God Sees the Truth But Waits Summary & Analysis

The young Aksyonov’s drinking and materialism (for example, his pursuit of business profits and “expensive presents”) establish him as a casually sinful person who has yet to recognize the primacy of faith and devotion. Additionally, the ease with which Aksyonov dismisses his wife’s concerns shows that he takes his family, home, and as perhaps his other social connections somewhat for granted.

The district police inspector appears on the scene as an immediately intimidating figure, for he is accompanied by two soldiers who represent the threat of force. Known only by his title, the inspector symbolizes the impersonal, overbearing state power that underlies the criminal justice system.

The inspector’s accusation and arrest of Aksyonov illustrate the corruption of institutional justice. The inspector rapidly leverages state authority (and physical force) against Aksyonov without irrefutable evidence that he is the murderer, and Aksyonov is so overwhelmed that he is rendered unable to defend himself.

The failure of Aksyonov’s final appeal to the Tsar, along with his wife’s suspicion of his guilt, leads him to recognize God as the only entity who can be trusted to see the truth and deliver real justice. Aksyonov realizes that he must pivot towards seeking God’s forgiveness by living a more spiritual life, and this change in focus is reinforced by Aksyonov’s final physical separation from his family—his strongest earthly attachment.

Aksyonov’s flogging and the breakdown of his body (for instance, his development of a stoop) during his incarceration highlight the focus of institutional justice on bodily punishment. Along with highlighting the brutality of the criminal justice system, this contrasts with God’s judgment of the soul. Through his religious activities in prison, Aksyonov transforms into an ideal holy man, or a model for readers’ emulation. Like many Christian saints, Aksyonov responds to his earthly persecution and suffering by strengthening his faith, or by trusting that real justice comes from God, and not from any source on Earth.

Aksyonov’s instinctual questioning of Makar about his wife and children shows the power of family as a source of earthly attachment that keeps Aksyonov’s thoughts on the world, rather than on God. At the same time, however, Aksyonov’s insistence that he is paying for his sins enhances his image as a model “Man of God.” Aksyonov treats his earthly suffering as inspiration to atone for his spiritual transgressions (or to seek God’s forgiveness) and as a test through which he can prove himself worthy of salvation.

The anger Aksyonov feels towards Makar indicates that Aksyonov’s path towards becoming an ideal “Man of God” is not without its setbacks and its trials: the actions Aksyonov contemplates—suicide or a violent assault on the man who framed him—would both amount to a terrible regression into sin. Additionally, that Aksyonov’s thoughts rush to his family shows that even despite Aksyonov’s intense devotional activities in Siberia, he has a hard time letting go of his most powerful worldly or societal attachments—attachments that might jeopardize his fulfillment of a purely spiritual life.

Like the district police inspector who accused Aksyonov of murder, the Governor is a state official known only by his title; he serves as a symbol of institutional justice. Aksyonov’s desire to spare Makar from flogging—and his decision to blatantly lie to the Governor—represent a rejection of the state justice system that the Governor represents. Importantly, forgiveness of Makar does not factor into Aksyonov’s reasoning; Aksyonov’s actions are principally a rejection of the Governor’s authority.  

Makar seeks Aksyonov’s forgiveness as a way of easing the burden (or moral imbalance) he feels for having done harm to a man who has done good to him. Moreover, Makar hopes to acquire Aksyonov’s forgiveness as part of a negotiated exchange; if Aksyonov will forgive him, Makar promises, he will exonerate Aksyonov by sharing his confession with the authorities. This suggests that true forgiveness for one’s sins is more fulfilling and meaningful than falsely asserting one’s innocence.

Aksyonov imagines that the social life—life outside prison—would not be worthwhile if he did not have his family. The extent to which he values his family during his imprisonment contrasts with his attitude at the beginning of the story, when he seemed to take his wife somewhat for granted. Aksyonov continues to withhold forgiveness from Makar, as he judges the terms of exchange Makar offered him—confession and exoneration in return for forgiveness—to be inadequate. Aksyonov does, however, cry in sympathy with Makar, a reaction that portrays him as somewhat of a forgiving, Christlike figure. Aksyonov begins to feel solidarity with his fellow prisoner as he recognizes their shared pain and common situation as sinners desperate for forgiveness. (Aksyonov, of course, is seeking the forgiveness of God).

Aksyonov finally orients himself fully towards God and the afterlife. He does so in two key steps. First, he recognizes that only God can forgive, thus easing the burden of anger that he previously felt towards Makar and relieving his uncertain thoughts over justice on Earth (for example, his deliberations as to whether Makar deserves his forgiveness). Second, Aksyonov at last jettisons all earthly attachments, including his aspiration for freedom in the outside world (beyond the walls of the prison) and his fixation on his family—his strongest social bond.

Makar, unlike Aksyonov, continues to buy into the legitimacy of institutional justice (rather than waiting for true justice from God) and confesses to the authorities that he set Aksyonov up for murder. Aksyonov’s resulting exoneration—an attempt at official justice by the state—proves utterly meaningless as Aksyonov has already died. All that matters after Aksyonov’s passing is God’s judgment; Tolstoy uses the final lines of the story to emphasize the total superiority of divine judgment to corrupt earthly attempts at justice. Aksyonov finally achieves his status as a true spiritual icon, or “Man of God,” by passing away, having shed all of his worldly concerns (including thoughts of family and freedom) and given full attention to the fate of his soul.