A Fully Glossed Russian Text of “The Death of Ivan Ilich” with Explanatory and Interpretive Annotations
Chapter 6
Ива́н Ильи́ч ви́дел, что он умира́ет, и был в постоя́нном отча́янии.
В глубине́ души́ Ива́н Ильи́ч знал, что он умира́ет,[1] но он не то́лько не привы́к к э́тому, но про́сто не понима́л, ника́к не мог поня́ть э́того.
Тот приме́р силлоги́зма, кото́рому он учи́лся в ло́гике Кизеве́тера:[2] Кай - челове́к, лю́ди сме́ртны, потому́ Кай сме́ртен, каза́лся ему́ во всю его́ жизнь пра́вильным то́лько по отноше́нию к Ка́ю, но ника́к не к нему́. То был Кай-челове́к, вообще́ челове́к, и э́то бы́ло соверше́нно справедли́во;[3] но он был не Кай и не вообще́ челове́к, а он всегда́ был совсе́м, совсе́м осо́бенное от всех други́х существо́; он был Ва́ня с мама́, папа́, с Ми́тей и Воло́дей, с игру́шками, ку́чером, с ня́ней пото́м с Ка́тенькой, со все́ми ра́достями, го́рестями, восто́ргами де́тства, ю́ности, мо́лодости.[4] Ра́зве для Ка́я был тот за́пах ко́жаного поло́сками мя́чика, кото́рый так люби́л Ва́ня! Ра́зве Кай целова́л так ру́ку ма́тери и ра́зве для Ка́я так шурша́л шёлк скла́док пла́тья ма́тери? Ра́зве он бунтова́л за пирожки́ в Правове́дении? Ра́зве Кай так был влюблён? Ра́зве Кай так мог вести́ заседа́ние?
И Кай то́чно сме́ртен, и ему́ пра́вильно умира́ть, но мне, Ва́не, Ива́ну Ильичу́, со все́ми мои́ми чу́вствами, мы́слями, - мне э́то друго́е де́ло. И не мо́жет быть, что́бы мне сле́довало умира́ть. Э́то бы́ло бы сли́шком ужа́сно.
“Е́сли б и мне умира́ть, как Ка́ю, то я так бы и знал э́то, так бы и говори́л мне вну́тренний го́лос,[5] но ничего́ подо́бного не́ было во мне; и я и все мои́ друзья́ - мы понима́ли, что э́то совсе́м не так, как с Ка́ем. А тепе́рь вот что! – говори́л он себе́. – Не мо́жет быть. Не мо́жет быть, а есть. Как же э́то? Как поня́ть э́то?"
И он не мог поня́ть и стара́лся отогна́ть э́ту мысль, как ло́жную, непра́вильную, боле́зненную,[6] и вы́теснить её други́ми, пра́вильными, здоро́выми мы́слями. Но мысль э́та, не то́лько мысль, но как бу́дто действи́тельность, приходи́ла опя́ть и станови́лась пе́ред ним.
И он призыва́л по о́череди на ме́сто э́той мы́сли други́е мы́сли, в наде́жде найти́ в них опо́ру. Он пыта́лся возврати́ться к пре́жним хода́м мы́сли, кото́рые заслоня́ли для него́ пре́жде мысль о сме́рти.[7] Но - стра́нное де́ло - всё то, что пре́жде заслоня́ло, скрыва́ло, уничтожа́ло созна́ние сме́рти,[8] тепе́рь уже́ не могло́ производи́ть э́того де́йствия. После́днее вре́мя Ива́н Ильи́ч бо́льшей ча́стью проводи́л в э́тих попы́тках восстанови́ть пре́жние ходы́ чу́вства, заслоня́вшего смерть. То он говори́л себе́: "Займу́сь слу́жбой, ведь я жил же е́ю".[9] И он шёл в суд, отгоня́я от себя́ вся́кие сомне́ния; вступа́л в разгово́ры с това́рищами и сади́лся, по ста́рой привы́чке рассе́янно, заду́мчивым взгля́дом оки́дывая толпу́ и обе́ими исхуда́вшими рука́ми опира́ясь на ру́чки дубо́вого кре́сла, так же, как обыкнове́нно, перегиба́ясь к това́рищу, подвига́я де́ло, перешёптываясь, и пото́м, вдруг вски́дывая глаза́ и пря́мо уса́живаясь, произноси́л изве́стные слова́ и начина́л де́ло. Но вдруг в середи́не боль в боку́, не обраща́я никако́го внима́ния на пери́од разви́тия де́ла, начина́ла своё сосу́щее де́ло.[10] Ива́н Ильи́ч прислу́шивался, отгоня́л мысль о ней, но она́ продолжа́ла своё, и она́ приходи́ла[11] и станови́лась пря́мо пе́ред ним и смотре́ла на него́, и он столбене́л, ого́нь тух в глаза́х, и он начина́л опя́ть спра́шивать себя́: "Неуже́ли то́лько она́ пра́вда?" И това́рищи и подчинённые с удивле́нием и огорче́нием ви́дели, что он, тако́й блестя́щий, то́нкий судья́, пу́тался, де́лал оши́бки. Он встря́хивался, стара́лся опо́мниться и кое-ка́к доводи́л до конца́ заседа́ние и возвраща́лся домо́й с гру́стным созна́нием, что не мо́жет по-ста́рому суде́йское его́ де́ло скрыть от него́ то, что он хоте́л скрыть; что суде́йским де́лом он не мо́жет изба́виться от неё. И что бы́ло ху́же всего́ – э́то то, что она́ отвлека́ла его́ к себе́ не зате́м, что́бы он де́лал что́-нибудь, а то́лько для того́, что́бы он смотре́л на неё, пря́мо ей в глаза́, смотре́л на неё и, ничего́ не де́лая, невырази́мо му́чился.
И, спаса́ясь от э́того состоя́ния, Ива́н Ильи́ч иска́л утеше́ния, други́х ширм, и други́е ши́рмы явля́лись и на коро́ткое вре́мя как бу́дто спаса́ли его́, но то́тчас же опя́ть не сто́лько разруша́лись, ско́лько просве́чивали, как бу́дто она́ проника́ла че́рез всё, и ничто́ не могло́ заслони́ть её.[12]
Быва́ло, в э́то после́днее вре́мя он войдёт в гости́ную, у́бранную им, – в ту гости́ную, где он упа́л|, для кото́рой он, - как ему́ ядови́то смешно́ бы́ло ду́мать, – для устро́йства кото́рой он поже́ртвовал жи́знью, потому́ что он знал, что боле́знь его́ начала́сь с э́того уши́ба, – он входи́л и ви́дел, что на лакиро́ванном столе́ был рубе́ц, проре́занный че́м-то. Он иска́л причи́ну, и находи́л её в бро́нзовом украше́нии альбо́ма, ото́гнутом на краю́. Он брал альбо́м, дорого́й, им соста́вленный с любо́вью, и доса́довал на неря́шливость до́чери и её друзе́й, – то разо́рвано, то ка́рточки перевёрнуты. Он приводи́л э́то стара́тельно в поря́док, загиба́л опя́ть украше́ние.
Пото́м ему́ приходи́ла мысль весь э́тот etablissement с альбо́мами перемести́ть в друго́й у́гол, к цвета́м. Он звал лаке́я--и́ли дочь, и́ли жена́ приходи́ли на по́мощь; они́ не соглаша́лись, противоречи́ли, он спо́рил, серди́лся; но всё бы́ло хорошо́, потому́ что он не по́мнил о ней, её не ви́дно бы́ло.
Но вот жена́ сказа́ла, когда́ он сам передвига́л: "Позво́ль, лю́ди сде́лают, ты опя́ть себе́ сде́лаешь вред", и вдруг она́ мелькну́ла че́рез ши́рмы, он увида́л её.[13] Она́ мелькну́ла, он ещё наде́ется, что она́ скро́ется, но нево́льно он прислу́шался к бо́ку, – там сиди́т всё то же, всё так же но́ет, и он уже́ не может забы́ть, и она́ я́вственно гляди́т на него́ из-за цвето́в. К чему́ всё?
“"И пра́вда, что здесь, на э́той гарди́не, я, как на шту́рме, потеря́л жизнь. Неуже́ли? Как ужа́сно и как глу́по! Эт́о не мо́жет быть! Не мо́жет быть, но есть".
Он шёл в кабине́т, ложи́лся и остава́лся опя́ть оди́н с не́ю, с гла́зу на глаз с не́ю, а де́лать с не́ю не́чего. То́лько смотре́ть на неё и холоде́ть.[14]
- Once again the telling use of the word "soul," linking the beginning of Chapter Six to the end of Chapter Five. It would seem that Ivan Ilich's soul is gradually coming to life just as his body is ineluctably sliding toward death. This may suggest that there is some basic incompatibility between the body and the soul such that the well-being of the body may hide the distress, or even the existence, of the soul and, conversely, that the distress of the body may allow the soul to appear. ↵
- J. G. Kiesewetter (1766-1819) wrote a textbook on logic which, translated into Russian, was used in Russian schools. ↵
- I have here suggested "right" as the equivalent of "spravedlivo" in contrast with "correct" as the equivalent of "pravil'no" in the preceding sentence in order to try to catch the fine distinction between the two Russian words. "Pravil'no" is usually applied in the context of matters of fact, for example, a statement is true or false; "spravedlivo" derives directly from "pravda," which, while it shares the same basic root with "pravil'no" has the particular senses of "justness, rightness, fairness" as well as the sense of "truth." For example, in Russian to behave "pravil'no" would be to behave "correctly" (in accord with established conventions, the hallmark of Ivan Ilich's life as he has lived it) while to behave in a manner that is "spravedlivo" would be to do the "right" thing (in accord with some more primary principle of moral conduct, perhaps beyond the scope of the conventions defining everyday life). It is thus suggested that the "correct" life may not, if fact, be the "right" life to lead. It may be "wrong" to think of Ivan Ilich's strict conformity with convention as being life at all. ↵
- Vanya is a nickname for Ivan, Mitya and Volodya (nicknames for Dmitry and Vladimir) are most likely Ivan Ilich's two brothers; Katenka (nickname for Ekaterina) may be a sister not previously mentioned in the text. ↵
- Here the notion of an "inner voice" and, by extension, an inner life, is mentioned in the text for the first time. If we follow the practice of paying close and exact attention to what is said we see that Ivan Ilich here seems to admit not only that there was no inner voice in him, but also no inner life. In fact, this inner voice will actually enter the text in Chapter Nine and will reappear in each chapter thereafter. At the very end, in Chapter Twelve, Ivan Ilich will himself seem to become that inner voice and inner life, and to view the agonized, dying remains of his body as though from a distance. However, at this point in the text, Chapter Six, the emphatic point seems to be that there is no such inner voice/inner life within Ivan Ilich, even though he is aware that he should have one. We might say that he and we have discovered that he has lost his inner life at the end of Chapter Six and that he regains it again at the end of Chapter Twelve. From this point of view, the novel seems to fall naturally into two main parts, in the first of which he gradually loses his inner, personal life in favor of his external, official life and in the second of which, through suffering and meditation occasioned by his illness, he gradually comes to acknowledge that loss and finally to regain his inner life. Simultaneously, however, the novel has been relating the same series of events from a strictly external viewpoint in which the inner life refers to no more than the kidneys and the intestines. This external story is related in three stages: Ivan Il'ich's former life, up to the onset of his illness(chapters two-four); the development of his illness (chapters five-eight); and his final agony and death (chapters nine-twelve). We might call the first stage "health," the second "illness," and the third "death." The first stage involves a period of years, the second a period of months, the last a period of days and hours. (More detail on this idea is given in the section in the "Introduction" called "The Proportions of the Text.") It seems then that just as Ivan Il'ich has two distinct lives--an inner one and an outer one--so the story of those lives can be seen as being organized in two different ways at the same time: the external life story according to a three-part division of the material (health, illness, death) and the inner life story according to a two-part division. The two-part division shows us an Ivan Ilich who is already inwardly dead at the mid-point of the story, and one who has regained his inner life at the end. ↵
- With remarkable consistency the text notes that Ivan Ilich believes that the thought of death is false and incorrect ("nepravil'naja"--not in conformity with convention; see note 3, above) and that it is "diseased." But it may none the less be true, and it may be his disease that is revealing this to him. ↵
- The word "zaslon" in Russian is a military term designating a military force of some kind used to cover, protect, or shield the action of another force. ↵
- The word "soznanie" ("consciousness") is of marked importance everywhere in Tolstoy's works. It is usually associated with the authentic human center of his characters and is very often contrasted to the mechanical processes of mind ("um") and reason ("razum"). In various religious and philosophical writings produced about the same time as Death of Ivan Ilich Tolstoy devised the term "razumnoe soznanie" ("rational consciousness") to serve as one of the central pillars of his later thought, suggesting that "reason" (the adjective) was an aspect of, but subsidiary to, "consciousness" (the noun). In general, in Tolstoy anything that interferes with the operation of consciousness is suspect to some degree. One might well say that the tension between reason and consciousness is the mainspring of Tolstoy's art. ↵
- Here the idea that Ivan Ilich considers his life at the office, his outer life, to be his real life is made explicit. The resolve to get back to this life is implied to be just another screen to protect him from the consciousness (i.e., his inner life, his authentic life) of death. The phrase "ja zhil eju" reminds one of the title, "Чем люди живы," ("What Do Men Live By"), the first of Tolstoy's "Stories for the People." ↵
- Here is a brilliant example of Tolstoy's use of language in the novel. The preceding sentence has twice used the word "delo": first to mean "the facts of the case before the court as set down on paper" (in the phrase "podvigaja delo") and, second, to mean "the judicial proceedings related to that case" (in the phrase "nachinal delo"). There "delo" is established as meaning the object and activity at the center of Ivan Ilich's life in court ("delo" is the nominal equivalent of the verb "delat'"--"to do, make"; therefore "delo" would be, basically, anything that is done. In the following sentence "delo" appears again, but is now identified as the action of Ivan Ilich's "sucking" pain. The pain of his illness is sucking away his life, but his life, as he has understood it, is also "delo." This leads to the verbal paradox that the pain that Ivan Ilich experiences is the very same thing as the life that he has led, that it is his "life" which is sucking away his "life." The word "sosushchij" (present active participle from "sosat'," "to suck") often has the transferential meaning of "gnaw" or "nag." As so often in the novel, underneath the conventional meaning of a word or phrase lies hidden its literal sense: the false official life of Ivan Ilich is sucking every vestige of his true life out of him. ↵
- The italics mark this "it" as something different from the pain which was the referent of the "it" in the preceding clause; this it refers to a different feminine, singular noun: "smert'," ("death"). ↵
- Chapter Six continues the motif of imminent death introduced in Chapter Five. The chapter has been devoted to Ivan's ineluctable recognition of his death and to his unavailing efforts to hide this recognition from himself by erecting various screens (again the motif of self-enclosure) to protect himself from this recognition. As he will say a few lines below: "I lost my life over that curtain. . . . It can't be true, but it is." ↵
- Interestingly, it is just at the moment that Praskovya Fyodorovna tells Ivan Ilich that he will harm himself if he fusses with the albums that his awareness of death returns, as though she were unwittingly explaining to him that his fussy attachment to material ornaments and the artificial tidiness of his "pleasant and decorous" life is what is most harmful to him and, in fact, bringing him face to face with death. ↵
- The last sentence of Chapter Six, translated literally, says: "Only to look at it [death] and grow cold." Maude's translation offers "except to look at it and shudder." While this is a correct translation, it fails to capture the rhetorical force of the original. In the Russian we see a further example of the use of words in both their metaphorical sense (on the surface) and their literal sense (hidden beneath the surface). The literal meaning of the word ('growing cold') is used to suggest the exterior action ('shuddering'). In this way the text manages to express simultaneously the ideas (1) that there are two sorts of "life" involved in what is happening to Ivan Ilich, an inner one and an outer one, and (2) that Ivan Ilich is only shuddering from a chill on the surface but, from the inner point of view, is dead already and growing cold, in the manner of a corpse. ↵
Ivan Ilich saw that he is dying and was in constant despair
In the depth of (his) soul Ivan Ilich knew that he is dying
but he not only had not gotten used to that
but simply did not understand (it)
in no way was (he) able to understand that
The example of the syllogism which he had learned in Kiesewetter's logic
Caius is a man, men are mortal, therefore Caius is mortal
had seemed to him in (the course of) his whole life (to be) correct only with regard to Caius, but not at all (with regard) to him
That was Caius-man, man in general
and this was completely right
but he was not Caius and not man in general
but he has always been a completely, completely individual being, (distinct) from all others
he was Vanya with mama, papa, with Mitya and Volodya, with (his) toys, the coachman, with (his) nanny
then with Katenka, with all the joys, sorrows, ecstasies of childhood, boyhood, youth
Was (there) really for Caius that odor of of the leather ball with stripes which Vanya so loved
Did Caius really kiss mother's hand in that same way
and did the silk of mother's dress really rustle in that same way for Caius
Did he (i.e., Caius) really riot for piroshki (i.e., pastries with meat, vegetable, or fruit fillings) in the Law School
Did Caius really fall in love in that same way
Was Caius really able to conduct a (court) session in that same way
And Caius is just that, mortal (lit., precisely mortal) and it is correct for him to die
but for me, Vanya, Ivan Ilich, with all my feelings, thoughts--for me it is another matter (altogether)
And (it) cannot be that it would follow that I must die (lit., that it is for me to die)
That would be too terrible
That is the way he felt (lit., thus it felt to him)
If it were (the case that it is) for me, too, to die, like Caius
then I would have known that
an inner voice would have told (it) to me
but there wasn't anything like (that) in me
and I and all my friends--we understood that it is not at all the same (with us) as (it is) with Caius
And now what
said he to himself
(It) can't be. (It) can't be, but it is
How (can) this be
How (am I) to understand this
And he could not understand and tried to drive this thought away as false, incorrect, diseased
and to squeeze it out by means of other, correct, healthy thoughts
But this thought, not only a thought but, as it were, a reality
would come (to him) again (and again) and would take its place before him
And he called forth other thoughts one after another (lit., in order) onto the place of this thought
in the hope to find in them support
He tried to return to the former course (lit., goings) of (his) thought
which (i.e., the "goings" of his thought) had formerly shielded him from the thought of death (lit., shielded for him formerly the thought of death)
But--a strange thing (i.e., strange to say)--everything that formerly had shielded, covered over, destroyed the consciousness of death
now no longer did it (his former thinking) help to produce this effect (lit., action)
Lately
Ivan Ilich had spent the greater part (of his time)
in these attempts to re-establish the former course of (the) feeling, which had shielded (him from) death
Now he would tell himself
I'll get back to work
after all, I have lived by it (i.e., it's been my life)
And he would go to court
driving away from himself each and every doubt
(he) would enter into conversations with (his) colleagues
and (he) would take (his) seat distractedly, in accord with his old habit, looking over the crowd with a pensive glance
and leaning on the armrests of (his) oaken armchair with both of (his) wasted arms
in the very same manner as usual inclining himself toward (his) colleague
pushing (forward) the (documents describing the) matter (before them), exchanging whispers, and then suddenly raising (his) eyes (and) sitting up straight, would pronounce the well-known words and begin the (hearing on the) matter
But suddenly in the middle the pain in (his) side
not paying any attention to the point of development of the matter (i.e., to the point which the proceedings had reached)
(the pain) would begin its sucking activity
Ivan Ilich would pay heed (to it), would (try to) drive away the thought of it (i.e., the pain)
but it (i.e., still the pain) would continue its own (activity)
and it would come
and (it) stood right in front of him and looked at him
and he became stiff as a post (lit., became a post, Russ. "stolb")
the fire went out in (his) eyes
and he would begin again to ask himself
(Is it) really only it (that is) the truth
And (his) colleagues and subordinates with surprise and chagrin would see
that he, such a brilliant, shrewd judge, would get confused, would make mistakes
He would shake himself, would try to collect his thoughts (lit., would remember himself) and somehow or other would bring the session to (its) close
and (he) would return home with the sad consciousness
that his judicial activity cannot in (its) old way hide from him that which he wanted to hide
that by judicial activity he cannot save himself from it
And what is worst of all
is this, that it was drawing him (away) to itself not so that he would do anything
but only so that he would look at it, straight into its eyes
would look at it and, not doing anything, would torment himself inexpressibly
And, trying to save himself from this condition
Ivan Ilich sought consolation, other screens
and other screens appeared and for a short time (it was) as though (they) saved him
but immediately then (they) again were not so much destroyed
as illuminated (i.e., shown up for what they were), as though it penetrated through everything
and nothing was able to shield (against) it
(It) had happened that, lately (lit., in this latest time) he would go into the parlor, decorated by him
into that parlor where he had fallen
for which he--as (it seemed) to him (it) was poisonously amusing to think
for the arranging of which he had sacrificed (his) life
because he knew that his illness had begun from that injury
he went in and saw that on the lacquered table was a scratch, cut (into it) by something
He looked for the reason and found it in the bronze ornamentation of an album, (which had gotten) bent out at the edge
He took the album, an expensive one, put together by him with love
became annoyed at the messiness of (his) daughter and her friends
here (it) was torn, there the photos were turned over
He brought this carefully (back) into order, bent (back) the ornamentation
Then to him came the thought to move this whole etablissement with the albums (French: here, an arrangement of several items into a complex decorative object) to another corner, (over) toward the flowers
He called a servant--either (his) daughter or (his) wife would come to help
they didn't agree, contradicted (him), he argued, got angry
but everything was all right
because he didn't remember about it
it (could) not (be) seen
But here (his) wife said, when he himself (tried to) move (the etablissement)
If you please (lit., Permit), (other) people will do (it)
you again will do yourself harm
and suddenly it flashed through the screens, he caught sight of it
It did flash, he still hopes that it will hide itself
but unwillingly he paid heed to (his) side
there (it) sits always the same
always aches in just the same way and he can no longer forget (it)
and it openly looks at him from behind the flowers
To what (end) is all (this)
And (it's) true that here, on this curtain
I, as (though taking part) in (the) storming (of a city) lost my life [remembering that Ivan Ilich was adjusting the curtain from a ladder when he fell]
Really
How terrible and how stupid
This cannot be
(It) can't be, but (it) is
He went into (his) study, lay down and remained again alone with it
eye to eye with it
and there was nothing to be done with it
Only to look at it and to shudder