THE RUSSIAN POINT OF VIEW
tion are the greatest criminals, and the most abject sinners move us to the strongest admiration as well as love.
Dashed to the crest of the waves, bumped and battered on the stones at the bottom, it is difficult for an English reader to feel at ease. The process to which he is accustomed in his own literature is reversed. If we wished to tell the story of a General’s love affair (and we should find it very difficult in the first place not to laugh at a General), we should begin with his house; we should solidify his surroundings. Only when all was ready should we attempt to deal with the General himself. Moreover, it is not the samovar but the teapot that rules in England; time is limited; space crowded; the influence of other points of view, of other books, even of other ages, makes itself felt. Society is sorted out into lower, middle, and upper classes, each with its own traditions, its own manners, and, to some extent, its own language. Whether he wishes it or not, there is a constant pressure upon an English novelist to recognise these barriers, and, in consequence, order is imposed on him and some kind of form; he is inclined to satire rather than to compassion, to scrutiny of society rather than understanding of individuals themselves.
No such restraints were laid on Dostoevsky. It is all the same to him whether you are noble or simple, a tramp or a great lady. Whoever you are, you are the vessel of this perplexed liquid, this cloudy, yeasty, precious stuff, the soul. The soul is not restrained
[252]
