"Nothing is more seductive for man than his freedom of conscience. But nothing is a greater cause of suffering."
The Brothers Karamazov, 1880.


In contemplating the creation of the novel The Idiot, Dostoyevsky wrote in a letter to A.N. Maikov that he hoped to focus the work around a question "with which I have been tormented, consciously or unconsciously all my life--that is, the existence of God."1 Dostoyevsky's personal struggle with the question of faith, and also his own experience with trying doubts as a believer, are manifested in the characters he writes. A large number of Dostoyevsky's books are written within the framework of a Christian doctrine, juxtaposing characterizations of believers and non-believers, enforcing the ultimate good and reason that follow from possessing a faith. Dostoyevsky also describes however, the mental suffering and questioning inherent in the step of realizing the "truth" of Jesus Christ. Berdyaev, in a discussion on Dostoyevsky's mission, states that "he did not have to solve the divine problem as does the pagan, but the problem of mankind,which is the problem of the spiritual man, the Christian."2

Indeed, Dostoyevsky was raised in a religious home, "I descended from a pious Russian family . . . We, in our family, have known the gospel almost ever since our earliest childhood . . . Every visit to the Kremlin and the Moscow cathedral was, to me, something solemn." 3 He was certainly well acquainted with the contents of the Bible, as his devoted mother used only the Old and New Testament to teach her children to read and write. Dostoyevsky also recalled his favorite nurse in the context of the prayer she taught him, "I place all my hope in Thee, Mother of God preserve me under Thy protection." 4 Such a strong female association in his early childhood perhaps influenced Dostoyevsky's later writing, enabling him to write only females into roles that were true and wholly pious, evidenced by Sonya from Crime and Punishment. Moreover, these childhood associations seem to have strongly imprinted upon his mind, "This book [the book of Job] Anna [his wife], it's strange -- is one of the first which made an impression on me in life, I was just then only a little boy."5

While a large portion of Dostoyevsky's nurturing seems to have occurred in a Christian nest, he was also exposed to the harsh qualities possessed by man. His father was, though reverent, a drunk, and was later murdered by serfs on account of his inhumane treatment.6

This rougher sphere of his upbringing manifested itself in Dostoyevsky's early adulthood. He became involved in a group known as the "Russian Utopian Socialists," influenced by Belinsky, a well known literary critic. The partnership formed by the two presumably shook Dostoyevsky's faith, as his revered mentor found that "as a socialist, he had to destroy Christianity in the first place. He knew that the revolution must necessarily begin with atheism."7 Later, though, Dostoyevsky broke off from the specific branch of the movement, forming the Durov circle. He was arrested for "the circulation of a private letter full of insolent expressions against the Orthodox Church."8 Evidently, he had forgotten his mother's teachings.

While in prison (where the only book allowed was The Bible) it appears Dostoyevsky began to reemerge as a believer, writing in a letter to Mrs. N.D. Fonvizin:

I believe that there is nothing lovelier, deeper, more sympathetic, more rational, more manly and more perfect than the Savior;...If anyone could prove to me that Christ is outside the truth, and if the truth really did exclude Christ, I should prefer to stay with Christ and not the truth.9

For him Christ was only the most beautiful 'sympathetic' and perfect of men. He even allowed that the One who said of himself: 'I am the Truth,' can be found to exist outside the truth; this premise is blasphemous to every believer. Here is the direction in which Dostoyevsky's convictions were regenerated,10

Imagine that you are creating a fabric of human destiny with the object of making men happy in the end, giving them peace and rest at last, but that it was essential and inevitable to torture to death only one tiny creature...and to found that edifice on its unavenged tears, would you consent to be the architect on this condition?16

Now assume there is no God or immortality of the soul. Now tell me, why should I live righteously and do good deeds if I am to die entirely on earth?...And if that is so, why shouldn't I (as long as I can rely on my cleverness and agility to avoid being caught by the law) cut another man's throat , rob, and steal...25

"If you shoot yourself, you'll become God, isn't that right?"
"Yes, I'll become God."27

No, saintly monk, you try being virtuous in the world, do good to society, without shutting yourself up in a monastery at other people's expense, and without expecting a reward up aloft for it--you'll find that battle a bit harder . . . Look at the bottles the fathers have brought out . . . And who has provided it all? The Russian peasant . . 29

He [the Grand Inquisitor] saw that the Prisoner [Christ] had listened intently and quietly all the time, looking gently in his face and evidently not wishing to reply. The old man longed for Him to say something, however bitter and terrible. But He suddenly approached the old man in silence and softly kissed him on his bloodless aged lips. That was all his answer.33

A. Primary Sources:

Dostoyevky, Fyodor. The Brothers Karamazov. Translated by Constance Garnett. Edited and revised by Ralph E. Matlaw. New York: W.W. Norton & Company, Inc., 1976.

Dostoyevsky, Fyodor. Devils. Translated by Michael R. Katz. New York: Oxford University Press, 1992.

Dostoyevsky, Fyodor. Selected Letters of Fyodor Dostoyevsky. Edited by Frank and Goldstein. U.S.A.: Rutgers State University, 1987.


B. Secondary Sources:

Berdyaev, Nicholas. Dostoievsky. Translated by Donald Attwater. New York: Sheed and Ward Inc., 1934.

Dirscherl, Denis, S.J. Dostoevsky and the Catholic Church. Chicago: Loyola University Press, 1986.

Gibson, Alexander Boyce. The Religion of Dostoevsky. Philadelphia: The Westminster Press, 1973.