Генрик Сенкевич
Without Dogma
"A man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture of the times, but likewise human documents that can be relied upon."
PUBLISHER'S PREFACE
In "WITHOUT DOGMA" we have a remarkable work, by a writer known only in this country through his historical novels; and a few words concerning this novel and its author may not be without interest.
Readers of Henryk Sienkiewicz in America, who have known him only through Mr. Curtin's fine, strong translations, will be surprised to meet with a production so unlike "Fire and Sword," and "The Deluge," that on first reading one can scarcely believe it to be from the pen of the great novelist.
"Fire and Sword," "The Deluge," and "Pan Michael" (now in press) form, so to speak, a Polish trilogy. They are, first and last, Polish in sentiment, nationality, and patriotism. What Wagner did for Germany in music, what Dumas did for France, and Scott for all English-speaking people, the great Pole has achieved for his own country in literature. Even to those most unfamiliar with her history, it grows life-like and real as it speaks to us from the pages of these historical romances. Only a very great genius can unearth the dusty chronicles of past centuries, and make its men and women live and breathe, and speak to us. These historical characters are not mere shadows, puppets, or nullities, but very real men and women, our own flesh and blood.
His warriors fight, love, hate; they embrace each other; they laugh; they weep in each other's arms; give each other sage counsels, with a truly Homeric simplicity. They are deep-versed in stratagems of love and war, these Poles of the seventeenth century! They have their Nestor, their Agamemnon, their great Achilles sulking in his tent. Oddly enough, at times they grow very familiar to us, and in spite of their Polish titles and faces, and a certain tenderness of nature that is almost feminine, they seem to have good, stout, Saxon stuff in them. Especially where the illustrious knights recount their heroic deeds there is a Falstaffian strut in their performance, and there runs riot a Falstaffian imagination truly sublime.
Yet, be it observed, however much in all this is suggestive of the literature of other races and ages, these characters never cease for a moment to be Poles. Here is a vast, moving panorama spread before us; across it pass mighty armies; hetman and banneret go by; the scene is full of stir, life, action. It is constantly changing, so that at times we are almost bewildered, attempting to follow the quick succession of events. We are transported in a moment from the din and uproar of a beleaguered town to the awful solitude of the vast steppes, – yet it is always the Polish Commonwealth that the novelist paints for us, and beneath every other music rises the wild Slavic music, rude, rhythmical, and sad.
There is, too, a background against which these pictures paint themselves, and it reminds us not a little of Verestchagin, – the same deep feeling for nature, and a certain sadness that seems inseparable from the Russian and Lithuanian temperaments, tears following closely upon mirth. At times, after incident upon incident of war, the reader is tempted to exclaim, "Something too much of this!" Yet nowhere, perhaps, except from the great canvases of Verestchagin, has there ever come a more awful, powerful plea for peace than from the pages of "Fire and Sword."
In "Without Dogma" is presented quite another theme, treated in a fashion strikingly different. In the historical novels the stage is crowded with personages. In "Without Dogma," the chief interest centres in a single character. This is not a battle between contending armies, but the greater conflict that goes on in silence, – the battle of a man for his own soul.
He can scarcely be considered an heroic character; he is to some extent the creature of circumstances, the fine product of a highly complex culture and civilization. He regards himself as a nineteenth-century Hamlet, and for him not merely the times, but his race and all mankind, are out of joint. He is not especially Polish save by birth; he is as little at home in Paris or at Rome as in Warsaw. Set him down in any quarter of the globe and he would be equally out of place. He folds the mantle of his pessimism about him. Life has interested him purely as a spectacle, in which he plays no part save a purely passive one. His relation to life is that of the Greek chorus, passing across the stage, crying "Woe, woe!"
Life has interested, entertained, and sometimes wearied him. He muses, philosophizes, utters the most profound observations upon life, art, and the mystery of things. He puts mankind and himself upon the dissecting-table.
Here is a nature so sensitive that it photographs every impression, an artistic temperament, a highly endowed organism; yet it produces nothing. The secret of this unproductiveness lies perhaps in a certain tendency to analyze and philosophize away every strong emotion that should lead to action. Here is a man in possession of two distinct selves, – the one emotional, active; the other eternally occupied in self-contemplation, judgment, and criticism. The one paralyzes the other. He defines himself as "a genius without a portfolio," just as there are certain ministers-of-state without portfolios.
In such a character many of us will find just enough of ourselves to make its weaknesses distasteful to us. We resent, just because we recognize the truth of the picture. Leon Ploszowski belongs unmistakably to our own times. His doubts and his dilettanteism are our own. His fine aesthetic sense, his pessimism, his self-probings, his weariness, his overstrung nerves, his whole philosophy of negation, – these are qualities belonging to this century, the outcome of our own age and culture.
If this were all the book offers us one might well wonder why it was written. But its real interest centres in the moment when the cultivated pessimist "without dogma" discovers that the strongest and most genuine emotion of his life is its love for another man's wife. It is an old theme; certainly two thirds of our modern French novels deal with it; we know exactly how the conventional, respectable British novel would handle it. But here is a treatment, bold, original, and unconventional. The character of the woman stands out in splendid contrast to the man's. Its simplicity, strength, truth, and faith are the antidote for his doubt and weakness. Her very weakness becomes her strength. Her dogmatism saves him.
The background of the book, its lesser incidents, are thoroughly artistic, its ending masterly in its brevity and pathos; here again is the distinguishing mark of genius, the power of condensation. The man who has philosophized and speculated now writes the tragedy of his life in four words: "Aniela died this morning." This is the culmination towards which his whole life has been moving; the rest is foregone conclusion, and matters but little.
One sees throughout the book the strong influence that other minds, Shakespeare notably, have produced upon this mind; here its attitude is never merely pessimistic. It does not criticise them, it has absorbed them.
One last word concerning this novel. It does not seek to formulate, or to preach directly. Its chief value and the keynote to its motive lie in the words that Sienkiewicz at the beginning puts into the mouth of his hero: —
"A man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture, but likewise human documents that may be relied upon."
A human document– the modern novel is this, when it is anything at all. If Mr. Crawford's canons of literary art are true, and we believe they are, they give us a standard by which to judge; he tells us that the heart in each man and woman means the whole body of innate and inherited instincts, impulses, and beliefs, which, when quiescent, we call Self, when roused to emotional activity, we call Heart. It is to this self, or heart, he observes, that whatever is permanent in the novel must appeal; and whatever does so must live and find a hearing with humanity "so long as humanity is human." If this be a test, we cannot doubt as to what will be the reception of "Without Dogma."
A few words concerning the novelist himself. The facts obtainable are of the most meagre kind. He was born in 1845, in Lithuania. The country itself, its natural and strongly religious and political influences, its melancholy, seem to have left their strong, lasting impression upon him. He has a passionate fondness for the Lithuanian, and paints him and his surroundings most lovingly.
His student days were spent at Warsaw. He devoted himself afterward to literature, writing at first under a pseudonym. He does not seem to have won immediate recognition. He spent some years in California; a series of articles published in this connection in a Polish paper brought him into notice.
In 1880, various novelettes and sketches of his production were published in three volumes.
In 1884 were given to the Polish public the three historical novels which immediately gave their author the foremost place in Polish literature. It is a matter of pride that the first translation of these great works into English is the work of an American, and offered to the American public.
He is a prolific writer, and it would be impossible to attempt to give even the names of all his minor sketches and romances. Some of them have been translated into German, but much has been lost in the translation.
Sienkiewicz is still a contributor to journalistic literature. He has travelled much, and is a citizen of the world. He is equally at home in the Orient or the West, by the banks of the Dnieper, or beside the Nile. Probably there is scarcely a corner of Poland that he has not explored. He depicts no type of life that has not actually come under his own observation. The various social strata of his own country, the condition of its peasantry, the marked contrast between the simplicity of that life and the culture of the ecclesiastic and aristocratic bodies, the religious, poetic, artistic temperament of the people, – all these he paints in a life-like fashion, but always as an artist.
So much of the writer. Of the man Sienkiewicz there is little to be obtained. Like all great creative geniuses, he is so completely identified with his work that even while his personality lives in his creations it eludes them. He offers us no confidences concerning himself, no opinions or prejudices. He does not divert the reader with personalities. He sets before us certain groups of men and women, whom certainly he knows and loves, and has lived among. He sets them in motion; they become living, breathing creations; they assume relations in time and space; they speak and act for themselves. If there be a prompter he remains always behind the scenes. Admire or criticise or love the actors as you will, you cannot for a moment doubt that they are alive.
This is the supreme miracle of genius, – the fine union of dramatic instinct, the aesthetic sense, and an intense, vital realism; not the realism of the cesspool or the morgue, but the realism of the earth and sky, and of healthy human nature. We are inclined to believe that Henryk Sienkiewicz has answered an often discussed question that has much exercised the keenly critical intellect of this age. One school of thought cries out, "Let us have life as it is. Paint anything, but draw it as it is. Let the final test of all literary works be, 'Is it real and true?'"
To the romantic school quite another class of ideas appeals; to it much of the so-called realistic literature seems very bad, or merely "weary, stale, flat, and unprofitable." The profoundest utterances of realism do not impress it much in themselves. It insists that art has something to say to literature, that in this field as elsewhere holds good the law of natural selection of types and survival of the fittest.
While each school has its down-sittings and up-risings, its supporters and its critics, neither school has yet exhausted the possibilities of literature. The novel's aim is to depict Life, and life is neither all romance nor all realism, but a curious mixture of both. Man is neither a beast nor a celestial being, but a compound. Though he can crawl, and may have clinging to him certain brute instincts that may be the relics of his anthropoidal days, he has also, thank God, divine desires and discontents, and certain rudimentary wings. And neither school alone is competent to paint him as he is. The author of "La Bête Humaine" fails as completely as the visionary À Kempis. Neither realism nor romance alone will ever with its small plummet sound to its depths the human heart or its mystery; yet from the union of the two much perhaps might come.
We believe that just here lies the value of the novels of Henryk Sienkiewicz. He has worked out the problem of the modern novel so as to satisfy the most ardent realist, but he has worked it out upon great and broadly human lines. For him facts are facts indeed; but facts have souls as well as bodies. His genius is analytic, but also imaginative and constructive; it is not forever going upon botanizing excursions. He paints things and thoughts human.
The greatest genius assimilates unconsciously the best with which it comes in contact, and by a subtle chemistry of its own makes new combinations. Shakespeare, Dante, Goethe, and the realists, as well as all the forces of nature, have helped to make Henryk Sienkiewicz; yet he is not any one of them. He is never merely imitative. Originality and imaginative fire, a style vivid and strong, large humor, a profound pathos, a strong feeling for nature, and a deep reverence for the forms and the spirit of religion, the breath of the true cosmopolitan united with the intense patriotism of the Pole, a great creative genius, – these are the most striking qualities of the work of this modern novelist, who has married Romance to Realism.
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WITHOUT DOGMA
ROME, 9 January.
Some months ago I met my old friend and school-fellow, Jozef Sniatynski, who for the last few years has occupied a prominent place among our literary men. In a discussion about literature Sniatynski spoke about diaries. He said that a man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture of the times, but likewise human documents that can be relied upon. He seemed to think that most likely the novel of the future would take the form of diary; finally he asserted that anybody who keeps a diary works for the common good, and does a meritorious thing.
I am thirty-five, and do not remember ever having done anything for my country, for the reason, maybe, that after leaving the University, my life, with slight intervals, was spent abroad. This fact, so lightly touched upon, has given me, in spite of all my scepticism, many a bitter pang; therefore I resolved to follow my friend's advice. If this indeed means work, with some kind of merit in it, I will try to be of some use in this way.
I intend to be perfectly sincere. I enter upon the task, not only because of the above-mentioned reasons, but also because the idea pleases me. Sniatynski says that if a man gets accustomed to put down his thoughts and impressions it becomes gradually one of the most delightful occupations of his life. If it should prove the contrary, then the Lord have mercy on my diary; it would snap asunder like a string too tightly drawn. I am ready to do much for my community; but to bore myself for its sake, oh, no! I could not do it.
Nevertheless, I am resolved not to be discouraged by first difficulties, and shall give it a fair trial. "Do not adopt any style; do not write from a literary point of view," says Sniatynski. Easier said than done. I fully understand that the greater the writer, the less he writes in a purely literary style; but I am a dilettante, and have no command over any style. I know from experience that to one who thinks much and feels deeply, it often seems that he has only to put down his thoughts and feelings in order to produce something altogether out of the common; yet as soon as he sets to work he falls into a certain mannerism of style and common phraseology; his thoughts do not come spontaneously, and one might almost say that it is not the mind that directs the pen, but the pen leads the mind into common, empty artificiality. I am afraid of this for myself, for if I am wanting in eloquence, literary simplicity, or picturesqueness, I am not wanting in good taste, and my own style might become distasteful to myself, and thereby render my task impossible. But this I shall see later on. I begin my diary with a short introductory autobiography.
My name is Leon Ploszowski, and I am, as I said before, thirty-five years of age. I come from a wealthy family which has been able to preserve its fortune. As to myself I shall not increase it, and at the same time I am not likely to squander it. My position is such that there is no necessity for me to enter into competition with struggling humanity. As to expensive and ruinous pleasures, I am a sceptic who knows how much they are worth, or rather, knows that they are not worth anything.
My mother died a week after I was born. My father, who loved her more than his life, became affected with melancholia. Even after he recovered from this, at Vienna, he did not wish to return to his estates, as the memories associated with them rent his very soul; he left Ploszow under the care of his sister, my aunt, and betook himself in the year 1848 to Rome, which, during thirty-odd years, he never left once, so as to be near my mother's tomb. I forgot to mention that he brought her remains to Rome, and buried her on the Campo Santo.
We have our own house on the Babuino, called Casa Osoria, from our coat of arms. It looks more like a museum than anything else, as my father possesses no mean collections, especially from the early Christian times. In these collections his whole life is now absorbed. As a young man, he was very brilliant in appearance as well as in mind; his wealth and name added to this, all roads were open to him, and consequently great things were expected from him. I know this from his fellow-students at Berlin. He was deeply absorbed in the study of philosophy, and it was generally believed his name would rank with such as Cieszkowski, Libelt, and others. Society, and his being a favorite in female circles, diverted him somewhat from scientific studies. In society he was known by the nickname of "Leon l'Invincible." In spite of his social success he did not neglect his philosophical researches, and everybody expected that some day he would electrify the world with a great work, and make his name illustrious. They were disappointed in their expectations.
Of the once so beautiful appearance there still remains up to this day one of the finest and noblest heads. Artists are of the same opinion, and not long ago one of them remarked that it would be difficult to find a more perfect type of a patrician head. As to his scientific career, my father is and remains a cultured and gifted nobleman-dilettante. I almost believe dilettantism to be the fate of all Ploszowskis, to which I will refer later on, when I come to write about myself. As to my father, there is in his desk a yellow manuscript about Triplicity in Nature. I perused it, and it did not interest me. I only remember a comparison between the transcendental belief of Christianity in the Father, the Son, and the Holy Ghost, and the natural triplicity of oxygen, hydrogen, and ozone, with many other analogous triplicities from absolute truth, goodness, and beauty, to the syllogism of the minor premise, the major premise, and the conclusion, – a quaint mixture of Hegel and Hoene-Wronski, and utterly useless. I am quite convinced that my father did not intend to have it published, if only for the reason that speculative philosophy had failed in him even before it was set aside by the world. The reason for this failure was the death of my mother. My father, who in spite of his nickname, "Leon l'Invincible," and reputation of conqueror of hearts, was a man of deep feelings and simply worshipped my mother, put many terrible questions to his philosophy, and not obtaining either answer or comfort, recognized its utter emptiness in the presence of a great sorrow. This must have been an awful tragedy of his life, since it almost shattered its foundations, – the brain and heart. His mind became affected, as I said before, and when he recovered he went back to his religious convictions. I was told that at one time he prayed night and day, knelt down in the street when he passed a church, and was carried away by his religious fervor to such an extent that he was looked upon by some as a madman, by others as a saint. It was evident he found more consolation in this than in his philosophical triplicities, for he gradually calmed down and began to lead a more rational life. His heart, with all his power for affection, turned towards me, and his aesthetic bent found employment in the study of early Christianity. The lofty, restless mind wanted nourishment. After his first year in Rome he took up archaeology, and by dint of hard study acquired a thorough knowledge of the antique.
Father Calvi, my first tutor and at the same time a great judge of Roman antiquities, gave him the final impulse towards investigation of the Eternal City. Some fifteen years ago my father became acquainted and subsequently on terms of friendship with the great Rossi, in whose company he spent whole days in the catacombs. Thanks to his extraordinary gifts he soon acquired such consummate knowledge of Rome as to astonish Rossi himself. Several times he began writing treatises on the subject, but never finished what he had begun. Maybe the completion of his collections took up too much of his time, but most likely the reason he will not leave anything behind him except his collections is that he did not confine himself to one epoch or any specialty in his researches. Gradually mediaeval Rome began to fascinate him as much as the first era of Christianity. There was a time when his mind was full of Orsinis and Colonnas; after that he approached the Renaissance, and was fairly captivated by it. From inscriptions, tombs, and the first traces of Christian architecture he passed to nearer times; from the Byzantine paintings to Fiesole and Giotto, from these to artists of the fourteenth and fifteenth centuries, and so on; he fell in love with statues and pictures; his collections certainly increased, but the great work in Polish about the three Romes remained forever in the land of unfulfilled intentions.
As to these collections my father has a singular idea. He wants to bequeath them to Rome under the condition they should be placed in a separate gallery named after him, "Museum Osoria Ploszowski." Of course his wishes will be respected. I only wonder why my father believes that in doing this he will be more useful to his community than by sending them to his own country.
Not long ago he said to me: "You perceive that scarcely anybody there would see them, and very few derive any benefit, whereas here the whole world can study them, and every individual that benefits thereby carries the benefit to other communities." It does not befit me to analyze how much family pride and the thought of having his name engraved in marble in the Eternal City has to do with the whole scheme. I almost think that such must be the case. As to myself, I am perfectly indifferent where the collections are to remain. But my aunt, to whom by the bye I am shortly going to pay a visit at Warsaw, is very indignant at the idea of leaving the collections out of the country, and as, with her, thought and speech go always together, she expresses her indignation in every letter. Some years ago she was at Rome, and they wrangled every day over the matter, and would have quarrelled outright had not the affection she has towards me subdued her temper.
My aunt is older than my father by several years. When my father, after his great sorrow, left the country, he gave up the Ploszow estate to her, and took instead the ready capital. My aunt has managed the property for thirty years, and manages it perfectly. She is of a rather uncommon character, therefore I will devote to her a few lines. At the age of twenty she was betrothed to a young man who died in exile just when my aunt was about to follow him abroad. From that time forth she refused all offers of marriage and remained an old maid. After my mother's death she went with my father to Vienna and Rome, where she lived with him, surrounding him with the tenderest affections, which she subsequently transferred to me. She is, in the full meaning of the word, une grande dame, somewhat of an autocrat, haughty and outspoken, with that self-possession wealth and a high position give, but withal the very essence of goodness and kindliness. Under the cover of abrupt manners she has an excellent and lenient disposition, loving not only her own family, as for instance my father and myself and her own household, but mankind in general. She is so virtuous that really I do not know whether there be any merit in it, as she could not be otherwise if she tried. Her charities are proverbial. She orders poor people about like a constable, and tends them like a Saint Vincent de Paul. She is very religious. No doubts whatever assail her mind. What she does, she does from unshaken principles, and therefore never hesitates in the choice of ways and means. Therefore she is always at peace with herself and very happy. At Warsaw they call my aunt, on account of her abrupt manners, le bourreau bienfaisant. Some people, especially among women, dislike her, but generally speaking she lives in peace with all classes.
Ploszow is not far from Warsaw, where my aunt owns a house in which she spends the winter. Every winter she tries to inveigle me there in the hope to see me married. Even now I received a mysteriously worded missive adjuring me to come at once. I shall have to go, as I have not seen her for some time. She writes that she is getting old and wishes to see me before she dies. I confess I do not always feel inclined to go. I know that my aunt's dearest wish is to see me married, therefore every visit brings her a cruel disappointment. The very idea of such a decisive step frightens me. To begin a new life when I am so tired of the old one! Finally, there is another vexatious element in my relations with my aunt. As formerly my father's friends looked upon him as a genius, so she persists in regarding me as one exceptionally gifted, from whom great things are to be expected. To allow her to remain of this opinion seems an abuse of her good faith; to tell her that nothing is to be expected from me would be a more likely conclusion, but at the same time inflict upon the dear old lady a cruel blow.
To my misfortune many of those near me share my aunt's opinion, and this brings me to the point of drawing a sketch of my own character, which is by no means an easy task, as my nature is rather a complicated one.
I brought with me into the world very sensitive nerves, nerves perfected by the culture of generations. During the first years of my childhood I remained under the care of my aunt; after her departure, according to the custom of our country, a nursery governess was engaged for me. As we lived in Rome, among foreign surroundings, and my father wished me to be well grounded in my own language, he engaged a Polish governess. She is still with us as housekeeper at Babuino. My father also bestowed some pains upon me, especially after my fifth year. I used to go to his room to talk with him, and this developed my mind prodigiously, too much so perhaps for my age. Later on, when his studies and archaeologic researches took up his whole time, he engaged a tutor, Father Calvi. This was an old man, with a mind and faith exceedingly serene. He loved art beyond everything. I believe religion even reacted upon him through its beauty. In the galleries before the old masters, or listening to the music in the Sistine Chapel, he lost himself altogether. There was nothing pagan in these feelings, as they were not based upon sybaritism or sensual enjoyment. Father Calvi loved art with the pure, serene feeling as maybe a Da Fiesole, a Cimabue, or Giotto loved it. And he loved in all humility, as he himself had no gifts that way. I could not say which of the fine arts he loved best, but I believe he leaned mostly towards harmony, which responded to the harmony of his own mind.
Whenever I think of Father Calvi, I am reminded at the same time of the old man that stands beside Raphael's Saint Cecilia listening intently to the music of the spheres.
Between my father and the priest sprang up a friendship which lasted unto the latter's death. It was he who confirmed my father in his archaeologic researches, especially about Rome. There was another bond between these two, – their love for me. Both considered me as an exceptionally gifted child, and of a God knows what promising future. It strikes me at times that I formed for them a kind of harmony, – a rounding of and completion to the world in which they lived; and they loved me with the same absorbing passion with which they loved Rome and its antiquities. Such an atmosphere, such surroundings, could not fail to impress my mind. I was brought up in an original way. With my tutor, – sometimes with my father, – I visited galleries, museums, villas, ruins, catacombs, and the environs of Rome. Father Calvi was equally sensitive to the beauties of nature and to those of art, and taught me at an early age to understand poetic melancholy. The Roman Campagna, the harmony of the arch-line on the sky of the arches in the ruined aqueducts, the fine tracery of the pines, – I understood all this before I could read or had mastered the first rudiments of arithmetic. I was able to set English tourists right to whom the names of Carracci and Caravaggio caused confusion. I learned Latin early and without effort, from being familiar with the Italian language. I gave my opinion about Italian and foreign masters, – which, however unsophisticated, made both my father and my tutor look at each other in astonishment. I did not like Ribera, – there was too great a contrast of color in his pictures, and he frightened me a little; but I liked Carlo Dolce. In short, my tutor, my father, and his friends considered me a very prodigy; I heard myself praised, and it flattered my vanity. But, all the same, it was not the healthiest of educations; and my nervous system, developed too early, always remained very sensitive. It seems strange that these influences were neither so deep nor so lasting as might have been expected. That I did not become an artist is owing, may be, to a lack of gifts that way, – although my drawing and music masters opined differently; but how was it that neither my father nor the priest was able to imbue me with that love of art for art's sake? Have I a feeling for art? Yes. Is art a necessity of my life? Yes, again. But they loved it; I only feel it as a dilettante; it is a necessity in so far as it complements every kind of pleasant and delightful sensation. It is one of my delights, but not an all-absorbing passion; I should not like to live without it, but could not devote my whole life to it.
