The Femme Fatale and Fair Maiden in Dostoyevsky
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Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-1-2006 The eF mme Fatale and Fair Maiden in Dostoyevsky Michael Burton Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Arts and Humanities Commons Recommended Citation Burton, Michael, "The eF mme Fatale and Fair Maiden in Dostoyevsky" (2006). Honors College Theses. Paper 34. http://digitalcommons.pace.edu/honorscollege_theses/34 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. 1 Michael Burton Senior Honors Thesis Project/Paper Advisor: Levine-Keating The Femme Fatale and Fair Maiden in Dostoyevsky In any listing of the great works of world literature the name of Russian novelist Fyodor Dostoyevsky will be found. Perhaps most popularly identified by his novel Crime and Punishment, published in 1866, he was a prolific author whose masterpieces include The Idiot (1868) and The Brothers Karamazov and (1880), along with other novels, novellas, and short stories. In these works he tackles some of the greatest themes and questions of human existence: sin, salvation, the existence of God, socialism as a growing national trend in Russia and the world at large, transgression, and forgiveness, among others. Many of these ideas are inherently opposed to each other, but Dostoyevsky introduces them into his work to give him a platform to create a dialogue with himself and to provoke a dialogue about these issues with society in general. He tries to understand how these opposing ideas will be incorporated into the rapidly evolving contemporary world and how the contradictory aspects can be reconciled. This kind of omnipresent dialogue that deals with these contradictory ideas is, in fact, what gives his works their unique greatness, according to Mikhail Bakhtin. The concept of the double, a literary creation wholly compatible with the kinds of contradiction and opposition that Dostoyevsky employs in the creation of his dialogic works, provides us with a lens through which we can study the seldom addressed topic of the presentation of women in Dostoyevsky’s works. Specifically, we will look at the Fair Maiden/Femme Fatale stereotype of the female double and how it is deflated in the novels The Idiot, The Brothers Karamazov, and Crime and Punishment. Dostoyevsky’s 2 denial of the false rigidity of categorizing women as either a Femme Fatale or a Fair Maiden is made more powerful when we consider his novels not as monologic but as polyphonic, as this style aids him in exposing the inadequacy of the Fair Maiden/Femme Fatale theory in portraying the complexity of a whole, complete person. The women in these novels are seemingly linked and epitomized by this stereotype, but Dostoyevsky cunningly shatters this type casting by showing us that the characters he is doubling are completely fleshed out individuals who cannot be restricted to one role of being either a Fair Maiden or a Femme Fatale; to understand the women beneath the stereotypes, we must turn our own critical eye towards their personalities, positions, and interactions with men. For eminent literary critic Mikhail Bakhtin, Dostoyevsky’s use of contradictory ideas and his adept use of dialogue between and within characters is one of the crucial components that contributes to the greatness of his works, as these elements are integral to his role as an innovator of a powerful new approach to the construction of a novel. To Bakhtin, “all the elements of novelistic structure in Dostoyevsky are profoundly original” in that Dostoyevsky charged himself with the “task of constructing a polyphonic world and destroying the established forms of the fundamentally monologic (homophonic) European novel” that precedes him (Bakhtin 8). While the works of other acknowledged literary giants have some of the fundamentals needed to achieve the polyphony of Dostoyevsky, including British playwright and poet William Shakespeare, no one else could or have achieved the complete polyphony that Dostoyevsky reaches in his works; he “alone can be considered the creator of genuine polyphony” (Bakhtin 34). 3 For Bakhtin, then, what is a polyphonic novel and what sets Dostoyevsky apart from those who do not write polyphonically? Dostoyevsky’s work has the “extraordinary artistic capacity for seeing everything in coexistence and interaction” and this “is his greatest strength” as a writer (Bakhtin 30). This realization and strength allows him to see in “a single thought… two thoughts, a bifurcation” and where “others saw a single quality, he discovered in it the presence of a second and contradictory quality” and he presents this duality in his work (Bakhtin 30). Indeed, to many critics “Dostoyevsky and duality are virtually synonymous” and, as all of his works to some degree include this duality, as “his engagement with the subject was lifelong” (Miller 136). Thus, this understanding and use of duality allows Dostoyevsky to create “an environment in which human consciousness could be revealed in its deepest essence,” as he asserts that “there are no ideas, no thoughts, no positions which belong to no one, which exist ‘in themselves’” and in a vacuum without interaction and opposition (Bakhtin 31). These principles of interaction and opposition are especially pertinent to consider in his approach to characterization, as Dostoyevsky thinks about his characters as being “actually present” people who interact with the author “and [are] capable of answering him,” which allows for the formation of completely independent and rounded characters with their own world views and ideas (Bakhtin 63). In monologic works “the idea is merely placed in” a character’s mouth, but “could with equal success be placed in the mouth of any other character,” making the characters just tools promulgating the author’s views (Bakhtin 79). The heroes in Dostoyevsky are the “idea and cannot be detached from it… we see the hero in the idea and through the idea” and this is why his work differs widely from a monologist’s characters (Bakhtin 4 87). An idea that exists only “in one person’s isolated individual consciousness… degenerates and dies” whereas a true idea “enters into genuine dialogic relationships with other ideas” by “meeting between two or several consciousnesses” represented by the other characters’ consciousnesses in the novel (Bakhtin 87-88). In a way that no one before him did, Dostoyevsky presents his characters as unique and completely formed people with their own agendas, values, and ideas, independent of what the author himself may believe or wish to say about a particular subject. This type of characterization is fundamental to a polyphonic novel since without it, the characters’ voices lack true subjectivity and independence. In this way interaction and interrelationships between characters become the keys to understanding polyphony and the characters themselves. In one short statement, the “polyphonic novel is dialogic through and through” because it incorporates more than just the single, monologic voice that most works have and presents a cacophony of ideas and consciousnesses interacting and overlapping with each other (Bakhtin 40). One of the literary devices Dostoyevsky employs to help create and maintain his polyphonic approach to his work is the use of the double. In a study of his work, we can see that “almost all of Dostoevsky’s major heroes…have their partial double in another person or even in several other people” in the novel (Bakhtin 217). In a polyphonic novel where we have “a world of consciousnesses mutually illuminating on another,” what better way of creating and encouraging dialogue than presenting a character with some manifestation of himself (Bakhtin 97)? By presenting a character with another character whose personality and beliefs in some way mirror his own, they are forced to better understand themselves through their interactions with this double. To better understand 5 the double and its importance to Dostoyevsky’s work, though, we must first understand the basic principles and theories behind the double, and for the purposes of this analysis, specifically the articulation of the female double. The double, in its broadest sense, “can mean almost any dual, and in some cases even multiple, structure in a text” such as the characters (Hallam 5). Psychologist Sigmund Freud believed that “the Double motif may manifest itself in various ways: split, or recurring characters, automata, or relived fantasies, visions, and dreams” that are “somehow triggered” by “repressed experiences” of the character (Hammel 14-15). Otto Rank, an early disciple of Freud, states that the double can be represented in a variety of ways, including that of a “physical double… or likeness which has been detached from the ego and become an individual being (shadow, reflection, portrait)” that represents some parts of a character’s consciousness (Rank 20). This character can be seen as an agent for “acting out the central character’s fears and desires,” as is the case of Ivan Karamazov and his half-brother Smerdyakov, who claims that in killing their father he has acted with his brother’s full consent and even encouragement; when confronted with this accusation, Ivan is struck by the truth behind it (Hammel 10). For Dostoyevsky, the double is often represented in this way, as “tragic, struggling couples… who appear to one another as unified, whole beings” that “turn out to be actually only the two halves of a … cloven entity” that sometimes are unaware of their connections (Rank 47). The psychologist, C. G. Jung, who developed the “doctrine of the shadow,” argues that “the individual has not come to terms with his hidden (repressed) self” and the double in some way is a representation of that repressed part of the self (Hammel 17).