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Leo TolstoyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The judicial system plays a central role in the story, accusing, trying, and convicting Aksenov of a murder he did not commit. The flaws of this system reverberate throughout the story.
The judicial system and its flaws first become clear when police officers stop, interrogate, search, and ultimately arrest Aksenov on suspicion of murdering the merchant. Aksenov is overwhelmed by fear, which emerges as the main weapon of the judicial system. This fear renders Aksenov unable to defend himself and makes him appear guilty when he is not.
Moreover, the punishments that the human judicial system imposes are chiefly physical and bodily in nature. When convicted, Aksenov is beaten and sent to Siberia, where he becomes prematurely old and gray. Similarly, it is physical punishment that Makar fears from the authorities when Aksenov discovers his attempt to escape. The human judicial system’s fixation on the body contrasts with divine justice’s focus on the spiritual and raises the question of what the law’s purpose even is, as disciplining the body does not necessarily affect a person’s character or soul.
Tolstoy thus depicts the judicial system as fundamentally unjust. Not only are its methods and punishments inherently unfair, but it convicts Aksenov of a crime that he did not commit. Because of this, the true criminal—Makar—goes free, though he later is convicted of a different (if lesser) crime. This fallibility renders the entire judicial system unjust and exposes its utter inferiority to the infallible justice of God.
God is in a sense the most important character of the story, though of course He does not play a personal role and functions entirely behind the scenes. This “character” of God is conspicuously absent from the first part of the story: The materialistic and hedonistic young Aksenov does not seem to have much interest in God and certainly does not think of God as a source of truth and mercy until he is put in jail.
God and God’s justice become manifest in the spiritual transformation of Aksenov. By degrees, Aksenov embraces God as the only source of truth and thus as the only source of justice: Since only God can know that he is innocent of the merchant’s murder, only God can show him mercy. An important part of this spiritual transformation is Aksenov’s evolving understanding of man’s relationship with God. As he becomes more spiritual, Aksenov moves away from simply seeing himself as innocent and acknowledges that he too is a sinner in the eyes of God. This realization is what sparks Aksenov’s statement that God will forgive Makar. If God alone is the source of truth and justice, then it is only God—not sinful human beings—who can offer forgiveness.
Physical transformation and the process of aging symbolize the spiritual transformation Aksenov undergoes over the course of the story. In the beginning of the story, Aksenov’s wife has a dream in which Aksenov returns home with gray hair. In prison, Aksenov undergoes just such a dramatic physical change. Once handsome and youthful, Aksenov rapidly becomes an old man: “His hair turned white as snow, and his beard grew long, thin, and grey. All his mirth disappeared; he stooped; he walked slowly, spoke little, and never laughed, but he often prayed” (119).
Aksenov’s physical (external) transformation accompanies and symbolizes his spiritual (internal) transformation. Aksenov becomes more and more devoted to God. He also becomes more and more ascetic, abstaining from any form of indulgence or pleasure. He buys a book, The Lives of the Saints, which is a famous source on the ascetic lifestyles of various Christian holy men. His fellow prisoners even give Aksenov the nicknames “Grandfather” and “The Saint,” making explicit the connection between Aksenov’s weathered and withered appearance and his spirituality. Conversely, when Makar—the true murderer—appears in the prison, he is tall and strong, embodying the moral opposite of the aged but virtuous Aksenov. Tolstoy illustrates that external, physical appearances are illusory and that it is only what is internal and spiritual that matters.
By Leo Tolstoy