The important thing is not to stop questioning. Curiosity has its own reason for existence. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvelous structure of reality.
D'ou venons nous ? De quoi sommes nous fait ? C'est la question que nous nous sommes posés avec ma douce <a Marie-Louise et c'est cette même question qui a servi de fil conducteur pour toute cette série
Certains astrophysiciens comme Hubert Reeves et Jean-Pierre Luminet aiment à penser que nous venons des étoiles.
Lorsqu'une étoile se désintègre ses milliers d'atomes et de particules donnent naissance à d'autres astres. La terre est elle même issue de cette explosion plus connue sous le nom de Big Bang. C'est vers le ciel que nous nous sommes penchés, c'est du ciel que nous venons. Nous sommes enfants d'étoiles, nous sommes poussière d'étoiles.
Of the three great Russian novelists of our time Tourgenieff is by far the finest artist. He has that spirit of exquisite selection, that delicate choice of detail, which is the essence of style; his work is entirely free from any personal intention; and by taking existence at its most fiery-coloured moments he can distil into a few pages of perfect prose the moods and passions of many lives.
Count Tolstoi’s method is much larger, and his field of vision more extended. He reminds us sometimes of Paul Veronese, and, like that great painter, can crowd, without over-crowding, the giant canvas on which he works. We may not at first gain from his works that artistic unity of impression which is Tourgenieff’s chief charm, but once that we have mastered the details the whole seems to have the grandeur and the simplicity of an epic. Dostoieffski differs widely from both his rivals. He is not so fine an artist as Tourgenieff, for he deals more with the facts than with the effects of life; nor has he Tolstoi’s largeness of vision and epic dignity; but he has qualities that are distinctively and absolutely his own, such as a fierce intensity of passion and concentration of impulse, a power of dealing with the deepest mysteries of psychology and the most hidden springs of life, and a realism that is pitiless in its fidelity, and terrible because it is true. Some time ago we had occasion to draw attention to his marvellous novel Crime and Punishment, where in the haunt of impurity and vice a harlot and an assassin meet together to read the story of Dives and Lazarus, and the outcast girl leads the sinner to make atonement for his sin; nor is the book entitled Injury and Insult at all inferior to that great masterpiece. Mean and ordinary though the surroundings of the story may seem, the heroine Natasha is like one of the noble victims of Greek tragedy; she is Antigone with the passion of Phædra, and it is impossible to approach her without a feeling of awe. Greek also is the gloom of Nemesis that hangs over each character, only it is a Nemesis that does not stand outside of life, but is part of our own nature and of the same material as life itself. Aleósha, the beautiful young lad whom Natasha follows to her doom, is a second Tito Melema, and has all Tito’s charm and grace and fascination. Yet he is different. He would never have denied Baldassare in the Square at Florence, nor lied to Romola about Tessa. He has a magnificent, momentary sincerity, a boyish unconsciousness of all that life signifies, an ardent enthusiasm for all that life cannot give. There is nothing calculating about him. He never thinks evil, he only does it. From a psychological point of view he is one of the most interesting characters of modern fiction, as from an artistic he is one of the most attractive. As we grow to know him he stirs strange questions for us, and makes us feel that it is not the wicked only who do wrong, nor the bad alone who work evil.
And by what a subtle objective method does Dostoieffski show us his characters! He never tickets them with a list nor labels them with a description. We grow to know them very gradually, as we know people whom we meet in society, at first by little tricks of manner, personal appearance, fancies in dress, and the like; and afterwards by their deeds and words; and even then they constantly elude us, for though Dostoieffski may lay bare for us the secrets of their nature, yet he never explains his personages away; they are always surprising us by something that they say or do, and keep to the end the eternal mystery of life.
Irrespective of its value as a work of art, this novel possesses a deep autobiographical interest also, as the character of Vania, the poor student who loves Natasha through all her sin and shame, is Dostoieffski’s study of himself. Goethe once had to delay the completion of one of his novels till experience had furnished him with new situations, but almost before he had arrived at manhood Dostoieffski knew life in its most real forms; poverty and suffering, pain and misery, prison, exile, and love, were soon familiar to him, and by the lips of Vania he has told his own story. This note of personal feeling, this harsh reality of actual experience, undoubtedly gives the book something of its strange fervour and terrible passion, yet it has not made it egotistic; we see things from every point of view, and we feel, not that fiction has been trammelled by fact, but that fact itself has become ideal and imaginative. Pitiless, too, though Dostoieffski is in his method as an artist, as a man he is full of human pity for all, for those who do evil as well as for those who suffer it, for the selfish no less than for those whose lives are wrecked for others and whose sacrifice is in vain. Since Adam Bede and Le Père Goriot no more powerful novel has been written than Insult and Injury.
Injury and Insult. By Fedor Dostoieffski. Translated from the Russian by Frederick Whishaw. (Vizetelly and Co.)