Semantics of Chains in the Short Novel “Childhood” by L. N. Tolstoy, the Novel “The Brothers Karamazov” by F. M. Dostoevsky, and the Short Story “The Murder” by A. P. Chekhov

The article delves into the use of verigi (chains) as a symbol in L. N. Tolstoy’s autobiographical short novel “Childhood,” F. M. Dostoevsky’s novel “The Brothers Karamazov,” and A. P. Chekhov’s short story “The Murder.” The act of wearing chainsis traditionally understood as a feat performed by Christian ascetics.In 19th-century Russian literature, this motif is actualized in texts through the depiction of characters endowed with traits of foolishness for Christ and/or on a pilgrimage. The interpretation of this hagiographic motif varies among different authors.Maman and Princess Mary, two deeply religious characters in Leo Tolstoy’s “Childhood” and “War and Peace,” realize the spiritual value of chains worn by their pilgrim guests (Grisha and Fedosyushka). In this context, chains symbolize the renunciation of worldly desires by the fool for Christ or the pilgrim, who represent a heightened spiritual feat intertwined with love for God. In contrast, in Fyodor Dostoevsky’s The Brothers Karamazov, chainsbecome a sign of purely external asceticism, devoid of its spiritual content: although Father Therapont’s humility and love for his neighbors resemble certain features of a holy fool, he is endowed with pride.This interpretation of the chains imagery in Dostoevsky’s works is linked, in our view, to the tradition of the holy fathers, particularly to the practices of spiritual guidance at Optina Monastery, which the writer visited in 1878. For example, in the life of Elder Leonid (Lev) of Optina, there is an episode about demon-possessed people who, while wearing heavy chains, fail to engage in the internal spiritual struggle required to cleanse their hearts of passions, eventually succumbing to demonic possession. Father Therapont in “The Brothers Karamazov” sees evil spirits everywhere. Despite wearing chains, fasting dutifully, and walking barefoot, he is unaware that he is consumed byvanity, envy, and judgement. Wearing chains without blessing exceeds the character’s spiritual strength. As shown in the life of Elder Leonid (Lev) of Optina, true humility and repentance, rather than wearing chains, are the only means of returning to a proper spiritual state, which the protagonist fails to choose. In Anton Chekhov’s “The Murder,” the thematic thread of the imagery of chains initiated by Dostoevsky continues. Matvey Terekhov veers into sectarianism, condemning the clergy of the Orthodox Church. Meanwhile, he wears chains, prays a lot, and fasts rigorously, attempting to conduct his own liturgy. The character’s rejection of his delusions is accompanied by his unwillingness to wear chains, which, according to his master, are “from the devil.” In the analyzed works of L. N. Tolstoy, F. M. Dostoevsky and A. P. Chekhov, it is the Orthodox faith that turns out to be valuable and saving for the soul, the faith from which the hero must not retreat, neither by deviating exclusively into external asceticism, nor by leaving the Orthodox Church.