With the ascension of a new Sovereign and the recent controversy surrounding the coronation, the British republican movement has reared its ugly head once more, spearheading a renewed debate as to the Royal Family’s ‘relevance’ and ‘value-for-money’ in 2023. Throughout the day we were bombarded with news coverage of anti-monarchist activism, primarily from Republic and their leader Graham Smith. However, with their focus on democracy and the ‘need for modernisation’, left-wingers fail to fully appreciate the Monarchy’s national function.
Having existed since the kingdoms of Anglo-Saxon England, Britain’s constitutional monarchy has been able to develop organically and overcome numerous challenges (from wars and republican dictatorship, to callous individualists like Edward VIII). With a basis on preparing the heir apparent from birth, many of our kings and queens have been embodiments of duty and moral courage – the late Queen Elizabeth II being a prime example. Indeed, alongside an organic and family-based system comes an inherent sense of national familiarity and comfort – they provide the British people with a unifying and quasi-parental figure, and almost a sense of personal connection with the other royals.
As well as this, the institution acts as a crucial barrier against the danger of democratic radicals and the idiocy and ineptitude that resonates from the Commons. Our entire political class seek to further their own interests, and with the Lords having seen terrible reforms under Blair, the Monarchy is left as the People’s last defence against the whims of power-hungry elites.
They also act as a link to Britain’s past and cultural heritage, as a source of national continuity. The Monarchy embodies our religious character with the Church of England, as well as nature of constitutional government with the different organs. As Sir Roger Scruton eloquently put it, it acts as ‘the voice of history.’ This point fundamentally speaks to the Left’s opposition to the Monarchy’s continuation. They can shout about equality and elected decision-making, but their attack on the Royal Family is inherently an attack on Britain’s history, which they vehemently despise. They want to tear down Britain’s unifying soul, and replace it with some soulless political office, one with no roots in national history or organic development.
The renowned Edmund Burke spoke of the need for national myths, a library of inspiring stories and a rich historical character. This is what maintains a nation’s identity and keeps the people united. It is for this reason (amongst others) that he so fiercely opposed the French Revolution, responding with Reflections on the Revolution in France in 1790. These idealist revolutionaries could topple the Bourbon dynasty and establish a new ‘progressive’ society, but based on what? What would these ‘unifying’ ideals be? Without a solid foundation that had developed and grown organically, what could people possibly hold onto?
Now from the perspective of left-wingers, the transition to a republic would merely be a political one – simply making politics ‘more democratic and egalitarian’. A referendum would most likely be called, people would vote, and the Will of the People would be obeyed absolutely. Consider their preferred alternative, most likely a presidential system. We would be burdened, like so many nations, with yet another incompetent, weak, and self-interested hack at the top – an office created by and for the existing political class to monopolize, the final step in achieving a grey managerialist Britain.
But such an event would in truth represent so much more – a fundamental shift in Britain’s identity. Constitutional monarchy is our one national continuity and forms the basis of our mythos. All else is transient – politicians, the values of the day, social debates. Through the royals, Britons throughout the ages maintain a living link to past generations, and to our Anglo heritage as a people. Once again quoting Scruton, ‘they speak for something other than the present desires of present voters’, they are ‘the light above politics.’
The royals are especially important in Britain’s climate of national decline, with an assortment of failing institutions, from the NHS to the Civil Service to the police. It is increasingly evident that we require a national soul more than ever – to once again enshrine Britain’s history. We can’t survive on the contemporary values of ‘Diversity, Equality, and Inclusion’, on the NHS, Bureaucratisation, or record-high immigration levels. A return to order and stability, faith and family, and aggressive nationalism is the only way forward – Britons need to feel safe, moral, unified, and proud.
This Third Carolean Era has the opportunity to revitalise the role monarchy plays in peoples’ lives. By making it more divine, more mystical – alongside a conservative revolution – we can ensure Britain’s soul remains whole and pure.
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“Silence is violence” is control
Across England and Northern Ireland, riots broke out following the killing of three young girls in Southport. The accusations of two-tier policing that followed were expressions of a frustration that the police choose to be harder on anti-immigrant protestors than on pro-Palestine protestors or any protests initiated by similar causes.
By and large, accusations of two-tier policing are anecdotal, but that of course does not erase their existence or their validity. Putting aside the reality that ‘selective policing’ is a Marxist sociological-theoretical concept, the fact that academics have pointed to the existence of two-tier policing as a consequence of profiling (racial or otherwise), and that long-standing objections to stop-and-search focus on the discriminatory and (by extension) two-tier nature of the policing, the government and policing forces have denied two-tier policing.
Yet the most flagrant examples of an uneven application of the law seems to have come out of Belfast, where a judge “has warned that anybody present at a riot will be remanded in custody, even if they were only a ‘curious observer’.” It is not entirely clear why the judge feels that merely observing disobedience amounts to participation, but the consequences of this for journalists are yet to be fully explored. It would suggest that, unless a journalist observing a riot was to vehemently disown the riot, then they are unable to report on it taking place.
Where has this come from? How on earth could a judge have arrived at such a conclusion?
Two phrases have come to determine the Left’s attitudes towards the expression of “hateful comments”: first, “silence is violence”; and second, “it is not enough to not be racist, you must be anti-racist”, with “racist” of course being interchangeable with any sin you may think of or derive from consulting the Equality Act (2010).
The latter of these came most to the fore in the fever-dream era of Covid from 2020 to 2022, when many publications, writers and politicians condemned those who did not support, implicitly or otherwise, the riots conducted by Black Lives Matter:
To effectively defeat systemic racism — racism embedded as normal practice in institutions like education and law enforcement — you’ve got to be continually working towards equality for all races, striving to undo racism in your mind, your personal environment and the wider world.
In other words, you’ve got to be anti-racist.
Whilst many people agreed with or were at least sympathetic to the causes behind the riots, fashionable voices urged all who opposed those who disagreed with BLM’s principles (or actions, for that matter) to take action. It is not enough to not participate in racist behaviour, you must participate in anti-racist behaviour.
It was, without being subtle or pretending to be neutral, a call to action.
The former, meanwhile, has two similar impulses behind it, that make something seemingly nonsensical into a comprehensible idea. After all, how can silence be violent? The rational human understanding of violence is something active, something like hitting someone. I’m not of the opinion personally that speech is violence, but many are – yet even if we acquiesce to that premise, it does not address the point. How can silence be “violence”?
The answer, whilst it may seem unintelligent (and certainly unintelligible) actually derives from a paper written by Wilden in 1985, ‘In the penal colony’. In this paper, Wilden argues that violence expresses itself not just actively – being offensive or causing legally recognised forms of harm such as actual or grievous bodily harm – but passively as well.
Wilden’s paper rests on the intellectually-acrobatic argument that to not actively address circumstances and structures that do not allow for or facilitate an individual’s’ achievement of their highest form of potential is to be violent towards that person or persons.
Say, for example, a person benefits from the privilege of is class, but does not speak out in recognition of or opposition to that privilege, then he is not supporting the plight of those who such privilege works against. Silence is seen as a tacit support for the system that prevents some people from achieving their full potential and is therefore violent towards those people.
Silence, in this instance, is violence.
Now, the problems with this theory aside – least of all the epistemic difficulty of knowing what the ultimate achievement of someone’s ‘potential’ looks like – it seems to have been adopted by the Left wholesale, and even crept into popular vernacular. After all, mates don’t let mates perpetuate misogynistic attitudes, or so I’m told.
The most iconic image of these twin beliefs on the internet is of an unfortunate young man at a protest, holding a sign that recite the mantra of “silence is violence”. Yet, he is also wearing a shirt that says, “Why be racist, sexist, homophobic or transphobic when you could just be quiet?”
Typical responses to this picture fall into one of two camps. Either people look at it and mock him, asking how someone can be such an idiot as to say two contradictory statements in the same breath; or, they point out the hypocrisy, as if that the “typical Leftist” thing to do, to be inconsistent.
What these two responses miss is the very point: this is not about hypocrisy, or logic, but power and control.
The logical mind reacts in only one way. If one command is that you cannot say things you may believe (and some people certainly do believe things this man would call racist etc.), then you would prefer to say nothing. But if a countermanding command, then tells you that saying nothing is undesirable, you are left with one choice: to say what you are expected or demanded to say.
There is only one (acceptable) route out of this conundrum: the only way to not be violent is, apparently, to be positively affirming of whatever the oppressed do.
This logic lurks wherever the aggrieved assert themselves. For example, in the trans debate (and coincidentally the reason Professor Jordan Peterson shot to stardom), the expectation of the controlling logic above is that, even if you do not agree that a man can become a woman, you cannot say so, but you certainly cannot be silent about it, so to avoid being violent, you must affirm the identity of the person in question.
We may ask, why has this judge made this ruling now, if this belief has been so prevalent on the Left for so long? And surely judges are independent arbiters of the law? The only answer I can give is, it is never the fact of a Labour parliamentary victory that conservatives should be wary of, but the forces such a victory emboldens.
The judge’s ruling coming out of Belfast will have deep and far-reaching consequences for the policing of protests in this country – if only for the forces it will embolden.
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Five Truths from Dostoevsky’s The Devils
Whenever I scroll through the news on Twitter or listen to talk radio, I like to play a game called “Dostoevsky called it.” As one can guess, it consists of identifying events or trends that correspond with those in Feodor Dostoevsky’s novels and letters. Because Dostoevsky devoted so much ink to warning about the motives and effects of atheist-utilitarian socialism from the radical left, the game often points to his most direct attack on those ideas: The Devils.
Published between 1871 and 1872 and written in response to the Nechaev affair, where an underground group of socialist-atheist radicals, planning to ultimately overthrow the Tsarist government through propaganda, terrorism, and assassination, murdered a former comrade who had left their secret society, The Devils (Бесы; also translated as Demons or The Possessed) is Feodor Dostoevsky’s most explicit expose of and polemic against the revolutionary nihilism growing in late nineteenth-century Russia. Although, due to his own participation in a socialist plot aimed at educating and ultimately liberating the serfs, he often gave the benefit of the doubt to the moral idealism of the younger generation of radicals—assuming their hearts, if not their methods, were in the right place—in The Devils he nonetheless skewers the radical ideology and his generation and the next’s culpability for it.
While his main focus is on the characters’ psychologies and their symbolic significance, Dostoevsky nonetheless lays out many of the ideas populating late-nineteenth-century Russia, displaying a thorough understanding of them, their holders’ true motives (which, like those of that other ideological murderer Raskalnikov, are rarely the same as those consciously stated by their loudest advocates), and what would be the results if they were not checked. In several places, Dostoevsky unfortunately calls it right, and The Devils at times reads as a preview of the following fifty years in Russia, as well as of the modes and methods of radicalism in later places and times.
It would be too great a task to cite, here, all the places and times where Dostoevsky’s visions were confirmed; at best, after laying out a few of the many truths in The Devils, I can only note basic parallels with later events and trends in Russia and elsewhere—and let my readers draw their own additional parallels. Nonetheless, here are five truths from Dostoevsky’s The Devils:
1: The superfluity of the preceding liberal generation to progressive radicals.
The Devils is structured around the relationship between the older and younger generations of the mid-1800s. The book opens with an introduction of Stepan Trofimovich Verkhovensky, father to the later introduced radical Peter Stepanovich. A Westernized liberal from the 1840s generation, Stepan Trofimovich represents the upper-class intelligentsia that first sought to enlighten the supposedly backwards Russia through atheistic socialism (a redundancy in Dostoevsky).
However, despite his previously elevated status as a liberal and lecturer, by the time of The Devils Stepan Trofimovich—and, with him, the 1840s liberals who expected to be honored for opening the door to progress—has become superfluous. This is highlighted when his son returns to the province and does not honor his father with figurative laurels (when such a symbol is later employed literally it is in satirical mock).
Though never the direct butt of Dostoevsky’s satire, Stepan Trofimovich cannot (or refuses) to understand that his son’s nihilism is not a distortion of his own generation’s hopes but is the logical, inevitable product of them. The older man’s refusal to admit his ideological progeny in his literal progeny’s beliefs, of course, enables Peter Stepanovich to mock him further, even while he continues to avail himself of the benefits of his father’s erstwhile status in society. This “liberal naivete enabling radical nihilism” schema can also be seen in the governor’s wife, Yulia Mikhailovna von Lembke, who believes that she can heroically redirect the passions of the youth to more socially beneficial, less radical, pursuits but only ends up enabling them to take over her literary fete to ridicule traditional society and distract the local worthies while agents set parts of the local town ablaze. Stepan Trofimovich, Yulia Mikhailovna, and others show that, despite the liberal generation’s supposed love for Russia, they were unable to brake the pendulum they sent swinging towards leftism.
The same pattern of liberals being ignored or discarded by the progressives they birthed can be seen in later years in Russia and other nations. While it would historically be two generations between Belinsky and Lenin (who was born within months of Dostoevsky’s starting to write The Devils), after the 1917 Revolution, Soviet Russia went through several cycles of executing or imprisoning previous generations who, despite supporting the Revolution, were unfortunately too close to the previous era to be trusted by new, socialistically purer generations.
In a more recent UK, Dostoevsky’s schema can also be seen in the Boomer-led Labour of the ‘90s and ‘00s UK paving the way for the radical, arguably anti-British progressivism of the 2010s and ‘20s (which, granted, sports its share of hip Boomers). In America, it can be seen in the soft divide in congressional Democrats between 20th-century liberals like Nancy Pelosi and Chuck Schumer and “the squad” comprised of Alexandria Ocasio-Cortez, Ilhan Omar, and others who have actively tried (and arguably succeeded) in pushing the nation’s discourse in a left progressive direction.
2: Ideologies as active, distorting forces rather than merely passive beliefs.
“I’ve never understood anything about your theory…” Peter Stepanovich tells the serene Aleksei Nilych Kirillov later in the book, “I also know you haven’t swallowed the idea—the idea’s swallowed you…” The idea he is referring to is Kirillov’s belief that by committing suicide not from despair or passion but by rational, egotistic intention, he can rid mankind of the fear of death (personified in the figure of God) and become the Christ of the new utilitarian atheism (really, Dostoevsky intends us to understand, not without pity for Kirillov, an antichrist thereof). The topic of suicide—rising in Russia at the time of the book’s writing and a result, Dostoevsky believed, of the weakening of social institutions and national morality by the subversive nihilism then spreading—is a motif through the book. Countering Chernyshevsky’s romanticized revolutionary Rakhmetov from What is to Be Done?, Kirillov is Dostoevsky’s depiction of the atheist rational egotism of the time taken to its fullest psychological extent. Like others he had and would later write (Raskalnikov, Ivan Karamazov), Kirillov is driven mad by an idea that “swallows” him in monomania and which he has admitted to being obsessed with—the idea of a world without God.
Though Dostoevsky considered it the central issue of his day (which still torments Western culture), my focus here is not on Kirillov’s idea, itself, but on his relation to it. Countering the Western Enlightenment conceit that ideas are mere tools to be rationally picked up and put down at will, Dostoevsky shows through Kirillov that ideas and ideology (ideas put in the place of religion) are active things that can overwhelm both conscious and unconscious mind. Indeed, the novel’s title and Epigraph—the story of Legion and the swine from Luke 8—already suggests this; for Dostoevsky, there is little difference between the demons that possessed the pigs and the ideas that drive characters like Kirillov to madness.
Of course, a realist-materialist reading of Kirillov’s end (I won’t spoil it, though it arguably undercuts his serenity throughout the book) and the later Ivan Karamazov’s encounter with a personified devil would contend that there was nothing literally demonic to the manifestations, but for Dostoevsky that matters little; for him, whose focus is always on how the individual lives and experiences life, being possessed by an ideology one cannot let go of and being in the grasp of literal demons is nearly synonymous—indeed, the former may be the modern manifestation of the latter, with the same results. In his work, such things almost always accompany a lowering of one’s humanity into the beastial.
The problem with ideology, Dostoevsky had discovered in Siberia, was in their limited conception of man. By cutting off all upper transcendent values as either religious superstition or upper class decadence, the new utilitarian atheism had removed an essential part of what it meant to be human. At best, humans were animals and could hope for no more than thus, and all higher aspirations were to be lowered to achieving present social goals of food, housing, and sex—which Dostoevsky saw, themselves, as impossible to effectively achieve without the Orthodox Church’s prescriptions for how to deal with suffering and a belief in afterlife. Of the lack of higher impressions that give life meaning, Dostoevsky saw two possible results: ever-increasingly perverse acts of the flesh, and ever-increasingly solipsistic devotion to a cause—both being grounded in and expressions not of liberation or selflessness, but of the deepest egotism (which was a frankly stated element of the times’ ideologies).
From this view, Dostoevsky would have seen today’s growing efforts to legitimate into the mainstream things like polyamory, abortion, and public displays of sexuality and increasingly aggressive advocacy by groups like Extinction Rebellion or NOW (he predicted both movements in his other writing) as both being attempts to supply the same religious impulse—which, due to their being cut off by their premises from the transcendent metaphysic required by the human creature and supplied by Christianity, &c, is a doomed attempt.
3: Seemingly virtuous revolution motivated by and covering for private vices.
By the time he wrote The Devils Dostoevsky had seen both inside and outside of the radical movement; he had also depicted in Notes from Underground and Crime and Punishment characters who discover, to their angst and horror, that their actions were not motivated by humanitarianism, but by envy, cravenness, and the subsequent desire for self-aggrandizement. The Devils features the same depth of psychology beneath the main characters’ stated ideas and goals, and the book often shows how said ideas cannot work when applied to real people and real life.
As the chronicle unfolds, characters often speak of the petty vices that undermine the purity of the revolutionaries’ stated virtues and goals. “Why is it,” the narrator recounts Stepan Trofimovich once asking him, “all these desperate socialists and communists are also so incredibly miserly, acquisitive, and proprietorial? In fact, the more socialist someone is…the stronger his proprietorial instinct.” So much for those who seek to abolish property; one can guess to whom they wish to redistribute it! The revolutionary-turned-conservative Ivan Shatov later continues the motif, digging deeper into the radicals’ motives: “They’d be the first to be terribly unhappy if somehow Russia were suddenly transformed, even according to their own ideas, and if it were suddenly to become immeasurably rich and happy. Then they’d have no one to hate, no one to despise, no one to mock! It’s all an enormous, animal hatred for Russia that’s eaten into their system.”
Leftists might accuse Dostoevsky of merely wishing to make the radicals look bad with such an evaluation; however, as addressed by Joseph Frank in his chapter on the topic in Dostoevsky: The Miraculous Years, 1865-1871, the “bad for thee, fine for me” mentality of The Devils’s radicals (if their ideology doesn’t completely blind them to such inconsistency in the first place) was straight from the playbook of men like Nechaev: the Catechism of a Revolutionary. Far from trying to evade contradictory behavior, such a work, and other later analogues (Marcuse’s “Repressive Tolerance”; Alinsky’s Rules for Radicals) advocate being inconsistent and slippery with one’s principles for the sake of the revolution. Indeed, contradicting the rules one was trying to impose on others was and is seen not as an inconsistency but as a special privilege—of which several examples can be found, from upper party opulence in the USSR to modern champagne socialists who attend a $35,000-per-seat Met Gala while advocating taxing the rich.
4: Social chaos and purges as necessary and inevitable in achieving and maintaining utopia.
Perhaps the single most prophetic scene in The Devils occurs in the already mentioned chapter “‘Our Group’ Meets,” which depicts the various local radicals meeting under cover of a birthday party. A cacophony of competing voices and priorities, the scene’s humorous mix of inept, self-serving idealists is made grotesque by the visions they advocate. Most elaborate of the speakers is Shigalyov, whose utopian scheme for the revolution was insightful enough that Boris Pasternak and Alexander Solzhenitsyn both referred to the Russian government’s post-October Revolution policies and methods as “Shigalevism.”
While Shigalyov’s whole speech (and Peter Stepanovich’s commentary) is worth reading as a prophecy of what would happen less than fifty years after the book, here are some notable excerpts:
“Beginning with the idea of unlimited freedom, I end with unlimited despotism…One-tenth will receive personal freedom and unlimited power over the other nine-tenths. The latter must forfeit their individuality and become as it were a herd [through re-education of entire generations]; through boundless obedience, they will attain, by a series of rebirths, a state of primeval innocence, although they’ll still have to work…What I’m proposing is not disgusting; it’s paradise, paradise on earth—there can be none other on earth.”
A direct goal of the purges in Soviet Russia, and of the alienation of children from their parents, was to create a new, purely socialist generation unburdened by the prejudices of previous or outside systems.
“[We’ve] been urged to close ranks and even form groups for the sole purposed of bringing about total destruction, on the pretext that however much you try to cure the world, you won’t be able to do so entirely, but if you take radical steps and cut off one hundred million heads, thus easing the burden, it’ll be much easier to leap over the ditch. It’s a splendid idea…”
While hundred million murders may seem like hyperbole in the scene’s darkly comic context, in the end it was an accurate prediction of what communism would accomplish if put into systemic practice; however, we should also not miss the stated method of destabilizing society via conspiratorial groups aimed not at aid but at acceleration—a method used in early 20th-century Russia and employed by modern radical groups like Antifa.
“It would take at least fifty years, well, thirty, to complete such a slaughter—inasmuch as people aren’t sheep, you know, and they won’t submit willingly.”
Besides the time element, the identifying of the individual human’s desire for life and autonomy as a lamentable but surmountable impediment to revolution—rather than a damning judgment of the radicals’ inability to make any humanitarian claims—is chilling.
“[Shigalyov] has a system for spying. Every member of the society spies on every other one and is obliged to inform. Everyone belongs to all the others and the others belong to each one. They’re all slaves and equal in their slavery.”
A corrollary to the section above on freedom-through-slavery, this part accurately identifies the system of paranoid watchfulness in the first half of the USSR, as well as the system currently in place in the DPRK, among other places.
“The one thing the world needs is obedience. The desire for education is an aristocratic idea. As soon as a man experiences love or has a family, he wants private property. We’ll destroy that want: we’ll unleash drunkenness, slander, denunciantion; we’ll unleash unheard-of corruption… [Crime] is no longer insanity, but some kind of common sense, almost an obligation, at least a noble protest.”
Anti-traditional-family advocacy and the flipping of the criminal-innocent dichotomy as a means of destabilizing the status quo all took place in the early years of the Soviet Union. Unfortunately, they are all too familiar today in the West, whether we’re talking about the current argument in the US that children’s education belongs to the community (i.e. teachers, public unions, and the government) to the exclusion of parents, or the argument heard at several points in the 2020 that crimes and rioting committed during protests were an excusable, even “noble,” form of making one’s voice heard (while nicking a TV in the process!).
More recently and ongoing here in California (often uncannily parallel to the UK in certain policy impulses), our current District Attorney George Gascon, in an attempt to redefine the criminal-victim mentality in the state, has implemented policies that benefit criminals over victims by relaxing the definitions and sentences of certain crimes and refusing to try teenagers who commit felonies as adults (among other things); as many expected would happen, crime has risen in the state, with the Los Angeles PD recently advising residents to avoid wearing jewelry in public—which, to this resident, sounds oddly close to blaming the victim for wearing a short skirt by another name, and is certainly a symptom and example of anarcho-tyranny.
To nineteenth-century readers not as versed as Dostoevsky in the literature and ideas behind the Nechaev affair (which was publicly seen as merely a murder among friends, without the ideological significance Dostoevsky gave it), this section of The Devils would have seemed a comic exaggeration. However, to post-20th-century readers it stands, like a clarion pointing forward to the events later confirmed by Solzhenitsyn, as a dire warning not to forget the truth in the satire and not to dismiss the foolishly hyperbolic as impotent. Even in isolated forms, the ideas promoted by Shigalyev are real, and when applied they have been, as Dostoevsky predicted, disastrous.
5: Socialism not as humanitarian reason, but as religious poetry; revolution as primarily aesthetic, not economic.
An amalgam of, among other members of the 1840s generation, the father of Russian socialism Alexander Herzen, Stepan Trofimovich is, by the time of the 1860s setting of The Devils, an inveterate poet. This reflects Dostoevsky’s evaluation of his old theorist friend, whom he nonetheless cites as the enabler of men like the nihilist terrorist Nechaev, despite Herzen’s claims that the terrorist had bastardized his ideas (see truth number 1, above).
The brilliantly mixed critique of and homage to Dostoevsky’s own generation that is Stepan Trofimovich presents one of the book’s main motifs about the nihilist generation: that they are not pursuing a philosophically rational system of humanitarian goals, but a romantically poetic pseudo-religion. “They’re all bewitched,” cries Stepan Trofimovich about his son, “not by realism, but by the emotional and idealistic aspects of socialism, so to speak, by its religious overtones, its poetry.” Later, at the aforementioned pivotal meeting scene, Peter Stepanovich shows he is completely conscious of this fact—and willing to use it to his advantage. “What’s happening here is the replacement of the old religion by a new one; that’s why so many soldiers are needed—it’s a large undertaking.” In the next scene, Peter Stepanovich reveals to Stavrogin his desire to use the enchanting nobleman as a figurehead for revolution among the peasantry, intending to call him Ivan the Tsarevich to play off of the Russian folk legend of a messianic Tsar in hiding who will rise to take the throne from the “false” reigning Tsar and right all the world’s wrongs with his combined religious and political power.
Peter Stepanovich, himself, is too frank a nihilist to believe in such narratives; focused as he is on first destroying everything rather than wasting time pontificating about what to do afterwards, he even treats Shigalyov’s utopian visions with contempt. However, the rest of the radicals in the book are not so clear-sighted about the nature of their beliefs. Multiple times in the book, susceptibility to radical socialism is said to inhere not in reason but in sentimentality; showing Dostoevsky’s moderation even on a topic of which he was so passionately against, this critique often focuses on younger men and women’s genuine desire to good—which ironically makes them, like the naive and forthright Ensign Erkel, susceptible to committing the worst crimes with a straight, morally self-confident face.
It is this susceptibility to the art of revolution that causes Peter Stepanovich to be so sanguine about others’ romanticism, despite its falling short of his own nihilism. His intention to use others’ art for his own advantage can be seen most clearly in his hijacking of Yulia Mikhailovna’s literary fete to use it, through his cronies, as a screed against the social order and to mock artistic tradition. His doing so is just a follow-through of an earlier statement to Stavrogin that “Those with higher abilities…have always done more harm than good; they’ll either be banished or executed. Cicero’s tongue will be cut out, Copernicus’s eyes will be gouged out, Shakespeare will be stoned…it’s a fine idea to level mountains—there’s nothing ridiculous in that…we’ll suffocate every genius in its infancy.”
Against his son’s leveling of mountains, Stepan Trofimovich, to his infinite credit and speaking with his author’s mouth, declares, with the lone voice of tradition amidst the climactic fete, that “Shakespeare and Raphael are more important than the emancipation of the serfs…than nationalism…than socialism…than the younger generation…than chemistry, almost more important than humanity, because they are the fruit, the genuine fruit of humanity, and perhaps the most important fruit there is!” In this contrast between the Verkhovenskys, it is not different views on economics but on art—on Shakespeare, among others—that that lie at the heart of revolution, with the revolutionaries opposing the English Poet more viscerally than any other figure. This reflects Dostoevsky’s understanding that the monumental cultural shift of the 1800s was not primarily scientific but aesthetic (a topic too large to address here). Suffice it to say, the central conflict of The Devils is not between capitalists and socialists (the book rarely touches on economic issues, apart from their being used as propaganda—that is, aesthetically), nor between Orthodox and atheists (though Dostoevsky certainly saw that as the fundamental alternative at play), but between the 1840s late Romantics and the new Naturalist-Realists.
The prophetic nature of this aesthetic aspect of The Devils has many later confirmations, such as the 20th century’s growth of state propaganda, especially in socialistic states like Nazi Germany or the USSR, though also in the West (Western postmodernism would eventually make all art as interpretable as propaganda). Furthermore, the Stalinist cult of personality seems a direct carry over of Peter Stepanovich’s intended desire to form just such a pseudo-religious cult out of Nikolai Vsevolodovich.
Having written a novel on the threat posed to Shakespeare by the newest generation of the radical left (before reading of Verkhovensky’s desire to stone Shakespeare—imagine my surprise to find that Dostoevsky had called even the events in my own novel!), I hold this particular topic close to my heart. Indeed, I believe we are still in the Romantic-Realist crossroads, and in dire need of backtracking to take the other path that would prefer, to paraphrase Stepan Trofimovich, the beautiful and ennobling Shakespeare and Raphael over the socially useful pair of boots and petroleum. Like Stepan Trofimovich, I believe comforts and technical advancements like the latter could not have come about were it not for the culture of the former—and that they would lose their value were their relative importance confused to the detriment of that which is higher.
Conclusion
There are, of course, many other truths in The Devils that have borne out (the infighting of radical advocacy groups competing for prominence, radicalism as a result of upper-class boredom and idleness, revolution’s being affected not by a majority but a loud minority willing to transgress, self-important administrators and bureaucrats as enablers and legitimators of radicals…). While the increasingly chaotic narrative (meant to mimic the setting’s growing unrest) is not Dostoevsky’s most approachable work, The Devils is certainly one of his best, and it fulfills his intended purpose of showing, like Tolstoy had done a few years before in War and Peace, a full picture of Russian society.
However, while Tolstoy’s work looked backward to a Russia that, from Dostoevsky’s view, had been played out, The Devils was written to look forward, and, more often for ill than good, it has been right in its predictions. Not for nothing did Albert Camus, who would later adapt The Devils for the stage, say on hearing about the Stalinist purges in Soviet Russia that “The real 19th-century prophet was Dostoevsky, not Karl Marx.”
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The Betrayal of Lampedusa
“At midnight tonight her borders will be opened. Already, for the last few days, they’ve been practically unguarded. And I’m sitting here now, slowly repeating, over and over, these melancholy words of an old prince Bibesco, trying to drum them into my head: The fall of Constantinople is a personal misfortune that happened to all of us only last week.” – Jean Raspail, Camp of the Saints, Epilogue (1973).
Within the last 48 hours, the Mediterranean island of Lampedusa, once host to 6000 Italians, has been overrun by upwards of 18,000 African migrants, the vast majority of whom are military-age men. Some of them have been shipped to Germany, but they continue to vastly outnumber the native population.
Since their arrival, the migrants have taken to fighting amongst themselves, struggling over the island’s waning and already limited resources, with local officials struggling to maintain control. As every astute observer of politics and history will know, violence within the in-group is typically remedied by violence against an out-group, making the possibility of further and more severe chaos, far from a hamstrung hypothetical, a very real threat at this time.
In no uncertain terms, Lampedusa is experiencing an invasion, one which has been instigated without any formal declaration of war between nations yet will afflict the island in much the same way.
Given the nature of this event, I am reminded of Jean Raspail’s The Camp of The Saints, the final words of which provide the opening to this article. The author grimaces as the last outpost of European civilisation, Switzerland, is forced to capitulate to the ‘rules-based international order’, having been outcast as a rogue state for closing its borders amid a continent-wide migrant invasion.
Lampedusa is symbolic of the transformation which has occurred in towns and cities across all of Europe. From England to Italy, from Spain to Poland, from France to Germany, from Sweden to Greece, mass immigration from Africa and the Middle East, as well as Eastern Europe to a lesser and more regionalised extent, has radically transformed the essence of many European settlements, altering them in such a way not seen since Antiquity.
In England, in this year alone, we’ve become well-acquainted with the dire consequences of mass immigration. From rising tensions between the Blacks and South Asians in Peckham to ethnoreligious violence between Indians and Pakistanis in Leicester, divisions which the established order has tried to dilute by promoting anti-white rhetoric in the name of intersectional social justice.
Amid this litany of troubling events, it is easy to forget our European friends face many of the same problems, and that such problems are not an idiosyncratic quirk of the British state.
Unfortunately, similar to such cases, many will not feel sympathy for the people of Lampedusa. Some of native descent in Europe will remark on the inevitability of this ordeal, as if it was apolitical in nature or without a realistic alternative. Erstwhile, some of foreign descent will wryly remark that such an invasion is deserved; if not ‘deserved’, then a change for the better, and if not a change for the better, then negligible happenstance unworthy of press coverage.
Our leaders have known about Lampedusa’s troubles for no less than 20 years. However, instead of preventing such activity, they have spent decades trying to transform illegal migration to a standard bureaucratic procedure. If you can’t beat them, join them!
Since the early 2000s, Lampedusa has been a prime transit point for African and Middle Eastern migrants seeking to enter Europe. Migrants have been paying smugglers to ship them to the island, from which they are transported to the Italian mainland for processing.
Not that any of the processing matters of course. Those without the right to stay, even under Europe’s distinctly liberal asylum laws, continue to live on the mainland, as their deportation orders are barely enforced.
When the Italian government struck a deal with the Libyans in 2004, obliging the latter to accept African immigrants deported from Italian territories, the European Parliament condemned the agreement, and the ensuing repatriations, as unconscionable, unworkable, and quite possibly, illegal.
In 2009, roughly 2000 migrants overwhelmed the island’s asylum facilities. Only capable of accommodating 850 people, the migrants started to riot. How dare the people of Lampedusa be so unprepared for their completely unscheduled, unsustainable arrival!
Catching word of the riot, the United Nations High Commissioner for Refugees (UNHCR) quickly issued a condemnation; not of the traffickers, not of the authorities, or the migrants, but of the Italian people.
In May 2011, roughly 35,000 migrants had landed on the island since the start of the year. By August, the number had increased to roughly 50,000, with most of the arrivals being men in their 20s and 30s. Compared to the recent arrivals, it is clear things have not changed in this respect either.
Following the 2013 Lampedusa Disaster, in which a boat carrying over 500 migrants, mostly from Eritrea and Somalia, sank off the coast, resulting in at least 300 deaths, Pope Francis prayed not for the natives, but those complicit in a criminal operation to illegally enter their home.
In 2015, from January to April, over 1500 migrants died on the route from Libya to Lampedusa, making it the deadliest migrant route in the world, and just as was the case two years prior, efforts went towards making the trafficking network more legal, more safe, and more efficient, rather than ending the practice altogether.
Consequently, boats needn’t travel far off the coast of Africa to be brought to the mainland by the EU or the UN. The prevailing political mentality is that migrant deaths in the Mediterranean are best averted when the EU, the UN, or some other official organisation does the traffickers’ dirty work for them, showing little-to-no consideration for the domestic consequences of their precious so-called ‘humanitarianism’.
In the case of Lampedusa, the idea that an island of one community should become an island of two, lacking a tangible sense of common belonging, situates both groups into a state of war, and such a war is unjust, both in the sense it is unnecessary, and in the course which it is likely to follow, assuming it is not dealt with in a fitting manner.
From the Pelagies to the Aegeans, every island in the Mediterranean is the first in a trail of dominoes, each of increasing size, intersecting at every European capital, with every tremor created from their fall being more forceful than the last.
I do not want what has happened in Lampedusa to happen tomorrow, the day after, next week, next month, next year, or ever after. It is the height of political and moral arrogance to plunge an entire community of people, overnight no less, into such existential uncertainty.
To subject anyone, native or foreigner, to such sordid and egregious indignity is to betray every metric of justice, and anything short of mass deportations, the immediate defunding of complicit NGOs, and the destruction of every treasonous convention and law, will amount to nothing but betrayal, a betrayal of Lampedusa and all the peoples of Europe.
