A Fully Glossed Russian Text of “The Death of Ivan Ilich” with Explanatory and Interpretive Annotations
Chapter 8
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- The use of a plural verb form ("ushli") with a singular subject ("Vasily Ivanovich") is a mark of deference shown by a social inferior when speaking of a social superior. The use of this form of speech by Peter is normal in the conventional interactions between master and servant, and is in marked contrast with the explicitly noted use of the familiar form of address by Gerasim several paragraphs earlier ↵
- The word "zabyt'sja" (lit., "to forget oneself") may be defined in Russian as "terjat' soznanie" ("to lose consciousness"). The centrality of "consciousness" in Tolstoy's world-view has been mentioned before. Ivan Ilich's desire to "lose consciousness" is an oblique admission that the distressed condition of his consciousness is a much worse problem than his deteriorating physical condition. Thus, the text keeps insisting that the pain of the falseness and lying all around him is much worse than his physical suffering. It is as though Ivan Ilich believes that if he could just lull his consciousness to sleep it would stop hurting him, stop insisting on the truth that it is dying or as good as dead, and permit the return of the comforting illusion that it is merely that his body, his physical self is ill. Consciousness is thereby identified with an inner, spiritual self which is making itself ever more insistently present as Ivan Ilich's bodily strength and confidence wanes. ↵
- The usual way to say that one feels cold in Russian is to use the impersonal expression: "mne xolodno" (lit., "to me (it) is cold") The doctor, however, uses the personal expression "ja xoloden" (lit., "I am cold") and thereby comes perilously close to the expression "ja xolodnyj" ("I am a cold (i.e., unfeeling) person"). This is another of the many examples of the significant hidden beneath the trivial and of the unwitting declaration of the truth. We remember the brother-in-law's comment in Chapter Six: "Why, he's a dead man." ↵
- That is, to use a very informal and playful version of the standard question: "kak dela" ("how are things going"). Given the prominent role of card games as a metaphor for the empty and artificial life of Ivan Ilich, one might well imagine the doctor inquiring "How's tricks?" ↵
- The cliche "vsemi silami dushi" ("with all the strength of (his) soul") also, of course, suggests that Ivan Ilich does after all, at least, have a soul which is capable of strong sensations, and therefore that he may not be completely lost spiritually., ↵
- This very important passage conveys several messages simultaneously. The most obvious concerns the attitude which both the doctor and Praskovya Fyodorovna have adopted toward Ivan Ilich and his illness. The Russian word which Maude translates as "adopted" is 'vyrabotal' ('worked out', 'constructed by effort'), suggesting the artificiality of their relation to him (despite their pleas of sincerity). The doctor's inability to "abandon" this attitude and Praskovya Fyodorovna's inability to "change" it are both reflections of the same Russian word 'snjat'' ('to take down', 'to take off, as clothing or covers'). Thus, the attitude which they have adopted toward him is a covering or screen (metaphorically, perhaps, a protective garment) which they have put between him and themselves. Once again, the familiar image of screens, curtains, fences, walls, enclosures, which we have seen so often in the attitudes of Ivan Ilich himself. A second point emerging from this passage is that Praskovya Fyodorovna's superficial attitude toward him is one of loving concern while at the same time it is clear that her actual attitude is one of hostile impatience for his death, that is, that her real attitude is the opposite of her professed attitude. A couple of paragraphs farther down she makes the facetiously intended but none the less curious statement that everything she does for him is done "for my own sake." The text adds this explanation: "He felt that he was surrounded and enmeshed in such a web of falsity that it was hard to unravel anything. Everything she did for him was entirely for her own sake; she told him she was doing for herself what she actually was doing for herself, as if that was so incredible he must understand the opposite." From this it emerges that the truth can be known by understanding everything we observe as its opposite. Thus, when Praskovya Fyodorovna says facetiously that she is doing what she is doing only for herself, we should understand that she actually means this seriously. Conversely, her "loving reproaches" are really manifestations of hatred. Finally, since it is in fact true that Praskovya Fyodorovna really is concerned only with herself--that is, she is telling the truth here--perhaps it is possible that the other claim she makes here is also true, namely her suggestion that Ivan Ilich "was not doing something he ought to do and was himself to blame" for his condition. She, of course, believes herself to be speaking of her husband's physiological distress, just as, in the case of her other comment she believes herself to be speaking facetiously. With respect to her husband's spiritual distress, however, it may be that she is unwittingly speaking the exact truth. What is required is to understand both what she says and what we as readers seem to see in reverse, the other way around, backwards (Russ. 'obratno') in order to see the situation rightly. Therefore, it is certain that her complaint that lying with his legs up on Gerasim's shoulders is "bad for him" (since she means it seriously) is bound to be wrong. In fact, contact of this sort with Gerasim must be good for Ivan Ilich. Following this line of thought we soon come to the conclusion that all the while we were being presented with what seemed to be an account of Ivan Ilich's life, we were actually seeing the story of his death, and now, when we seem to be observing the increasingly rapid process of his death, we are actually seeing the beginnings of renewed life. The major idea to be grasped from this passage is that Ivan Ilich himself by not "doing what he ought" has brought his spiritual illness and death upon himself. ↵
- The use of the word "obsudjat" ("will discuss to a conclusion") suggests most clearly that not only is the behavior of the doctors like the behavior of the judges Ivan Ilich knows from his life at court (as noted earlier) but actually is virtually the same thing as their behavior. The word "obsudit'" is derived from the same root from which come "sud" ("a court, legal process"), "sud'ja" ("a judge"), "sudit'" ("to judge, render judgement"). This conclusion is confirmed by the playfully condemnatory tone of the doctor in blaming the patient for his foolish actions and his generously being willing to forgive him. ↵
- In Chapter Twelve Ivan Ilich's attempt to understand what his life has been is compared to the "sensation one sometimes experiences in a railway carriage when one thinks one is going backwards while one is really going forwards and suddenly becomes aware of the real direction." This confirms the idea presented in note 6, above, that this pattern of reversal is a characteristic feature of the structure of the novel. ↵
- Sarah Bernhardt (1844-1923), a world-famous French actress, toured Russia in the winter of 1882-83. ↵
- Joseph Capoul (1839-1924) a French opera singer known for a hairstyle which featured curls falling over the forehead. ↵
- The descriptions of the clothing of Praskovya Fyodorovna and Fyodor Petrovich make emphatic use of words suggesting the constriction of their dress: Praskovya Fyodorovna with her "tolstymi podtjanutymi grud'jami" ("plump, tightly cinched, breasts"); Fyodor Petrovich with his "sheej, oblozhennoj plotno belym vorotnichkom" ("neck tightly encased by a white collar"), his "ogromnoj beloj grud'ju" ("enormous white breast"), his "obtjanutymi sil'nymi ljazhkami v uzkix chernyx shtanax" ("strong thighs fitted tightly in narrow black trousers"), and his "natjanutoj beloj perchatkoj na ruke" ("white glove drawn tautly onto his hand"). The suggestion would seem to be that even in the matter of clothing these people find it necessary to enclose themselves, hem themselves in, providing a visible refrain to the immediate cause of Ivan Ilich's despair, just prior to these descriptions: "the same old room, the same old curtains, the same little bottles." ↵
- One of Sarah Bernhardt's most famous roles was that of Adrienne Lecouvreur in the play of that name by Scribe and Legouve. The heroine of the play is herself an actress, so we are presented here with the family's desire to hasten away from the bedside of its dying father and husband in order to be present at a play (an exercise in pretending and voluntary self-deception) in which the lead actress is most admired for her portrayal of the life of another actress. The distance between the family's proposed activity and the reality of life is astonishingly great. The detailed emphasis on their manner of dress, their costumes, as it were, is entirely in the same spirit. Of course, the family's ability to carry on with its plan of an evening at the theater is made possible in the first place only by pretending that Ivan Ilich is only ill rather than dying. Ivan Ilich resents most of all that he is required to join the family in this pretense. Only Ivan Ilich's son is exempt from the hatred which Ivan Ilich feels toward his family for their constant lying about his condition and their insistence that he, too, join them in this lie. The son, Vasya, is mentioned here in the same sentence with Gerasim, the only other character who deals truthfully with Ivan Ilich, and who touches him in a meaningful way. In Chapter Twelve, Ivan Ilich's moment of grace coincides with his hand being grasped by his son. In the context of this passage, we might say that Gerasim and Vasya are concerned with life itself while the rest of the family and household prefers to deal with the imitation of life, both on the stage and in their own lives. ↵
- There would seem to be a paradox here in that "there is no end" and the "end is inescapable" are asserted in contiguous clauses. This foreshadows Ivan Ilich's attitude toward the image of the "black sack" which will make its first appearance in Chapter Nine. He feels that "he and his pain" are being pushed into a constricting black sack and that he "was frightened yet wanted to fall through the sack, he struggled but yet co-operated." This ambivalence is associated with Ivan Ilich's gradual realization that his life, as he has lived it, is not a real life at all, but only the semblance of a life, a playing at life. If life is not life, then is it death? And what then is the end of that life that is not life? The reversal, the looking at things backward which is so often seen in the text has its ultimate significance in the idea that Ivan Ilich's life is actually death and only the end of that false life offers the possibility of true life. "Life" is death and "death" is life. ↵
(It) was morning
(It) was morning only because Gerasim had left
and Peter the man-servant had arrived, put out the candles, opened one curtain, and begun quietly to tidy up
Whether (it) was morning or evening, whether (it) was Friday (or) Sunday--everything was all the same, everything was one and the same (thing)
the aching, not for (a single) moment ever quieting down, tormenting pain
the consciousness of his hopelessly ever departing but still not yet (finally) departed life
the always oncoming fearful, hateful death
which alone was reality
and always the same lie
What sort (of things) here (i.e., in such a case) are days, weeks, and hours of the day
Will (you) order tea
For him (there) needs to be order, that the master and mistress should drink tea in the mornings
thought he and said only
No
Would you like to move over onto the couch
He must put the room in order
and I am in his way (lit., hindering), I am uncleanness, disorder
No, leave me (be)
The man-servant bustled about some more
Ivan Ilich put out his hand
Peter came up solicitously
What will you order
(My) watch
Peter got the watch, (which) was lying at hand, and gave (it to him)
Half past eight. (I suppose) (they) aren't up yet there
By no means, sir
Vasily Ivanovich (this was the son) has gone to school
and Praskovya Fyodorovna gave orders to awaken her (lit., them), if you will ask
Will you (so) order
No, (it) is not necessary
Should (I) try some tea
thought he
Yes, some tea . . . bring
Peter went to the door (lit., the exit)
For Ivan Ilich (it) had become frightening to be left alone
By what (means) to hold him back? Yes, the medicine
Peter, give me (my) medicine
Why (not), maybe even the medicine will help some
He poured out (lit., took) a spoonful, drank (it)
No, (it) won't help
All this is nonsense, deception, decided he
as soon as he sensed the familiar, sickly sweet, and hopeless taste
No, (I) can no longer believe
But the pain, the pain, what's (it) for
if only (it) would grow quiet for a minute
And he groaned
Peter turned back
No, go. Bring some tea
Peter left
Ivan Ilich, having been left alone
began to groan not so much from the pain, however terrible it was, as from emotional anguish
Always the same and the same
all these endless days and nights
If only (it) would be faster
What (would be) faster
Death, the dark
No,no. Anything is better than death
When Peter came in with tea on a tray
Ivan Ilich for a long time distractedly looked at him
not understanding who he is and what he is (doing)
Peter got confused from that look
And when Peter got confused, Ivan Ilich came to himself (lit., opened his eyes)
Yes, said he, tea . . . good, put it (down)
Only help me to wash and (put on) a clean shirt
And Ivan Ilich began to wash
He with (intermittent) rest washed (his) hands, face, cleaned (his) teeth
(he) began to comb his hair and looked in the mirror
He became frightened (lit., to him (it) became frightening)
particularly frightening was how (his) hair squeezed itself flatly to his pale forehead
While (they) were changing his shirt
he knew that for him it will be still more frightening
if he will look at his body
and (he) did not look at himself
But here everything was finished
He put on (his) robe
covered himself with a plaid (shawl) and sat down to tea in an armchair
For one minute he felt freshened
but he had just begun to drink (his) tea
again that same taste, that same pain
He with an effort finished drinking (his tea) and lay down, having stretched out (his) legs
He lay down and dismissed Peter
Always the same thing
Now a drop of hope will glisten
now a sea of despair will storm (around him)
and always the pain, always the pain, always the anguish, and always one and the same thing
For one alone (it) is terribly depressing
(he) wants to call someone
but he knows in advance that in the presence of others (it) is still worse
If only (I were to take) morphine again, to become oblivious (lit., to forget myself)
I will tell him, the doctor, that he should think up something else
This is impossible, impossible this way
An hour, two go by this way
Bot here the bell (rings) in the entrance hall
Maybe the doctor
Exactly, it's the doctor
fresh, brisk, plump, cheerful
with the expression (that says) well you got scared of something there, but we will now fix everything up (lit., arrange everything) for you
The doctor knows that this expression does no good here
but he has already once and for all put it on and cannot take (it) off
like a man (who) having put on his frock coat in the morning and is going about on visits (i.e., is out calling on people)
The doctor briskly, comfortingly rubs his hands
I'm cold
(There) is a fine (lit., healthy) frost
Let me warm myself
says he with such an expression that (is) as if (it) is only necessary to wait a bit, while he will warm himself, and when he will have warmed himself, then already (he) will make everything right
Well, what (is going on), how (are you)
Ivan Ilich senses that the doctor would like to say
How's every little thing
but that he (i.e., the doctor), too, senses that (it) is impermissible to say (this) and says (instead) How did you pass the night
Ivan Ilich looks at the doctor with an expression (which seems to ask the) question
Will (it) really never become shameful to you to lie
But the doctor does not want to understand the question
And Ivan Ilich says
Everything is just as terrible (as always)
The pain does not pass, does not relent
If only (there were) something (else)
Yes, well you patients always (behave) this way
Well, sir, now it seems I have warmed myself up
even the very fussy Praskovya Fyodorovna would have nothing to object (to) against my temperature
Well, sir, hello
And the doctor shakes (his) hand
And, having shrugged off all (his) former playfulness
the doctor begins with a serious expression to examine the patient
pulse, temperature, and (then) begin the palpations (lit., the tappings), the auscultations (lit., the listenings)
Ivan Ilich knows firmly and indubitably
that all this is nonsense and empty deception
but when the docctor, having gotten down onto his knees
stretches himself out above him, applying (his) ear now higher, now lower
and executes (lit., does) above him with a most significant (expression on his) face various gymnastic maneuvers
Ivan Ilich submits to this as he submitted, formerly, to the speeches of attorneys
even though he knew very well that they are always lying and why (they) are lying
The doctor, kneeling (lit., standing on (his) knees) on the couch
(the doctor) was still tapping away at something when the silk dress of Praskovya Fyodorovna rustled in the doorway
and was heard her reproach to Peter that (they) had not reported to her about the arrival of the doctor
She enters, kisses (her) husband, and begins at once to prove
that she has gotten up already long before and (it was) only on account of some misunderstanding (that) she had not been here when the doctor arrived
Ivan Ilich looks at her, examines her thoroughly
and puts down to her discredit (lit., puts to her in reproach) the whiteness (of her skin), and her plumpness, and the cleanness of her hands, of her neck, the shine of her hair and the sparkle of her eyes filled with life
He with all the strength of (his) soul hates her
and her touch makes him suffer from an upsurge of hatred for her
Her relationship to him and to his illness is always the same
As the doctor had worked out his relationship to (his) patients
which he could no longer take off
so she had worked out a relationship to him
the (relationship) that he is not doing something of what is necessary, and is himself to blame, and she lovingly reproaches him for this
and (she) could not any longer take off this relationship
Well really, he doesn't listen to (what the doctor says)
(He) doesn't take (his medicine) on time
And the main thing--he gets himself (lit., lies down) in such a position which, probably, is harmful for him--(with) his legs up
She told (the doctor) how he (Ivan Ilich) makes Gerasim hold his legs (up)
The doctor smiled scornfully-tenderly
What, says he, can one do
these patients think up sometimes such dumb things (to do)
but one may forgive (them)
When the examination was finished
the doctor looked at his watch
and then Praskovya Fyodorovna announced to Ivan Ilich
that (it shall be) as he wishes, but she today has invited a celebrated doctor
and he (lit., they [i.e., the regular doctor and the celebrated doctor] together with Michael Danilovich (that was the name of the regular doctor) would examine (him) and would arrive at a judgement
So just don't you object (lit. resist), please
This I do for myself, said she ironically
giving (people) to feel that she does everything for him and only (by saying it) in this (way) (she) does not let him have the right to refuse her
He was silent and knitted his brow
He felt that this lie surrounding him had so confused (things)
that it was already (too) difficult to figure anything out
She did everything over him only for herself
and (she) told him that she does for herself that which she really did for herself as (though it were) such an improbable thing
that he must understand this backwards (i.e., in reverse)
In fact, at half past eleven the celebrated doctor arrived
Again began (lit., started going) the auscultations and the significant conversations in his presence and in the other room
about the kidney, about the blind gut, and the questions and answers (are) with such a significant appearance
that again instead of the genuine question of life and death which already now stood alone before him
(there) arose (again) the question of the kidney and blind gut which were doing something not as (they) were supposed to and for this Michael Danilovich and the celebrity are all set to attack them and force them to make themselves right
The celebrity doctor said good-bye with a serious, but not with a hopeless appearance
And to the timid question with which, with eyes raised to him shining with fear and hope, Ivan Ilich turned (to him)
(the question) whether there is a possibility of recovering
(the doctor) answered that it is not possible to promise but there is a possiblity
The look of hope with which Ivan Ilich saw the doctor off was so pitiful
that, having seen it, Praskovya Fyodorovna even started to cry while going out through the doorway of the study
in order to pass along the fee to the celebrity doctor
The lifting of the spirit produced by the encouragement of the doctor did not last long
Again the very same room
the very same pictures, curtains, wallpaper, (medicine) bottles
and his very same pain-ridden, suffering body
And Ivan Ilich began to groan
(They) gave him an injection, and he sank into oblivion (lit., forgot himself)
When he regained consciousness (it) had started to grow dark
(they) brought him (his) dinner (lit., brought him (food) to have dinner)
He ate some bouillon with an effort
and again the very same (thing), and again the approaching night.
After dinner, at seven o'clock
into his room came Praskovya Fyodorovna
dressed as (though to go out) for the evening, with plump, cinched up breasts and with traces of powder on (her) face
She already in the morning had reminded him about their trip to the theater
Sarah Bernhardt was on tour
and they had a box
which he had insisted that they should take
Now he had forgotten about this
and her finery offended him
But he concealed his offendedness (i.e., his hurt feelings)
when (he) recalled that he himself insisted
that they would get the box and go
because this is an educational aesthetic enjoyment for the children
Praskovya Fyodorovna came in, pleased with herself, but as though (feeling) guilty
She sat down (near him)
(she) asked about (his) health, as he saw, only in order to ask, but not in order to find out
knowing that there is nothing to find out
and (she) began to tell (him) what (it) was necessary for her (to say)
that she wouldn't go for anything
but the box is taken, and Helène and (their) daughter and Petrishchev (the examining magistrate, the fiancé of (their) daughter) are going
and that (it) is impossible to let them (go) alone
But that for her (it) would really be more pleasant to sit with him (i.e., with Ivan Ilich) for a while
Only without her he should do (everything) in accordance with the order(s) of the doctor
Yes, and Fyodor Petrovich (the fiancé) wanted to come in
May (he)
Liza too
Let (them) come in
The daughter came in elaborately dressed, with her young body bared (lit., made naked)
the body which so (much) made him suffer
And she was flaunting it
(She is) strong, healthy, obviously in love
and displeased with the illness, sufferings, and death, (which are) interfering with her happiness
Fyodor Petrovich, in evening dress, also came in
(with his hair) curled à la Capoul
with (his) long, sinewy neck tightly encased by a white collar
with (his) enormous white breast (i.e., his starched shirt front) and his strong thighs fitted tightly in narrow black trousers
with one white glove drawn tautly on (his) hand and with an opera hat (in it)
After him crept in unnoticed also the school-boy (i.e., Ivan Ilich's teen-age son) in (his) new little uniform
the poor fellow, in gloves and with terrible shadows (lit., a terrible dark-blueness) under his eyes, the significance of which Ivan Ilich knew
(His) son had always seemed (lit., been) pitiable to him
And his (i.e., the son's) scared and sympathetic look was frightening
Besides Gerasim, to Ivan Ilich (it) seemed, that only Vasya understood and pitied him
Everyone sat down, again asked about (his) health
Silence occurred
Liza asked (her) mother about the opera glasses
Cross words occurred between mother and daughter (about) who had put them (the opera glasses) where
(It) came out unpleasantly
Fyodor Petrovich asked Ivan Ilich
whether he had (ever) seen Sarah Bernhardt
Ivan Ilich did not understand at first what (they) were asking him, but then said
No; and have you seen (her) before
Yes, in "Adrienne Lecouvreur"
Praskovya Fyodorovna said that she was particularly good in that
The daughter objected
(There) began a conversation about the elegance and realism of her acting (lit., of her playing)
that very conversation which is always one and the same
In the middle of the conversation Fyodor Petrovich looked at Ivan Ilich and fell silent
The others looked and fell silent
Ivan Ilich was looking with glittering eyes in front of himself
apparently being displeased with them
(It) was necessary to put this right
but to put (it) right was in no way possible
(It) was necessary somehow to break this silence
No one (could) make up their mind (to do so [i.e., break the silence]) and everyone was getting fearful
that suddenly would collapse somehow the decorous lie
and that which (really) is will be clear to everyone
Liza first made up her mind (to take action)
She broke the silence
She wanted to conceal that which (they) all were experiencing, but (she) said too much (i.e., her attitude and words "let the cat out of the bag")
However, if (we're going) to go, then it's time, said she
having looked at her watch, a gift of her father
and barely noticeably, significantly (she) smiled at the young man about something known to them alone
and (she) got up, (her) dress having rustled
Everyone got up, said good-bye, and left
When they had gone out (it) seemed to Ivan Ilich that he felt more at ease (lit., lighter), there was no lie
it (i.e., the lying) had left with them, but the pain remained
Always the same pain, the same fear made (it) that (there is) nothing (any) heavier (i.e. any harder to bear), nothing (any) easier
Ever worse (and worse)
Again minute went after minute, hour after hour
always the same and always there is no end
and ever more fearful is the inescapable end
Yes, send Gerasim, replied he (Ivan Ilich) to a question of Peter
