Essay “Love and immortality in the works of Dostoevsky. Fyodor Dostoevsky's first marriage: a painful love story

There are two commandments. They contain the meaning of Christianity: “love the Lord God” and “love your neighbor as yourself” (Mark 12:30 - 31). Fulfilling these commandments is called effective faith. To believe in God, to believe in the feasibility of absolute goodness means to love Him. Love for one's neighbor is impossible without faith in God. The neighbor is the personality of each individual person, and not all of humanity. Salvation is given from above by faith, “by faith you will be saved,” but faith implies love - agaph - for God and neighbor. The teachings of the Apostle Paul on justification by faith, and also James on justification by works do not contradict one another. “Faith without works is dead,” that is, faith without love is dead, and the basis of any good deed should be precisely love for God. Such faith brings love to one’s neighbor, because the face of Christ, the face of God, is in the neighbor; faith encourages goodness and is thus a creative force.

The only one who fulfilled all the commandments is the God-man, the one who “being in the image of God, did not consider it robbery equal to God; But he made himself of no reputation, taking on the form of a servant, being made in the likeness of men, and becoming in appearance like a man” (Philippians). Apart from that One, there are no perfect believers. Having come down to people, He himself was the personification of Good, in him faith and love are one and the same, interchangeable concepts. Therefore Christ is the ideal. “He is visual, immediately understandable to the heart and at the same time inexpressible and full of mystery,” writes B. Vysheslavtsev, discussing an entry in Dostoevsky’s diary dated April 16, 1864, “He is the fullness of life, beauty and completeness (“the synthetic nature of Christ is amazing” , - in the words of Dostoevsky).” “If you believe in Christ, then you will live forever,” writes Dostoevsky, realizing that in Christianity immortality is possible through Christ.

According to N.O. Lossky, “the teaching of Christ is the “good news” (Gospel) about the Kingdom of God.” At the heart of the Kingdom of God is “love for God and for all creatures” (“creation” is a creation created by God). It is intended for all who are worthy of salvation, and everyone is worthy, even those who subjectively consider themselves unworthy. “The structure of this Kingdom, the spiritual properties and bodies of the persons located in it, are deeply different from the properties of our kingdom of existence.” The Kingdom of God is theocratic, that is, its head is God, Jesus Christ, the ideal and the beginning of everything. The incarnation of the Kingdom of God as a form of theocracy, “the tabernacle of God with men,” “the Kingdom of glory, which is to be on the last day” (14, p. 777) will be realized when “the first heaven and the first earth have passed away” (Rev. John, 21 :1) - at the end of centuries.

The axiological character of the Kingdom of God is obvious: in it, as in the embodiment of Christ’s teaching of love for God and neighbor, lies the Christian ideal of absolute good. “Seek first the Kingdom of God and its righteousness,” since it is an absolute value and “on its basis, a person is steadily raised in respect and love for every person.” In “A Writer’s Diary for 1876,” Dostoevsky writes, among other things: “...I just wish we could all become a little better. The desire is the most modest, but, alas, also the most ideal. I am an incorrigible idealist: I look for shrines, I love them, my heart yearns for them, because I was so created that I cannot live without shrines, but still I would like shrines to be at least a little more sacred; Shouldn’t they be worshiped?” Dostoevsky calls himself an “idealist” not in philosophical sense, but for the desire for the “ideal”, for the embodiment of the ideal. “The shrines for him are the “ideal” - the embodied ideal,” that is, “what European philosophy of that time called values.” For Dostoevsky, values ​​are “an object of faith and love.” As a value, the Kingdom of God is inherent in all who have accepted Christ, the head of the Kingdom.

Jesus Christ said: “The kingdom of God is within you.” But “everything internal is always embodied, that is, expressed externally.” Thus, the Kingdom of God is a unique realm of existence, “another world”, “existing both inside the spiritual life of its members and outside it.” According to Lossky, Dostoevsky understood that the Christian worldview requires the teaching of the Kingdom of God as a special type of absolutely perfect being. Contact with “other worlds” is especially important for Dostoevsky, as the writer speaks about in the novel “The Brothers Karamazov” through the mouth of Elder Zosima: “On earth, truly, we seem to be wandering, and if there were not the precious image of Christ before us, we would perish and became completely lost, like the human race before the flood. Much on earth is hidden from us, but in return we have been given a secret, intimate feeling of our living connection with another world, with the heavenly and higher world, and the roots of our thoughts and feelings are not here, but in other worlds. That is why philosophers say that the essence of things cannot be comprehended on earth. God took seeds from other worlds and sowed them on this earth and raised his garden and everything that could sprout came up, but what was grown lives and is alive only by the feeling of its contact with the mysterious other worlds; if this feeling weakens or is destroyed in you, then the one nurtured in you also dies. Then you will become indifferent to life and even hate it.”

It is no coincidence that some researchers believe that in the image of Zosima, Dostoevsky embodied his ecstatic worldview. It is important that achieving the Kingdom of God is impossible without transformation, the rebirth of man. To a certain extent, “contact with other worlds” is transformative. Resurrection, according to Lossky’s ideas, is a transition from earthly life to the Kingdom of God. Dostoevsky's entry dated April 16, 1864, found by Vysheslavtsev, has great value in understanding the writer's worldview. Fyodor Mikhailovich writes: “Antichrists are mistaken when they refute Christianity with the following main point of refutation: “Why doesn’t Christianity reign on earth, if it is true; Why does man still suffer, and not become one another’s brother?” Yes, it’s very clear why: because this is the ideal of man’s future final life, and on earth man is in a transitional state. This will happen, but it will happen after achieving the goal, when a person is completely reborn according to the laws of nature into a different nature... Christ himself preached his teaching as an ideal, he himself predicted that until the end of the world there would be struggle and development (teaching)... because on earth life develops, and there is being, complete synthetically, enjoying and fulfilling...” Consequently, the last stage of personality development is its complete transformation into the ideal of Christ (that is, resurrection followed by deification) and stay in the Kingdom of God (“future final life”).

One can understand that according to Dostoevsky, the Kingdom of God has many faces - it is a spiritually existing perfect being (“other worlds”), a future theocratic perfect society of super-biological (in Lossky’s words) beings, as well as an absolute value that lies in the ideal of love and goodness. Development leading to the Kingdom of God and eternal life it gives meaning to the suffering that a person experiences in earthly life until he has fulfilled the “striving for the ideal.” But one should not assert that the Kingdom of Heaven is just a reward for some actions committed in earthly life - this is a distortion of the idea.

In his book “The World Outlook of Dostoevsky,” N. A. Berdyaev writes: “Dostoevsky is tormented not so much by the theme of God as by the theme of man and his fate.” Question about human destiny- the question of achieving the Kingdom of God or, in other words, about the “location” of a person on his path to God, His Kingdom (that is, the end of this life indicates where a person is: whether in the Kingdom, or far from it).

I wanted to protect her

After hard labor, where Dostoevsky ended up for participating in a revolutionary circle, he was recruited as a soldier and exiled to Semipalatinsk. Not a single novel has yet been written - only the story "Poor People" - however, the whole of St. Petersburg cried over it. In Semipalatinsk, the soldier met the official Alexander Isaev and his wife Maria Dimitrievna. The fragile, sickly blonde awakened such tenderness in a tormented heart that it was enough for many years to come. He felt unhappy women's destiny: struggle with a drunken husband, raising a disobedient son Pasha, vegetating in a dull city lost in the steppes. And most importantly, for the first time, an educated woman from society gave Dostoevsky her favor. It seemed to him that only she, with her sensitive soul, saw that behind the awkward figure, behind the soldier’s rough overcoat, a vulnerable and poetic nature was hidden. He idolized Maria Dimitrievna, he literally prayed for her. Unpredictable And she turned out to be a capricious, touchy woman. She got tired quickly, suffered from migraines, and often cried uncontrollably. She spent hours pouring out her grievances and complaints to him. Dostoevsky was, in his words, “pierced” - and did not hide his adoration. Maria Dimitrievna bathed with pleasure in the warmth of her lover. She herself very soon became attached to him, but there was no need to talk about love. Only a year later, as Dostoevsky wrote to a friend, he received “true evidence” - intimacy finally happened between them. The lover was in seventh heaven. But - the irony of fate! - a week later, the beloved’s husband was transferred to serve six hundred miles from Semipalatinsk.

Faded feelings

Dostoevsky survived three terrible years until he reunited with the woman he loved. Maria Dimitrievna's husband became an alcoholic and died, leaving her in poverty. Dostoevsky (his period of military service had just ended) begged her to agree to the marriage. This union did not bring any joy. Maria Dimitrievna became more and more nervous, some kind of hysterical sensitivity boiled up in her. Both irritated and exhausted each other with constant struggle, attacks, reproaches, assurances of eternal love simultaneously. He began to have epileptic seizures. She turned into a complete hysterical woman, who was also being burned by deadly tuberculosis... Both found themselves at the grave of their marriage. Moreover, Fyodor Mikhailovich - by that time a famous writer - once received a letter from a 22-year-old girl, Apollinaria Suslova. The girl declared her love, and he had already forgotten what it was...

Call of the Flesh

No, I didn’t forget: every cell thirsted for love, and sensual love! For Apollinaria, the forty-three-year-old writer was the first man: she basically remained a girl for a long time. ABOUT, new lover was no match for the sickly Maria Dimitrievna, and most importantly, she possessed a quality that we now define as sex appeal, and in those days was called in French “the promise of happiness.” Apollinaria was curious before physical love and at the same time fastidious, she could give herself with passion and at the same time analyze everything. It offended her hot nature to the core that the winner in their nights was always a man. Dostoevsky awakened her flesh, but did not satisfy her in the sense that “in this union there was also no spiritual fusion, only in which the true triumph of love is possible,” as Fyodor Mikhailovich himself wrote many years later.

Women's revenge

The connection with Apollinaria brought Dostoevsky a lot of grief and took away the abyss mental strength. Crazy love orgies alternated real war when she did not allow him near her. Apollinaria explained her anger as jealousy - to writing work, to the unfortunate, barely alive Maria Dimitrievna. After another scandal, the reconciled lovers decided to go abroad. Apollinaria was the first to leave, and when Dostoevsky caught up with her in Paris, it turned out that now his beloved must be consoled in her unrequited passion for some rogue Spaniard... Dostoevsky’s experiences were terrible. If in St. Petersburg he ruled over her, now the roles have fatally changed. She began to insist on a platonic relationship, and he was forced to agree. Seeing a young beautiful lover nearby and not daring to touch her is devilish revenge on her part. But feminine Apollinaria triumphed: a man would never defeat her, never! She rejected all his pleas for marriage and announced: it was time for them to leave!

The Quiet Stenographer

Only St. Petersburg could heal the emotional wounds... Maria Dimitrievna was no longer in the world. Despite the grief caused by his young mistress, Dostoevsky conceived new novel"Player". An excellent stenographer was needed, and friends recommended twenty-year-old Anya Snitkina. She did not immediately realize that she had fallen in love with famous writer. She was horrified by his life - he eats with a wooden spoon, does not know how to save money, there is no one to clean his coat... And Dostoevsky got used to peace of mind Anechka, her prudence. For the first time in my life, there was not a predator, not a tormentor, but loving soul, assistant. He decided... When asked to become his wife, Anya Snitkina replied: “I will love you all my life,” and kept her word. Anna was so pure and naive that she took all her husband’s crazy sexual experiences for granted, without being surprised or frightened. And he, remembering Apollinaria, cautiously introduced her into the world of voluptuousness. Well, one can imagine the heights at which a man in his sixth decade soared with his young beloved for another fourteen years that he was destined to live... Everything in his life was - a romantic sea of ​​love, a roaring ocean of passion and, as a reward - quiet marina. Beloved women are easily recognizable in the characters of the heroines of his sobbing prose.

Dostoevsky's first wife is Maria Dimitrievna.

Her husband endowed her explosive, unpredictable and hysterical character traits with Katerina Ivanovna (Crime and Punishment), Natasha (The Humiliated and Insulted), Nastasya Filippovna (The Idiot), Grushenka (The Brothers Karamazov). Maria Dimitrievna died of tuberculosis - broken, tormented, exhausted, at the height of her husband's passion for Apollinaria. Two years later, Dostoevsky's mistress will leave him, and a year later he will marry again - this time happily.

Apollinaria Suslova.

He wrote Polina from her in the novel “Igro”, leaving this cruel heroine even with her real name. After the breakup, Apollinaria Suslova had several lovers and was known as a tough and unkind woman. When she turned forty, an eighteen-year-old boy, the future philosopher V. Rozanov, fell in love with her. This marriage lasted for several years, until “Suslikha” - now she was called that in secular circles - left young husband, mocking his love. She died a very old woman, retaining the remnants of her beauty and reinforced concrete character until the end of her life.

Second wife Anna Grigorievna Snitkina

Some of her features are recognizable in Dunechka Raskolnikova (“Crime and Punishment”). Anna Grigorievna Snitkina gave birth to children for the great writer and outlived Dostoevsky for many years - when he died, she was only 35. From her personal correspondence, she carefully erased all the passionate erotic confessions of Fyodor Mikhailovich. So we will never know what sexual fantasies worried her brilliant husband.

References

Militskaya Lily. Love of Dostoevsky.

Composition

Many Russians writers XIX centuries they have tried to reveal the human personality, with all its aspirations and tossing. Probably, Fyodor Mikhailovich Dostoevsky managed this best. He was able to accurately notice the smallest movements and impulses human soul. It seems that it is not the author who writes the book, but the characters themselves, based on their noble or evil inclinations, who create the plot of the work. Impressive with passion and vitality characters. Dostoevsky, like a clearly drawn picture, reveals to the reader inner world a person with his own islands of light and hidden darkened corners. The writer not only analyzes the actions of his heroes, but also tries to figure out what prompted the person to act in one way or another, what forces moved him at that moment. Of course, Dostoevsky did not go unnoticed by such a great feeling, which was fully known by people, as love. It is this that underlies many of the actions of the main characters in the writer’s works.

Love for Dostoevsky is not a quiet haven in a corner of paradise. First of all, this is serious work on yourself, on your spiritual growth, on overcoming your weaknesses, and self-sacrifice. Love is inextricably linked with pity, with sympathy, with the desire to help your loved one at any cost, even at the cost of your personal happiness or life. Love through and beyond suffering. Often the writer’s main characters, being people of faith and conscientiousness, are even ready to replace true love To to an ordinary person, for love-pity, love-salvation for the offended and suffering. It is this quality that is so highly developed in Prince Myshkin. Even the portrait of Nastasya Filippovna immediately drew his attention to the fact that this woman suffered a lot. And this already tied the prince to this woman forever. He could no longer leave her to the mercy of fate. This pure, bright nature perceives the suffering of others as her own, and therefore cannot simply pass by without extending a helping hand to the sufferer. Prince Myshkin loves Nastasya Filippovna, but not with the love she would like. To reproach Porfiry Rogozhin main character tries to explain that he wants only one thing, for this woman to be happy, for her soul to calm down, since she has already suffered enough in her lifetime. On the other hand, the prince sincerely fell in love with Aglaya. He understands that he is causing her a lot of trouble with his relationship with Nastasya Filippovna, but he believes that who, if not him, will help the lost soul get back on its feet. Of course, not everyone can accept such love, especially such proud, proud and passionate natures as Nastasya Filippovna. She knows that Myshkin is ready to marry her for the sake of her salvation, but cannot accept such a sacrifice from a loved one. Love pushes her to do reckless things. It is this feeling, but in a completely different capacity, that drives another of Dostoevsky’s heroines, Sonya Marmeladova. For this girl, love is inextricably linked with compassion and self-sacrifice. “Physical dirt” does not bother this girl, although she is forced to sell her body. Seeing plight she forgets about her family. For the sake of other people, she sinks to the very bottom. It is here that the author proves to the reader that “physical dirt” cannot be compared with “moral dirt.” Earning a living for your family in a similar way Sonya nevertheless remains much purer and more chaste than many of those around her. After all, she is driven not by any personal motives, but by a strong sacrificial feeling of love. That strong feeling, which Sonya feels for Raskolnikov, also began with a certain amount of pity. “What have you done to yourself!” - the girl exclaims upon learning about the act young man. She feels his suffering and tries to help him. Rodion's misfortune becomes their common one. Sonya can no longer let go of this man. Love and compassion make her follow Raskolnikov even to hard labor. She understands that without her help Rodion will no longer be able to find himself again. It is philanthropy and goodwill that those around her feel most of all in Sonya. Therefore, even the convicts treat her with that thrifty caution and tenderness that was incomprehensible to Rodion himself for so long.

Love, according to Dostoevsky, can not only help, but also spiritually revive a person. It is this feeling that helps Raskolnikov regain peace of mind, find harmony, both internal and external. Sonya's love awakens his feelings, his passionate desire to live. Love helps Prince Myshkin forgive Nastasya Filippovna again and again, not take her sudden mood swings to heart and humbly endure all her antics. Unfortunately, here even such a strong feeling could not save the main characters from tragedy, but at least for a moment it allowed them to be a little kinder and better.

Other works on this work

The theme of love in the second novels half of the 19th century century is one of the leading ones: almost all authors touch on it in one way or another, but each has their own approach to this problem. The difference in ideas can be explained by the fact that each author, being primarily a human being, encountered different manifestations of this feeling throughout his life. Here we can assume that F. M. Dostoevsky (the first author whose work we will consider), being tragic personality, views love from the perspective of suffering: love for him is almost always associated with torment.
The second author whose ideas about love will interest us is I. S. Turgenev. His position is somewhat different from Dostoevsky's. What are the differences?
Fyodor Mikhailovich Dostoevsky, as a great master psychologist, wrote off people, their thoughts and experiences in a “vortex” flow; his characters are constantly in dynamic development. He chose the most tragic, most significant moments. Hence the universal, universal problem of love, which his heroes are trying to solve. Rodion Raskolnikov, having committed murder, “cut himself off from people like scissors.” Violation of one commandment (thou shalt not kill) entailed ignoring all the others, therefore, he could not “love his neighbor as himself,” since he is special, he is a ruler.
According to Sonechka, this holy and righteous sinner, it is the lack of love for one’s neighbor (Raskolnikov calls humanity an “anthill,” a “trembling creature”) that is its fundamental cause of sin. This is the difference between them: his sin is a confirmation of his “exclusivity”, his greatness, his power over every louse (be it his mother, Dunya, Sonya), her sin is a sacrifice in the name of love for her relatives: her father - to the drunkard, to the consumptive stepmother, to her children, whom Sonya loves more than her pride, more than her pride, more life, finally. His sin is the destruction of life, hers is the salvation of life.
At first, Raskolnikov hates Sonya, because he sees that this little downtrodden creature loves him, the Lord and “God,” in spite of everything, loves and pities (the things are interconnected) - this fact causes strongest blow according to his made-up theory. Moreover, his mother’s love for him, her son, also, in spite of everything, “torments him”; Pulcheria Alexandrovna constantly makes sacrifices for the sake of her “beloved Rodenka.”
Dunya’s sacrifice is painful for him, her love for her brother is another step towards a refutation, towards the collapse of his theory.
What is the attitude of the other characters in Crime and Punishment?
to the problem of “love for one’s neighbor.” P.P. Luzhin, as Raskolnikov’s double, completely agrees with the provisions of the theory of “man-god”. His opinion is clearly expressed in the following words: “Science says: love yourself first of all, for everything in the world is based on personal interest.”
Another double, Svidrigailov, this “voluptuous spider,” until the last moment firmly believed in the absence of love at all. But the moment has come: sudden love for Dunya leads this personality devastated by voluptuousness to complete ruin; the result is death. This is the relationship between Svidrygailov and Luzhin with the theme of love in the novel.
What is Raskolnikov's final position? Much later, in hard labor, Rodion Romanovich will be freed from hatred of Sonya, he will appreciate her mercy towards him, he will be able to understand all the sacrifices that were made for him and for the sake of all of them; he will love Sonya. He will perceive the pride that has filled many hearts as a terrible infection, he will rediscover God, and through him and through his sacrifice - love for everyone.
The truly universal, universal perception of love is in this distinguishing feature Dostoevsky and his heroes.
Thus, when talking about the difference between the perception of love by Dostoevsky and Turgenev, first of all you need to keep in mind the scale.
Unlike F. M. Dostoevsky, the author of Fathers and Sons considered the problem of love only in connection with the situation given in the novel, only in connection with his heroes.
In the image of Bazarov we can see the same pride as in the image of Raskolnikov. But his views do not have such an absolute connection with current events. He influences those around him, but his views do not lead to a concrete disregard for moral and ethical laws. All action is not outside of him: he commits crimes within himself. Hence his tragedy is not universal, but purely personal. This is where the differences practically end (the differences are fundamental in this issue). The similarities remain: what are they?
Bazarov, like the hero of “Crime and Punishment,” had “a kind of theory, nihilistic views that were fashionable at that time. Like Raskolnikov, Evgeniy became proud, inventing the absence of any norms, any principles, sacredly believing that he was right.
But, according to Turgenev, this is only a purely personal delusion: in other words, his views do not lead to any serious consequences for others.
He lives practically without violating the basic commandments. However, when a meeting with Odintsova forces E.V. Bazarov to believe in the existence of love, thereby admitting the incorrectness of his beliefs, Bazarov, according to the author, must die.
Here we can talk about another difference between the two classics - This time the differences are that Dostoevsky, with his “dirt” and torment, gives vent to his hero; at the same time time Turgenev,
this poet does not forgive his “beloved hero” for the elementary delusion of his youth and denies him the right to life. Hence Bazarov’s love for Anna Sergeevna is only a step towards devastation and death.
In the tragedy of the ending, Bazarov is somewhat similar to Svidrigailov: they both initially perceived love as voluptuousness. But there is also a huge difference between them: having realized the incorrectness of his ideas, one dies, and this is explained by all the terrible evil that he committed, while the other is an absolutely normal person, and love could show him a new one. the right way. But, according to Turgenev, the most natural outcome is to bury his hero in a grave, with all his experiences, with a newly born storm of thoughts and doubts.
From all of the above, we can conclude: the main similarity in views on love is its depiction as a kind of means by which the author shows the delusions of the heroes. The difference lies in the positions in which the heroes are given: the moral quest of the murderer in Crime and Punishment and the moral quest of absolutely normal person in "Fathers and Sons".

About marriage Fyodor Dostoevsky with Anna Snitkina Quite a lot is known, but about the first great love writer Maria Isaeva, there is much less information in the public domain. The history of their relationship is tragic, but at the same time full of respect, warmth and mutual assistance.

Fyodor Dostoevsky met Maria Isaeva in Semipalatinsk, when the aspiring writer already had four years of exile behind him, and Maria Dmitrievna was married. Maria won the heart of Fyodor Dostoevsky not only with her external beauty and aristocratic refined features, but also lightness of character, breadth of outlook, carefreeness and love of life. She was then 28 years old, and Fyodor Mikhailovich evoked in her more compassion than love.

Fyodor Dostoevsky's attitude towards Maria was not overshadowed by self-interest or the desire to win his beloved from her legal husband, with whom the relationship, by the way, was not too reverent. Fedor became for her true friend, a sensitive interlocutor. The writer plunged headlong into the feeling that gripped him; he painfully watched Isaeva’s husband, who abused alcohol and sinned with a rude attitude towards his wife.

However, it seems that fate itself favored the union of two hearts. At first, the Isaev family decides to leave Semipalatinsk, and Fyodor Dostoevsky regards this as a tragedy, bitterly experiencing the forced separation. But soon Maria’s husband dies suddenly, and Dostoevsky makes every effort to help his beloved. He sends Maria a significant amount of money, because she was left completely alone in an unfamiliar city with a 9-year-old child without a means of support. Then the writer decides to explain himself to Maria, proposes to her, but receives... a refusal. The reason for this answer was Maria’s love for family friend Nikolai Vergunov.

Fyodor Mikhailovich was ready to accept Maria’s choice. He even agreed to this confrontation with an opponent, organized by herself femme fatale. Such dedication captivated Maria; she could not even imagine such generosity on the part of Dostoevsky and immediately told him that she was ready to think and, perhaps, make a choice in his favor.

The lovers' torment lasted until 1856, when Maria finally agreed to take a decisive step - to marry a former convict. It is interesting that Vergunov was also present at the modest wedding ceremony as a witness on the part of the groom. Dostoevsky's wedding was celebrated by the whole world; the writer himself was broke. It seemed to him that he had found a quiet haven, a refuge from all mental ordeals, but the idyll was short-lived.

Soon the young people were forced to leave. Due to their state of health worsening every day, both could not stay close for a long time: Maria was consumed by consumption, Fyodor was tormented by epileptic seizures. Maria's life was cut short in the spring of 1864 during another seizure. For Dostoevsky this was an irreparable loss. He experienced her departure for a long time and painfully, constantly emphasizing in letters to loved ones that Maria’s death revealed the depth of the loss.
Despite the fact that the lovers had been married for 8 years, they had no children. To honor Mary's memory, Fyodor Dostoevsky continued to care for her son Pavel throughout his life.

With Anna Snitkina great writer lived until his death...