“There is a remarkable picture called 'Contemplation.' It shows a forest in winter and on a roadway through the forest, in absolute solitude, stands a peasant in a torn kaftan and bark shoes. he stands, as it were, lost in thought. Yet he is not thinking: he is "contemplating." If anyone touched him he would start and look bewildered. It's true he would come to himself immediately; but if he were asked what he had been thinking about, he would remember nothing. Yet probably he has hidden within himself, the impression which dominated him during that period of contemplation. Those impressions are dear to him and he probably hoards them imperceptibly, and even unconsciously. How and why, of course, he does not know. He may suddenly, after hoarding impressions for many years, abandon everything and go off to Jerusalem on a pilgrimage. Or he may suddenly set fire to his native village. Or he may do both.”
Quote Analysis:
In this quote from Fyodor Dostoyevsky, the concept of contemplation is explored through the image of a peasant in solitude in a winter forest. The peasant is described as being lost in thought, yet not actively thinking - rather, he is immersed in contemplation. This distinction between thinking and contemplation is significant, as it suggests a deeper, more intuitive experience of the world. The idea that the peasant may hoard and cherish the impressions he receives during contemplation, even if he is unaware of it, highlights the power of moments of deep reflection. The unpredictability of the peasant's potential actions, such as going on a pilgrimage or setting fire to his village, underscores the transformative nature of contemplation and the hidden depths of the human psyche. This quote invites readers to ponder the mysterious and unknowable aspects of human consciousness and the profound impact of contemplative moments on one's life choices and actions.
Modern Relevance:
In this quote from Fyodor Dostoyevsky, the concept of contemplation and the hidden depths of the human mind are explored. The peasant in the painting is described as being lost in thought, yet not actively thinking. This idea of hidden impressions and subconscious motivations can be seen as relevant in today's world, where individuals often act on impulses or desires that they may not fully understand or be able to articulate. In a time where mental health and self-reflection are increasingly important, Dostoyevsky's words remind us of the complexity of the human psyche and the potential for unexpected actions based on these hidden impressions.
Examples of Usage:
In his novel "The Idiot," Fyodor Dostoyevsky explores the concept of contemplation through the character of the peasant in the forest. This passage demonstrates the idea that contemplation is a deep and introspective process that can lead to unexpected actions or decisions. The peasant's inner thoughts and impressions shape his behavior in ways that are mysterious and profound.
Reflection Questions
In this quote by Fyodor Dostoyevsky, the concept of deep contemplation and hidden impressions is explored through the image of a peasant standing in solitude in a winter forest. Consider the following questions to delve deeper into the ideas presented:
- What do you think Dostoyevsky is trying to convey with the image of the peasant lost in contemplation in the forest?
- Do you believe that there are moments in your life where you have also been in a state of contemplation, without actively thinking?
- How do you interpret the idea of hoarding impressions unconsciously and the potential impact it can have on a person's actions or decisions?
- Have you ever experienced a moment where a seemingly insignificant impression or memory influenced a significant choice or change in your life?
- Reflect on the potential significance of the peasant in the image abandoning everything for a pilgrimage or setting fire to his village. How does this relate to the idea of hidden impressions guiding behavior?
Similar quotes
“The painter Kramskoy has a remarkable painting entitled The Contemplator: it depicts a forest in winter, and in the forest, standing all by himself on the road, in deepest solitude, a stray little peasant in a ragged caftan and bast shoes; he stands as if he were lost in thought, but he is not thinking, he is "contemplating" something. If you nudged him, he would give a start and look at you as if he had just woken up, but without understanding anything. It's true that he would come to himself at once, and yet, if he were asked what he had been thinking about while standing there, he would most likely not remember, but would most likely keep hidden away in himself the impression he had been under while contemplating. These impressions are dear to him, and he is most likely storing them up imperceptibly and even without realizing it--why and what for, he does not know either; perhaps suddenly, having stored up his impressions over many years, he will drop everything and wander off to Jerusalem to save his soul, or perhaps he will suddenly burn down his native village, or perhaps he will do both. There are a good many "contemplatives" among our peasants. And Smerdyakov was probably one of them. And he was probably greedily hoarding up his impressions, hardly knowing why.”
“The happy man needs nothing and no one. Not that he holds himself aloof, for indeed he is in harmony with everything and everyone; everything is "in him"; nothing can happen to him. The same may also be said for the contemplative person; he needs himself alone; he lacks nothing.”
“He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him … so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all…. He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from everyone and from everything at that moment.”
“Indeed, we all know that the man who attentively contemplates a thing, who wants to see it as it is without changing anything, is 'absorbed,' so to speak, by this contemplation -- i.e., by this thing. He forgets himself, he thinks only about the thing being contemplates; he thinks neither about his contemplation, nor -- and even less -- about himself, his "I," his Selbst. The more he is conscious of the thing, the less he is conscious of himself. He may perhaps talk about the thing, but he will never talk about himself; in his discourse, the word 'I' will not occur.For this word to appear, something other than purely passive contemplation, which only reveals Being, must also be present. And this other thing, according to Hegel, is Desire, Begierde....”
“Leave it to him to fall in love with probably the only female in all of England who would refuse to marry him because he had wealth, he thought with disgust as he stomped inside.Honestly, he did always seem to choose the hardest route to everything. So, of course, he would find himself in love with the most difficult woman he could probably find. But if Suzette thought she was going to back out of this wedding, she had another think coming, he told himself grimly as he mounted the stairs to the bedchambers.”