Jealousy as the cause of internal
self-destruction

 In “Kreutzer Sonata” by Leo Tolstoy

“Jealousy
is a fear of someone else’s superiority.”

Alexander Dumas  

            The grand collection of the
world literature grows faint from the vast abundance of numerous approaches to
the issue of jealousy and adultery that have been accumulated throughout
centuries by different authors.  This particular topic was used in Greek
comedies, Roman tragedies, in writings of later Romanticists and Realists. 
However, only in the nineteenth century when psychology, developed within, the
subject of jealousy in literature that exaggerated love tales turned to deep
psychological dramas with characters soul-searching within the meticulous
analysis of events. One of the most prominent giants in literature Leo Tolstoy
was famous for combining detailed physical description with perceptive
psychological insight.  He conveys to a reader the bare human intimacy of
gestures, deeds and thoughts of the jealous psychic soul. His story Kreutzer
Sonata examines the basic drives, emotions and motives of ordinary people
searching for answers to the questions of life. One of them is that jealousy
causes internal self-destruction.

            Prior to an analysis of
the narrative of the story, where a jealous husband is presented, the nature of
jealousy needs to be illuminated for the audience.  After hearing the various
theories on love by his fellow passengers on a train, an insanely jealous man
named Pozdnyshev blurts out that he killed his wife, whom he suspected of
carrying on an affair with a violinist.  Then he reveals the story of how he
came to such an extreme action.

            What turned his life into a misery full of
disappointment, anger and itchy craving that ruined his life as well as someone
else’s life? Jealousy. This emotion made his gut ache, his blood boil and his
logic disappear along with common sense.  Pozdnyshev took jealousy and cast it
into self-doubt, insecurity and desperation.  “During the whole of my married
life I never ceased to be tormented by jealousy,” reveals his confession.
(Tolstoy, p.189)

             As Webster’s Dictionary defines it, the
word jealous means “suspiciously watchful; distrustful, or faithless; envious;
anxiously solicitous.”(Outcry magazine, “Making the Most of Jealousy”) 
All of these qualities drove the main character to the murder and absolute
self-desecration.  His life is wretched, he has no motivating objectives left,
no aspirations to follow, no goals to accomplish.  His children are taken away
from him by his sister-in-law, and he is abandoned by the entire world.  In
essence “The Kreutzer Sonata” presents a distorted view of love, especially of
sexual experience. Pozdnyshev’s nightmarish, feverish narrative of his marriage
in its later stages intensifies in rage and intelligence vanishes as a ravaging
emotion of jealousy captures the utmost attention. 

Beethoven’s “Kreutzer
Sonata” thrusts Pozdnyshev into ultimate degree of jealousy that drives him to
imminent self-destruction and to the villain murder.  Music is the most perfect
form of art to grasp jealousy over the mind. It is detached from the hierarchy
of all other arts by not dwelling above them but by creating its own unique
world.  Music does not reflect either ugliness of life or sufferings generated
by it. Music, through the fact of its existence drives off everything that is
anxious and annoying.  Music is the rhythm of life, a tender, caring rhythm
that banishes any torment. Indeed, it is not overly complicated to draw a
parallel between music and human emotions in general.  Yet, music was the
catalyst that accelerated the breakdown of Pozdnyshev’s marriage.  The musical
relationship between Trukhachevskiy and Pozdnyshev’s wife is itself a sensual,
sexual one. The intercourse between piano and violin in Beethoven’s sonata is
suggestive of this – and although there is no notion of any explicitly physical
contact between the two, the contact between violin and piano, as it is
described makes Pozdnyshev’s jealousy look well-founded.

Pozdnyshev claims that it was just
one part of Beethoven’s masterpiece that propels his suspicion to grow into a
firm belief in his wife infidelity.   Psychologists suggest that men react to
jealousy with anger towards their sexual partner and the third party and are
more miserable by sexual impropriety than by mental perfidiousness.  Sexual
jealousy is the threat or perceived threat to a relationship between two
individuals who are physically or sexually involved. (Final Exam:
Sociobiological Aspects of Sexual Jealousy)  Jealousy and murder grow out of
and are really at one with, the sexual attraction, which brought Pozdnyshev and
his wife together in the first place, and which held their marriage together.

Pozdnyshev accentuates that
specifically the first presto of the “Kreutzer Sonata” is the “exquisite
voluptuousness of the senses” and “the link between them.” (Tolstoy, p. 218) 
He is not particularly impressed with the “common and unoriginal andante’ and
“the very weak finale.”  However, the first allegro turns out to be an
allegation of his wife’s adultery.  What animated slide show is running in
Pozdnyshev’s inflamed imagination when he listens to the piece so masterfully
performed by his wife and Trukhachevsky?

“Kreutzer Sonata” is a very solid,
yet unobtrusive piece of music.  It is flowing into the mood, brightens it up
and softens down.  The first presto is not long, yet it reflects a sinful
abundance of passion.  Indeed, the dialogue of the violin and the piano amazes
with its vivacity and glorification of feelings.  It overwhelms and subdues
emotions from the very first loud piano’s accords and violin singing its second
part to piano on the contrary in a tender, twittering tone.  Then piano is
flying into crescendo and as if waiting for the imminent amalgamation of two
hearts into sweet harmony of an increasing rhythm, it decides to cease to a
voluptuous retreat.  But prior to the immediate withdrawal it sends sensuous
hints of the near victory to the violin.  And if though the violin senses this
hesitation it falls into flirting, mischievous playfulness.  The next swift
turns into calamity, sweet exhaustion of piano and violin, when a dialogue of
two is almost sound.  They are questioning, comforting each other, and perhaps
seeking an answer to “maybe not?” But it does not last long, because the next
accords of piano are assertive and irresistibly inviting. There is a notion of
violin speculations and balance upon a thin line while making the right
decision, but the crowning part of the allegro is the triumph over obstacles,
doubts and moral norms.  It is a celebration of feelings, glory of eroticism
and delight of lust. 

This professedly was the
Pozdnyshev’s vision of the Kreutzer Sonata and his interpretation of the
performance.  Was it correct? Tolstoy never gives any explicit and clear
depiction of the alleged affair.  However, very animating and present in
Pozdnyshev’s mind, this rendition of music generated into unrestrained beast of
jealousy that drove him gradually yet inevitably to self-destruction and a
murder as a consequence of own moral degradation.