“Essentially, this is undoubtedly what had to happen. But Rome as a state retained too much of pagan civilization and wisdom—for example, the very aims and basic principles of the state. Whereas Christ’s Church, having entered the state, no doubt could give up none of its own basic principles, of that rock on which it stood, and could pursue none but its own aims, once firmly established and shown to it by the Lord himself, among which was the transforming of the whole world, and therefore of the whole ancient pagan state, into the Church. Thus (that is, for future purposes), it is not the Church that should seek a definite place for itself in the state, like ‘any social organization’ or ‘organization of men for religious purposes’ (as the author I was objecting to refers to the Church), but, on the contrary, every earthly state must eventually be wholly transformed into the Church and become nothing else but the Church, rejecting whichever of its aims are incompatible with those of the Church. And all of this will in no way demean it, will take away neither its honor nor its glory as a great state, nor the glory of its rulers, but will only turn it from a false, still pagan and erroneous path, onto the right and true path that alone leads to eternal goals.”
Fyodor Mikhaylovich Dostoyevsky was a Russian writer, essayist and philosopher, perhaps most recognized today for his novels Crime and Punishment and The Brothers Karamazov.
Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th-century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written."
His tombstone reads "Verily, Verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit." from John 12:24, which is also the epigraph of his final novel, The Brothers Karamazov.