By Peter Kaye
While Constance Garnett's translations (1910–1920) made Dostoevsky's novels obtainable in England for the 1st time they brought a disruptive and freeing literary strength, and English novelists needed to confront a brand new version and rival. The writers who're the point of interest of this examine - Lawrence, Woolf, Bennett, Conrad, Forster, Galsworthy and James - both trendy or feared Dostoevsky as a monster who may possibly dissolve all literary and cultural differences. notwithstanding their responses differed enormously, those writers have been unanimous of their lack of ability to acknowledge Dostoevsky as a literary artist. They seen him in its place as a psychologist, a mystic, a prophet and, within the instances of Lawrence and Conrad, a hated rival who forced artistic reaction. This research constructs a map of English modernist novelists' misreadings of Dostoevsky, and in so doing it illuminates their aesthetic and cultural values and the character of the fashionable English novel.
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Additional info for Dostoevsky and English Modernism 1900-1930
When the young novelist met Frieda in , Garnett became a confidant as well. The scandalous couple even stayed at the Cearne shortly before their elopement to Germany. Garnett and his wife Constance were pivotal figures in promoting Dostoevsky. ¹⁰ During the time that Edward and Lawrence were becoming close friends – to – Constance was translating Dostoevsky. ¹² Given the Russian interests of the Garnetts, the nights that Lawrence spent at the Cearne would certainly have included discussions of Dostoevsky.
The first reference to Dostoevsky appears in a letter of May to Blanche Jennings. ⁴ Though he later turned against Tolstoy for allowing his moralism to suppress libertine energies, Lawrence always found a sexual vitality in Anna and Vronsky that he could never find in Dostoevsky. ⁵ Only a coward, and a false artist, could thwart the passionate vitality of Anna and Vronsky. Jessie Chambers, Lawrence’s first love and the model for Miriam in Prophetic rage and rivalry: D. H. Lawrence Sons and Lovers, also reports about his first encounter with Crime and Punishment.
He managed to write his best fiction amid such difficulties, all the while fighting tirelessly against Dostoevsky. The first reference to Dostoevsky appears in a letter of May to Blanche Jennings. ⁴ Though he later turned against Tolstoy for allowing his moralism to suppress libertine energies, Lawrence always found a sexual vitality in Anna and Vronsky that he could never find in Dostoevsky. ⁵ Only a coward, and a false artist, could thwart the passionate vitality of Anna and Vronsky. Jessie Chambers, Lawrence’s first love and the model for Miriam in Prophetic rage and rivalry: D.
Dostoevsky and English Modernism 1900-1930 by Peter Kaye