By Joseph Frank
This 5th and ultimate quantity of Joseph Frank's justly celebrated literary and cultural biography of Dostoevsky renders with an extraordinary intelligence and beauty the decade of the writer's lifestyles, the years within which he wrote A uncooked adolescence, Diary of a Writer, and his crowning triumph: The Brothers Karamazov.
Dostoevsky's ultimate years ultimately received him the common approval towards which he had regularly aspired. whereas describing his idiosyncratic dating to the Russian country, Frank additionally info Doestoevsky's carrying on with rivalries with Turgenev and Tolstoy. Dostoevsky's visual appeal on the Pushkin competition in June 1880, which preceded his loss of life by means of 365 days, marked the apotheosis of his career--and of his existence as a spokesman for the Russian spirit. There he brought his well-known speech on Pushkin sooner than an viewers stirred to a feverish emotional pitch: "Ours is universality attained no longer through the sword, yet by way of the strength of brotherhood and of our brotherly striving towards the reunification of mankind." this is often the Dostoevsky who has entered the patrimony of global literature, although he was once no longer regularly in a position to dwelling as much as such exalted ideals.
The writer's loss of life in St. Petersburg in January of 1881 concludes this extraordinary literary biography--one really necessary of Dostoevsky's genius and of the outstanding time and position within which he lived.
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Extra info for Dostoevsky: The Mantle of the Prophet, 1871-1881
Despite the evidence, he was let off with a light sentence of eight months in prison. " (21: 21). If such passages have led to the accusation that Dostoevsky was "a cruel talent," his "cruelty" here is inspired by an outraged pity. In the midst of the tortures that he details with such sickening exactitude, he suddenly breaks forth: "Do you know, gentlemen, people are born in various circumstances: can you not conceive that this woman in other circumstances might have been some Juliet or Beatrice from Shakespeare, or Gretchen from Faust.
Dostoevsky had said that "such a type was coming to birth," but Goncharov objects that art could only be created when life, over a long period of time, has given shape to a type, not when such a figure is still in the process of gestation.
Dostoevsky thus once again, like the Populists, bows clown to the moral riches concealed in the depths of the spirit of the Russian people, while underlining the link between this subliminal treasure trove and the people's unalterable commitment to their religious faith. 3 In the article on "Vlas," and also in his comments on Kishensky's play, Dostoevsky uses literary works primarily as illustrations of the cultural and social points he is trying to make; but he naturally throws out observations on their literary qualities as well.
Dostoevsky: The Mantle of the Prophet, 1871-1881 by Joseph Frank