As I have examined in the previous posts, Dostoevsky’s antisemitism was in a sense a side-effect of his belief in the imminent arrival of a final, just order on Earth. This ultimately is the essence of antisemitism: the notion that Jews are somehow fundamentally in the way of the new order. It has always been the same whether we are talking about medieval Catholics, Protestants or indeed the last century’s seemingly unbelieving totalitarians, and it was also the case with Dostoevsky’s peculiar millennarian vision for Russia.
The latter is deserving of some exploration on its own, not just in terms of those who were implicitly excluded, because it differed markedly from all the other aforementioned antisemitism-generating systems of thought in a number of significant respects.
The way history subsequently played out in Russia might lead us to conclude that Dostoevsky’s apparent belief in the coming of a ‘great and open-hearted communion’ was completely wrong, almost laughably so, but people continue to turn to The Brothers Karamazov, because the vision expounded by the dying elder Zosima continues to intrigue, not just as one of what might be, but of what might be wrong with all the other programmes for societal change that we currently possess.
Dostoevsky's Russia does ten to sound like a bit like something off the pages of Spiked! There are the people, and there are those deluded metropolitan elites. The latter are liberal, rational and atheist. They imagine themselves as free, but they are 'isolated'.
When the poor rise up against the elites they are often led to do so with bloodshed by a discourse that is fed to them by dissident elements of those same liberal, rational, atheistic masters. "Their wrath is accursed, because it is cruel."
The insistence on non-violence is explicit: He who draws the sword will perish by the sword.
Instead, the people have to be true to their own essential selves, to their faith and humility, acting without vengeance or envy, in a manner likely to eventually sort of shame the rich into allowing a society grounded in equality.
This is a new order to be won by 'humble love' not by force of arms. Salvation must come from the people in effect swallowing those who would be their masters, economic or political, into their big blob of love.
When confronted by the wicked, the elder Zosima advises that the best approach is to 'shine' on them.
Earlier on in the story he had perplexed many of those present when he threw himself down at the feet of the town's best known wrong-un, seemingly responding to the 'pride of Satan' with performative grovelling.
In his deathbed Talks and Homilies Zosima explains his approach...
"If the wickedness of people arouses indignation and insurmountable grief in you, to the point that you desire to revenge yourself upon the wicked, fear that feeling most of all; go at once and seek torments for yourself, as if you yourself were guilty of their wickedness. Take these torments upon yourself and suffer them, and your heart will be eased, and you will understand that you, too, are guilty, for you might have shone to the wicked, even like the only sinless one."
Reaching this part of TBK is rather like coming across one of those unusual somewhat stand-alone episodes in the middle of a favourite TV series, which initially generates significant frustration as one comes to terms with the realisation that there will be a further extended delay before the cliff-hanger at the conclusion of the previous episode is resolved. And yet, once everything has been wrapped up, one starts to look back on it with greater fondness.
And here at least we get a lot more than a bunch of flashbacks and character backstory padding. One might say that these observations lie at the very heart of what Dostoevsky was trying to say and that the wider 'plot' is the padding, really.