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Animals and Moral Consideration in the Works of I. Turgenev, F

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Animals and Moral Consideration in the Works of I. Turgenev, F Animals and Moral Consideration in the Works of I. Turgenev, F. Dostoevskii, L. Tolstoi and A. Chekhov Zora Kadyrbekova Department of Languages, Literatures, and Cultures-Russian Studies McGill University May 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy ©Zora Kadyrbekova 2018 2 Table of Contents: 1. Abstract (English) --------------------------------------------------------------------------------3 2. Abstract (French) -------------------------------------------------------------------------------- 4 3. Acknowledgments ------------------------------------------------------------------------------- 5 4. Introduction ---------------------------------------------------------------------------------------6 5. Chapter One – I. Turgenev ------------------------------------------------------------------ 24 6. Chapter Two –F. Dostoevskii -----------------------------------------------------------------63 7. Chapter Three – L. Tolstoi ------------------------------------------------------------------ 115 8. Chapter Four – A. Chekhov ------------------------------------------------------------------185 9. Conclusion --------------------------------------------------------------------------------------228 10. Works Cited ---------------------------------------------------------------------------------- 238 3 Abstract As the human protagonists in the works of Russia’s masters of psychological prose I.S. Turgenev, F.M. Dostoevskii, L.N. Tolstoi, and A.P. Chekhov face ethical dilemmas, there are often animal characters accompanying them on their moral and spiritual journeys. Yet, whether literary scholars understand Vronskii’s horse Frou-Frou as the eponymous heroine of Anna Karenina, or interpret the wounded eagle as a symbol of freedom in Dostoevskii’s Notes from the House of the Dead, predominantly symbolic and metaphoric interpretations of literary animals tend to obscure the animal’s subjectivity. Along with the disappearing animal, certain layers of the texts’ meaning and the authors’ message may additionally be lost. In an attempt to counteract the strong anthropocentric focus of literary studies and to recover the disappearing animal, this dissertation examines textual animals and human-animal relationships from an animal studies perspective in the works of these Russian authors. As Turgenev, Dostoevskii, Tolstoi and Chekhov explore the ethical impact of the human encounter with the animal, they affirm animal subjectivity, call for compassion for suffering animals and reveal acute awareness of the interconnectedness of human and animal fates. While they recognize differences between humans and animals, they do not set these differences as criteria that determine animals’ moral considerability. Acknowledging human limitations in fully understanding and conveying the animal other’s experience, they go beyond strictly scientific explanations of animal behavior and instincts, and try to imagine a non-human other’s inner life. Despite their differences in style, methods, socio-political and religious views, all four authors seem to strive for essentially the same vision of universal harmony of human and 4 non-human worlds, including humans and animals as equals in their circle of moral consideration. Lorsque les protagonistes humains font face à des dilemmes éthiques dans les œuvres des maîtres russes de la prose psychologique, I.S. Tourgueniev, F.M. Dostoevskii, L.N. Tolstoï, et A.P. Tchékhov, il y a souvent des caractères animaux qui les accompagnent dans leurs voyages moraux et spirituels. Pourtant, quand les critiques littéraires analysent le cheval Frou-Frou de Vronskii comme l'héroïne éponyme d'Anna Karénine, ou l'aigle blessé comme un symbole de liberté dans les Souvenirs de la maison des morts de Dostoïevskii, les interprétations symboliques et métaphoriques des animaux littéraires tendent à obscurcir la subjectivité de l'animal. Par ailleurs, de telles approches peuvent effacer certains éléments importants des textes et le message des auteurs. Afin de contrecarrer l’anthropocentrisme fort des études littéraires et de récupérer l'animal en voie de disparition, cette thèse examine les animaux littéraires et les relations homme-animal dans les œuvres des quatre auteurs russes selon la perspective des études animales. Tourgueniev, Dostoïevski, Tolstoï et Tchékhov explorent l'impact éthique de la rencontre humaine avec l'animal, affirment la subjectivité animale, appellent à la compassion pour les animaux souffrants et révèlent une conscience aiguë de l'interdépendance des destins humains et animaux. Bien qu'ils reconnaissent les différences entre les humains et les animaux, ils ne définissent pas ces différences comme des critères qui déterminent la considération morale des animaux. Reconnaissant les limites de l’humain qui tente de comprendre et transmettre pleinement l'expérience de l'animal, ils vont au-delà des explications strictement scientifiques du comportement animal et des instincts, et essayent d'imaginer la vie intérieure d'un animal non-humain. Malgré leurs différences de style, de méthodes, de conceptions sociopolitiques et religieuses, les quatre auteurs semblent développer essentiellement la même vision de l'harmonie universelle des mondes humains et non-humains, y compris les humains et les animaux en tant qu'égaux dans leur cercle de considération morale. 5 Acknowledgements I would like to express my deepest gratitude to my supervisor Prof. Anna Berman for her meticulous comments, patient guidance and engagement through the learning process of this dissertation. Her constructive critique and our long discussions were an enormous help to me. I am deeply indebted to Prof. Stephanie Posthumus for introducing me to and helping me navigate through the complex interdisciplinary animal studies, as well for her insightful and always challenging questions, extensive editorial help and assistance with the French language. Also, I would like to offer my special, heartfelt thanks to Graduate Coordinator Lynda Bastien for her always efficient support with all technical and administrative aspects of the thesis submission process. In addition, I would like to thank our liaison librarian Tatiana Bedjanian for her knowledgeable help in my bibliographical search. Note on Translation and Transliteration I have used the Library of Congress system with such spellings as Dostoevskii and Tolstoi. I have used translated sources of the examined works, as well as utilized my own translations – each translation source is indicated. When I use translated sources, I preserve the transliteration of the source. 6 Introduction The dog sits in front of me – and looks me straight in the face. And I, too, look into her eyes. […] No, it is not an animal and a human exchanging gazes… These are the eyes of equals riveted on each other. And in each of these eyes, in the animal and the human – the same life fearfully huddles up close to the other. I. S. Turgenev. “The Dog,” Senilia, 1878. Renowned for their psychological depth and insight, Russia’s literary giants of the second half of the nineteenth century – I.S. Turgenev, L.N. Tolstoi, F.M. Dostoevskii and A.P. Chekhov – all ponder the Russian “accursed questions” about the meaning of life and death, faith and doubt, moral choices and responsibility, suffering and redemption. As their human protagonists and readers together face ethical dilemmas and mortality, there are often non-human characters accompanying them on their moral and spiritual journeys. Yet, as the animal studies scholar John Simons has noted, even when there are animals in a text, “the human experience bulks too large and is so important to us that it tends to blot out all other concerns whenever we encounter them” (59). Whether literary scholars see Dostoevskii’s axed pawnbroker in the bludgeoned horse in Raskolnikov’s dream (Crime and Punishment), or understand Vronskii’s horse Frou-Frou as the eponymous heroine of Anna Karenina, predominantly symbolic and metaphoric interpretations of literary animals tend to obscure the animal’s subjectivity. Along with the disappearing animal, additional layers of a text’s meaning and the author’s message may be lost. 7 In an attempt to counteract the strong anthropocentric focus of literary studies and to recover the disappearing animal, this dissertation will examine animal representations and human-animal relationships from a literary animal studies perspective in the works of Russia’s four greatest realist authors: Turgenev, Dostoevskii, Tolstoi, and Chekhov. Aiming to gain a clearer understanding of their portrayal of animals, I will rely not only on their literary works, but also on their essays, diaries, and letters. All four authors reflect and/or respond to the prevailing cultural attitudes towards animals in nineteenth- century Russia. At the same time, each expresses a personal concern about animals and human-animal relationships. Despite different rationales, they share a vision of the unity of humans and nature, whether on spiritual/religious grounds (Tolstoi and Dostoevskii), or out of personal concern for the non-human world (Turgenev and Chekhov). As the rich gallery of human characters in their works testifies, all four writers sought to depict the Other’s experience, whether it was “other” religious beliefs, or political positions, or social class, or ethnicity. In the same vein, the emphasis they placed on animal characters strongly suggests that they saw a possibility—something in the animal-“otherly”
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