DOSTOEVSKY AND CHEKHOV

Otago Daily Times, Issue 27505, 27 September 1950, Page 2

DOSTOEVSKY AND CHEKHOV

LITERATURE

DOSTOEVSKY: The Making of a Novelist. By Ernest J. Simmons. John Lehmann. IBs. A GENTLE CREATURE, and other Stories. By Fyodor Dostoevsky. The Chiltern Library (John Lehmann). 8s 6d. CHEKHOV IN MY LIFE: A Love Story. By Lydia Avilov. John Lehmann. lOs 6d.

'C'OLLOWING remarkably quickly on his huge life of Tolstoy, Professor Simmons presents a very considerable study of Dostoevsky. Such industry is impressive, but tends to create a critical approach to the new work. Either of these Russian giants is enough to absorb the intellectual energies of any but the greatest, and Professor Simmons, though his life of Tolstoy showed him to be industrious in research and more than competent in synthesis, is not in that categroy. The feeling of misgivings is not lessened by the fact that his approach to Dostoevsky is that of analysis. The misgivings have some justification, but this is a work of considerable interest to those familiar with Dostoevsky’s work. The usual approach to a study of Dostoevsky is to try to prove—or disprove—a theory. This is understandable enough, but the result is that the student is seldom permitted to see the forest for the trees. Professor Simmons criticises these critics —and then sets about the study, of his own favourite tree. “ It is impossible,” he says, “ to consider Dostoevsky as a literary artist entirely apart from the profound and original thinking he expressed through the medium of his creative works,” and he goes on: “ Like most creative artists, Dostoevsky was not a consistent thinker. The rooted dualism of his creative spirit was reflected likewise in his political and religious thought,” There we have it —the dualism of Dostoevsky, as exemplified in the dualism of his greatest creations. And here it might he said that the sub-title of the book—“ The Making of a Novelist”—is rather misleading, for the biographical element is rather subordinated. The author does succeed in showing that Dostoevsky’s development was consistent from the date of his earliest writings and

that he did not undergo a complete transformation as the result of his prison experiences, of crucial importance though these were. The publication of several of Dostoevsky’s short stories in the Chiltern Library, with a modest introduction by the translator, David Magarshack, points very markedly to the 'conclusion that one is sometimes better to travel without a guide. These early tales, some of them comparatively little known, show unmistakably “ the making of a novelist,” for here are the germs of the later masterpieces the artist’s pencil sketches, as it were —and in using the metaphor it is remembered what beauty and force reside in such outlines when made by a Da Vinci or a Rembrant. These by Dostoevsky are as impressive. The grouping of Chekhov In My Lire with the two preceding books is fortuitous. It has no direct connection with them, except that David Magarshack is again the translator—and without knowing a word of Russian, I would venture to say a very good one. There is a naivete of style which he has conveyed admirably. This is, incidentally. essential for the full enjoyment of the book. Chekhov was 29 when he met Lydia Avilov. She was already married, and over a period of years their meetings were few. It is barely possible that the author has given them more importance than they really held for Chekhov, but she has evidence to support her case. The' whole affair ‘might very well have been a story by Chekhov himself — high praise which is not excessive. This is a most unexpected and delightful production, and the pleasure it gives is enhanced by the drawings of Lynton Lamb and the general appearance of a tastefully produced volume. D. G. B.