The Kreutzer Sonata
Leo Tolstoy’s The Kreutzer Sonata is not only a profound exploration of marriage, jealousy, and the destructive power of unchecked desire but also a deeply personal work that reflects Tolstoy’s struggles and philosophical evolution. Framed as a conversation overheard on a train, the novella centers on the confession of Pozdnyshev, a man who recounts the tragic unraveling of his life and marriage. His story serves as a critique of societal norms, particularly those surrounding relationships, sexuality, and the institution of marriage, themes that resonate strongly with Tolstoy’s own experiences and beliefs.
Pozdnyshev begins by describing his early life, shaped by the decadent lifestyle of the Russian aristocracy. He indulges in promiscuity and views women primarily as objects of pleasure, a mindset he attributes to the corrupting influence of societal expectations. This perspective mirrors Tolstoy’s youthful indiscretions, as he was known for his wild and hedonistic behavior before his moral and spiritual awakening. Tolstoy’s later rejection of his past lifestyle is evident in Pozdnyshev’s disdain for his former self, which sets the stage for his eventual disillusionment with marriage.
Pozdnyshev’s marriage begins with a semblance of happiness, as he is initially charmed by his wife’s beauty and grace. However, their relationship quickly deteriorates into a cycle of resentment, mistrust, and emotional turmoil.
This dynamic echoes Tolstoy’s marriage to Sophia (Sonya) Behrs, which started with great passion but became increasingly strained over time. Tolstoy and Sophia’s marriage was marked by frequent conflicts, particularly over his philosophical beliefs and her practical concerns for their family. Pozdnyshev’s disillusionment with marriage seems to reflect Tolstoy’s critique of the institution, which he saw as fraught with emotional and moral pitfalls.
As Pozdnyshev’s marriage progresses, he grows increasingly jealous and suspicious of his wife. He resents her independence and imagines her infidelity, even though there is no evidence of it. His jealousy becomes a central theme of the story, paralleling Tolstoy’s struggles with possessiveness and mistrust in his relationship with Sophia. Tolstoy’s diaries reveal his deep-seated insecurities and his tendency to project his guilt onto his wife, themes that are vividly portrayed in Pozdnyshev’s character.
The pivotal moment in the story occurs when Pozdnyshev’s wife befriends a talented violinist. The two collaborate to perform Beethoven’s Kreutzer Sonata, a piece that Pozdnyshev interprets as evidence of their emotional and physical intimacy. The music, with its passionate and evocative nature, becomes a symbol of the connection he believes exists between them. This scenario reflects Tolstoy’s anxieties about Sophia’s interactions with other men, particularly his friend and composer Sergei Taneyev. Tolstoy’s discomfort with Sophia’s musical pursuits and friendships is mirrored in Pozdnyshev’s obsessive jealousy.
This obsession culminates in a violent and tragic climax. In a fit of uncontrollable rage, Pozdnyshev murders his wife, stabbing her to death. The act is both a manifestation of his jealousy and a reflection of his deep-seated hatred for the institution of marriage. While Tolstoy never resorted to violence, his intense frustrations and moral condemnations of marriage are channeled through Pozdnyshev’s extreme actions. The murder serves as a metaphor for the destructive potential of unchecked jealousy and societal pressures.
After the murder, Pozdnyshev is put on trial but is acquitted due to his wife’s alleged infidelity. Despite his legal exoneration, he is consumed by guilt and remorse, haunted by the consequences of his actions. His life becomes a bleak reflection of the moral and emotional decay he believes is inherent in human relationships. Through his confession, he seeks to convey the futility and destructiveness of the societal norms that govern love and marriage. This sense of guilt and moral reckoning parallels Tolstoy’s spiritual crisis and his quest for meaning and redemption.
Throughout his overwrought monologue, Pozdnyshev articulates a scathing critique of marriage and sexuality. He argues that marriage is inherently flawed, a social construct that perpetuates exploitation and emotional suffering. He condemns physical desire as a corrupting force, advocating for chastity and celibacy as the only paths to moral purity. These views align with Tolstoy’s own beliefs, which were deeply influenced by his later spiritual and philosophical convictions. Tolstoy’s advocacy for celibacy and his rejection of physical desire were contentious issues in his marriage, as Sophia struggled to reconcile his ideals with the realities of their life together. Tolstoy uses Pozdnyshev’s story as a cautionary tale, warning against the dangers of lust, jealousy, and the societal pressures that shape human relationships. The novella challenges conventional ideas about love and marriage, presenting them as sources of suffering rather than fulfillment. Tolstoy’s critique is not limited to individual failings but extends to the broader societal structures that perpetuate these issues. His own marital struggles and philosophical evolution are woven into the fabric of the narrative, lending it a deeply personal and introspective quality.
George Steiner points to some possible influences on Tolstoy beyond the Beethoven sonata, which is obvious by the title. Specifically, Rousseau’s Confessions (its exploration of guilt and morality), Dostoevsky’s Notes from the Underground (for its exploration of psychological turmoil and moral ambiguity), and Schopenhauer’s renunciation of desire as a path toward spirituality (Schopenhauer considered true “compassion, as the sole non–egoistic motive, is also the only genuinely moral one.” —On the Basis of Morality, 1839)