In the ideological realm proper. Nietzsche would doubtless take precedence over Dostoevskii, although there is of course very little in Nietzsche that does not first appear in Dostoevskii's writings.
2.
La Création romanesque chez Malraux (Paris, 1968), 96.
3.
See Clara Malraux, Apprendre à vivre (Paris. 1963 ), 271.
4.
Esquisse d'une psychologie du cinéma in Scenes Choisies (Paris, 1946), 331. These words were in fact written in the late 1930s.
5.
See Les Noyers de l'Altenburg (Paris, 1948), 120. Reference to The Idiot raises two important problems which remain admittedly difficult to solve. Firstly, there is the question of Malraux's preference in respect of Dostoevskii's novels, and secondly the question of translations Malraux probably used. To answer the second point first, in all likelihood Malraux read the first fully-fledged translations by Boris de Schloezer (see J. Hoffmann, L'Humanisme de Malraux (Paris, 1963), 25) which appeared in France immediately after the end of the First World War. As for the first point, one can only surmise that Malraux's disposition would have made him particularly receptive to the anguished personalities of Raskolnikov, Kirillov and Ivan Karamazov, rather than to the mystical responses and ideas of Prince Myshkin.
6.
Malraux par lui-même (Paris. 1970), 38.
7.
See Dostoyevsky (London, 1943 ), 41, 42.
8.
La Tentation de l'Occident (Paris, 1926 ), 66 and 168 respectively.
9.
Malraux's own words as quoted by G. Picon, Malraux par lui-même, 66.
10.
See K. Mochulsky , Dostoyevsky, trans. by M. A. Minihan (New Jersey, 1967), 433, and N. Gourfinkel.Dostoievski notre contempornin (Paris, 1961), 149-171.
11.
The Brothers Karamnzov, trans. by D. Magarshack ( Harmondsworth, 1958), 77, 309.
12.
Le Temps du mépris (Paris, 1935), 9.
13.
The Devils, trans. by D. Magarshack (Harmondsworth , 1953), 126.
14.
La Condition humaine (Paris. 1946), 186.
15.
The Devils, 103.
16.
La Condition humaine, 139.
17.
The Brothers Karomazov, 275.
18.
See L'Espoir (Paris. 1937 ), 177-80.
19.
Ibid., 120.
20.
Ibid., 180.
21.
Dostoievski notre contemporain, 169. Malraux himself underscores this particular feature in Dostoevskii of conflict or confrontation between characters. See his comments inserted in the margin of G. Picon, Malreux par lui-même, 41.
22.
Esquisse d'une psychologie du cinéma in Scènes Choisies, 331.
23.
Problèmes de la poétique de Dostoïevski, traduit par Guy Verret (Lausanne, 1970), 38.
24.
"N'Etait-ce donc que cela?". Liberté de l'esprit (Avril 1949), no. 3, pp. 50-55.
25.
André Malraux and the Tragic Imagination ( Stanford, 1952), 105.
26.
Of course, Dostoevskii is not the only factor to take into account when one considers the dramatic movement from scene to scene. All the novels of Malraux's youthful, revolutionary period disclose a close connection with cinematographic techniques. Suffice it to refer the reader to my forthcoming article "André Malraux and the Cinema", to appear in La Revue des Langues Vivantes.
27.
The Craft of Fiction (London, 1922), 47.
28.
Dostoïevski notre contemporain, 169.
29.
Laclos in Scènes Choisies, 336.
30.
Ibid.
31.
See La Condition humaine, 100-5, 148-52.
32.
See ibid., 187-8.
33.
See G. Rosenshield . "First- versus Third-Person Narration in Crime and Punishment", Slavic and East European Journal, xvii, no. 4 (Winter 1973), 339.
34.
Esquisse d'une psychologie du cinéma in Scènes Choisies, 331.
35.
La Condition humaine, 12-13.
36.
See "Recurrent Imagery in Dostoievskij". Harvard Slavic Studies, iii (1957).
