoum-Lvov unheeding, on her way to render worship to him. The whole play is based on that. It is true, Ivanov in the end shoots himself, and that may, if you like, give you a formal ground for believing that the final victory remained with Lvov. And Tchekhov did well to end the drama in this way—it could not be spun out to infinity. It would have been no easy matter to tell the whole of Ivanov's history. Tchekhov went on writing for fifteen years after, all the time telling the unfinished story, yet even then he had to break it off without reaching the end. …

It would show small understanding of Tchekhov to take it into one's head to interpret Ivanov's words to Lvov as meaning that Tchekhov, like the Tolstoi of the War and Peace period, saw his ideal in the everyday arrangement of life. Tchekhov was only fighting against the idea, and he said to it the most abusive thing that entered his head. For what can be more insulting to the idea than to be forced to listen to the praise of everyday life? But when the opportunity came his way, Tchekhov could describe everyday life with equal venom. The story, The Teacher of Literature, may serve as an example. The teacher lives entirely by Ivanov's prescription. He has his job, and his wife—neither Jewess nor abnormal, nor blue-stocking—and a home that fits like a shell … ; but all this does not prevent Tchekhov from driving the poor teacher by slow degrees into the usual trap, and bringing him to a condition wherein it is left to him only 'to fall down and weep, and beat his head against the floor.' Tchekhov had no 'ideal,' not even the ideal of 'everyday life' which Tolstoi glorified with such inimitable and incomparable mastery in his early works. An ideal presupposes submission, the voluntary denial of one's own right to independence, freedom and power; and demands of this kind, even a hint of such demands, roused in Tchekhov all that force of disgust and repulsion of which he alone was capable.