The character of General Ivolgin, for example, constantly tells outrageous lies, but to those who understand him (such as Myshkin, Lebedyev and Kolya) he is the noblest and most honest of men. The “Homeric laughter” with which the revelers depart is not that of the merry Olympians, but the ghoulish and hysterical mirth of the doomed suitors of Penelope: would-be kings maddened to tears by some avenging god. A few months later Dostoevsky died. For the next six months, Nastasya Filippovna remains unsettled and is torn between Myshkin and Rogozhin. He is about to strike her when the Prince again intervenes, and Ganya slaps him violently in the face. In this description Myshkin takes the contemplation of the condemned man's inward experience of time a step further and asks: what would the mind be experiencing in the last tenth of a second, as it hears the iron blade sliding above? An embodiment of mythical mother Russia, she awaits Stavrogin, Ivanov writes, as “the God-bearing hero in whose person . Since the 1990s, new English translations have appeared that have made the novel more accessible to English readers. His apotheosis as man-god is complete: he has become Stavrogin. He instinctively likes and trusts the Prince when they first meet, but later develops a hatred for him out of jealousy. Quoted in Terras (1990). [9], A dialogue between the intimately related themes of atheism and Christian faith (meaning, for Dostoevsky, Russian Orthodoxy) pervades the entire novel. The Garnett translation, however, still remains widely available because it is now in the public domain. Download free books in PDF format. That evening Aglaya, having left her home in secret, calls for the Prince. Rogózhin (Parfyón Semyónovich), who has just inherited a huge fortune from his merchant father, is madly in love with Nastasya Filippovna, and recklessly abandons himself to pursuing her. Such suffering and terror were what Christ spoke of. A newspaper finally exposes Varvara for not throwing out an old general who tells an insulting but famous young man that he is “a brat and an atheist”; an illustrated magazine subsequently caricatures her, Stepan, and the general as retrograde cronies. 104 talking about this. "[69] V.P. The ideas that “crushed” Shatov and “ate” Kirillov are mostly those of Hegel, somehow mingled in their minds with the Apocalypse of John—a text whose importance Stavrogin seems to have impressed on both men. On the day of the wedding, a beautifully attired Nastasya Filippovna is met by Keller and Burdovsky, who are to escort her to the church where Myshkin is waiting. He also has his finger on the pulse of our own epoch, and the prognosis is grim. It turns out that one of those present—Ivan Petrovich—is a relative of his beloved benefactor Pavlishchev, and the Prince becomes extraordinarily enthusiastic. Myshkin admonishes her and tells her it is not who she really is. The mind speeds up exponentially as the moment approaches, causing time to expand correspondingly, even reaching the point where the tiny amount of conventional human time left is experienced inwardly as unbearable in its enormity. Shigalyov’s arresting articulation of the practical consequences of revolutionary theory is unsurpassed in concision and accuracy: “Starting from unlimited freedom, I conclude with unlimited despotism.” As Solzhenitsyn observed, many greeted the twentieth century as one “of elevated reason, in no way imagining the cannibalistic horrors that it would bring. In this sense, even the author's own ideological positions, when they are expressed through the narrator, or Myshkin, or Lebedyev, "become thoroughly dialogized and enter the great dialogue of the novel on completely equal terms with the other idea-images". One is Shatov, who is filled with tender forgiveness and joy when his wife, an ill-tempered socialist who left him long ago, returns to give birth to Stavrogin’s child. The speech is only brought to an end by the onset of an epileptic seizure: Aglaya, deeply distressed, catches him in her arms as he falls. Those who are patient enough to do so—and the present essay has only turned the surface of this deep and rich book—can expect to be rewarded with despair. The character is a 'quasi-double' for Myshkin: their circumstances force them to address the same metaphysical questions, but their responses are diametrically opposed. Matthew 6:26) and who kisses and waters the earth with her tears when she prays, is similarly aroused. Rogozhin openly starts bidding for Nastasya Filippovna, ending with an offer of a hundred thousand rubles. After standing up at Yulia’s fête to declare his fealty to beauty, he sets forth over the fields with a suitcase, umbrella, and cane, like some Quixote or comic Lear. Stepan concedes in a public speech that “fatherland” is a useless and comical word and that religion is harmful, but his heartfelt assertion that boots are nevertheless “lower than Pushkin” is hissed so mercilessly that he bursts into tears. Just as a quarrel on the subject is reaching a peak of tension, Nastasya Filippovna herself arrives to pay a visit to her potential new family. What you told me just now could have been about me. Like the proletarian revolution, it is intended to give birth to a “new man” and so bring happiness to all mankind. He was subject to regular and severe epileptic seizures, including one while Anna was going into labor with their daughter Sofia, delaying their ability to go for a midwife. Totsky, thinking the marriage might settle her and free him to pursue his desire for marriage with General Epanchin's eldest daughter, has promised 75,000 rubles. It's impossible. “Everything,” the narrator observes, “burst like an iridescent soap bubble.”. Despite the tension between them, they part as friends, with Rogozhin even making a gesture of concession. A man of 27, who had committed a political offence, was taken to the scaffold with his comrades, where a death sentence by firing squad was read out to them. [60], Despite the appearance of omniscience, the narrator of The Idiot is given a distinct voice like any other character, and often conveys only a partial understanding of the events he is describing. She apologizes to Ganya's mother and leaves, telling Ganya to be sure to come to her birthday party that evening. And what men they fawn over! The holy fool is a not-so-funny anticipation of monstrous tyrants raised up in years to come by the very elites that despise him and his deluded followers. [52] The method of testing the central idea in a series of extreme situations, allowing each character to freely respond, meant that there could be no pre-determined development of either plot or character: the author himself was just as surprised as the characters at what happened or didn't happen. On the way to visit a notorious “holy fool,” some bored young ladies and gentlemen and their entourage of buffoonish low officials and petty clerks stop their horses at a hotel to gape at the corpse of a nineteen-year-old village boy who has shot himself. In that book, Pavel Petrovich defends personal dignity, individual rights, duties, faith, and the painter Raphael. In truth he is highly intelligent, self-aware, intuitive and empathic. Myshkin reads the letters with dread, and later that day Nastasya Filippovna herself appears to him, asking desperately if he is happy, and telling him she is going away and will not write any more letters. Myshkin becomes increasingly horrified at Rogozhin's attitude to her. Such deeds arouse in him both “boundless wrath” and “unbelievable pleasure.”. [56] 'Carnivalization' is a term used by Bakhtin to describe the techniques Dostoevsky uses to disarm this increasingly ubiquitous enemy and make true intersubjective dialogue possible. Verkhovensky, who secretly admits to being “a crook, not a socialist,” nevertheless endorses lopping off “a hundred million heads,” an eerily accurate prophecy of the total number done in by political repression in the Communist regimes of the twentieth century. Only Yevgeny Pavlovich remains in good spirits, and he smiles charmingly as he says good-bye. They were evicted from their lodgings five times for non-payment of rent, and by the time the novel was finished in January 1869 they had moved between four different cities in Switzerland and Italy. "[1] The novel examines the consequences of placing such a unique individual at the centre of the conflicts, desires, passions and egoism of worldly society, both for the man himself and for those with whom he becomes involved. Kirillov’s monomania is Christian eschatology refracted through the prism of German idealism. The being of this abstract self can be expressed only hypothetically, in the subjunctive and optative moods; on the verge of committing a “boundless outrage,” Stavrogin affirms that he could stop at any point—but in fact he does not. He tries to explain to Yevgeny Pavlovich that Nastasya Filippovna is a broken soul, that he must stay with her or she will probably die, and that Aglaya will understand if he is only allowed to talk to her. By the end of the year, however, a new premise had been firmly adopted. For what else can one feel as the old liberal elites hoist the banner of today’s young nihilists and socialists—a sordid band of intellectual hacks, political opportunists, virtue signalers, swindlers, sociopaths, and true believers who seem to have stepped directly from the novel’s pages? He is beginning to fall in love with Aglaya, and she likewise appears to be fascinated by him, though she often mocks or angrily reproaches him for his naiveté and excessive humility. The Prince wanders for some time in the park before falling asleep at the green seat appointed by Aglaya as their meeting place. The inarticulate Burdovsky is supported by a group of insolent young men. Gothic literature has influenced and inspired several subgenres of literature, including the supernatural tale, the ghost story, horror fiction, and vampire literature. Stavrogin does not live and die by ideas; rather, he entertains them, and they him. He has changed gods. [27] In one sense Myshkin's innocence is an instrument of satire since it brings in to sharp relief the corruption and egocentricity of those around him. [36] When Burdovsky, who has unceremoniously demanded money from him on the basis of a falsehood, gets increasingly insulted by his attempts to offer assistance, Myshkin reproaches himself for his own clumsiness and lack of tact.[37]. Joining in their conversation is a civil servant named Lebedyev—a man with a profound knowledge of social trivia and gossip. Demons is a theater of societal decay. . In 1849, Dostoevsky was sentenced to execution by firing squad for his part in the activities of the Petrashevsky Circle. Aglaya, however, is more interested in the Prince, and to Myshkin's embarrassment and everyone else's amusement, she recites Pushkin's poem "The Poor Knight" in a reference to his noble efforts to save Nastasya Filippovna. When Shatov—“a magnanimous, all-forgiving champion of the feminine soul in its sin and humiliation,” as Ivanov writes—asks “Is it true that the Marquis de Sade could take lessons from you? Having been canceled for failing to stand against reactionary oppression, Varvara is informed of a decision made by some complete strangers: after founding her magazine, she is to turn it and the capital over to them in exchange for a sixth of the yearly profits. [15] The character of Ippolit argues that the painting, which depicts with unflinching realism the tortured, already putrefying corpse of Christ within the tomb, represents the triumph of blind nature over the vision of immortality in God that Christ's existence on Earth signified. In fact, his miserable death proves nothing apart from the identity of socialism and nihilism. He’s followed by Stepan, who bursts into tears after feverishly proclaiming to “you short ones”—the Lilliputians of progressivism—that Shakespeare and Raphael are “higher than the emancipation of the serfs.” A maniacal fist-pounding little Lenin type finally unleashes pandemonium when he runs out to the platform to denounce the incomparable corruption and despotism of Russia. [14] Here he picks up a motif first touched upon early in part 2, in a dialogue between Myshkin and Rogozhin, when they are contemplating the copy of Holbein's Dead Christ in Rogozhin's house, and Rogozhin confesses that the painting is eroding his faith. Burenin, a liberal, described the novel's presentation of the younger generation as "the purest fruit of the writer's subjective fancy" and the novel as a whole as "a belletristic compilation, concocted from a multitude of absurd personages and events, without any concern for any kind of artistic objectivity. Yet in the end he breaks free of his former master. "[7] The difficulty with this approach was that he himself did not know in advance how the characters were going to respond, and thus he was unable to pre-plan the plot or structure of the novel. Demons is a deeply, mordantly funny book. They talk for a long time about the letters Aglaya has received, in which Nastasya Filippovna writes that she herself is in love with Aglaya and passionately beseeches her to marry Myshkin. A large crowd has gathered, among whom is Rogozhin. Nastasya Filippovna, suspicious of Ganya and aware that his family does not approve of her, has reserved her decision, but has promised to announce it that evening at her birthday soirée. He launches unexpectedly into an anti-Catholic tirade, claiming that it preaches the Antichrist and in its quest for political supremacy has given birth to Atheism. The two men keep vigil over the body, which Rogozhin has laid out in his study. Passionate and idealistic, like 'the Russian' alluded to in the anti-Catholic diatribe, Aglaya struggles with the ennui of middle class mediocrity and hates the moral vacuity of the aristocracy to whom her parents kowtow. She continues to mock and reproach him, often in front of others, and lets slip that, as far as she is concerned, the problem of Nastasya Filippovna is yet to be resolved. [78] Bakhtin saw Dostoevsky as the preeminent exemplar of the Carnivalesque in literature, and as the inventor of the Polyphonic novel. In a letter to Apollon Maykov, Dostoevsky explained that his own desperate circumstances had "forced" him to seize on an idea that he had considered for some time but had been afraid of, feeling himself to be artistically unready for it. Totsky had been the orphaned Nastasya Filippovna's childhood guardian, but he had taken advantage of his position to groom her for his own sexual gratification. His schizophrenia exemplifies the poisonous phenomenon of late-modern irony. Dostoevsky lets us see Stavrogin’s collapse through the eyes of love and faith. [67] However the chief criticism, among both reviewers and general readers, was in the "fantasticality" of the characters. [51], Dostoevsky's notebooks for The Idiot during the time of its serial publication clearly indicate that he never knew what successive installments would contain. Stavrogin finally squirms no less than Shatov. Nastasya Filippovna again addresses herself to Yevgeny Pavlovich, and in the same jolly tone as before loudly informs him that his uncle—a wealthy and respected old man from whom he is expecting a large inheritance—has shot himself and that a huge sum of government money is missing. "[75], Prominent modern critics acknowledge the novel's apparent structural deficiencies, but also point out that the author was aware of them himself, and that they were perhaps a natural consequence of the experimental approach toward the central idea. "[2] It includes descriptions of some of his most intense personal ordeals, such as epilepsy and mock execution, and explores moral, spiritual and philosophical themes consequent upon them. Many critics consider it to be one of the best novels of the 20th century, as well as the foremost of Soviet satires. A literary approach that incorporates carnivalisation and polyphony in Bakhtin's sense precludes any sort of conventionally recognizable structure or predictable pattern of plot development. "[64], For Bakhtin the narrator's voice is another participant, albeit of a special kind, in the "great dialogue" that constitutes the Dostoevsky novel. In a letter to Strakhov he wrote: "Much in the novel was written hurriedly, much is too diffuse and did not turn out well, but some of it did turn out well. The Prince tries to reconcile with the young men and offers financial support anyway. The Project Gutenberg EBook of The Idiot, by Fyodor Dostoyevsky This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. The chapter “At Tikhon’s,” which was suppressed when Demons was first published, describes a failed exorcism. Shatov’s reservations about Stavrogin’s low character were doubtless mitigated by the consideration that a national savior cannot be fairly judged by the standards of his day. The United States has long avoided such fits, but it seems our hour has come round at last. ), Karmazinov, the jewel in Yulia’s crown, is jeered as he recites Merci. Just as the first shots were about to be fired, a message arrived from the Tsar commuting the sentences to hard labor in Siberia. A projection of Dostoevsky’s portrait lights up the side of the house in St Petersburg where he spent the last years of his life. When the Prince speaks to her, he addresses only this inner being, and in him she sees and hears the long dreamt-of affirmation of her innocence. Whenever he appears "hierarchical barriers between people suddenly become penetrable, an inner contact is formed between them... His personality possesses the peculiar capacity to relativize everything that disunifies people and imparts a false seriousness to life."[13]. Dostoevsky uniquely deduced the political horrors of the twentieth century from the ideological viruses of the nineteenth. At that moment, a magnificent carriage pulls up at the dacha, and the ringing voice of Nastasya Filippovna calls out to Yevgeny Pavlovich. He spews his demons from his mouth in a last outpouring of love and hatred. . Why such mockery—ugly, superfluous, futile? [63] According to Frank, "this limitation of the narrator is part of Dostoevsky's effort to present Myshkin's behaviour as transcending all the categories of worldly moral-social experience. for the lie,” tells him that “there was a teacher uttering immense words, and there was a disciple who rose from the dead. And after such a confession that's weakness of course. He carefully explains his reasons for the suggestion, enters in to the emotions and thoughts of the condemned man, and describes in meticulous detail what the painting should depict. According to Gary Saul Morson, "The Idiot violates every critical norm and yet somehow manages to achieve real greatness. Some writers, such as Anna Brailovsky, have based their translations on Garnett's. In The Idiot, everything revolves around the two central carnival figures of the "idiot" and the "madwoman", and consequently "all of life is carnivalized, turned into a "world inside out": traditional plot situations radically change their meaning, there develops a dynamic, carnivalistic play of sharp contrasts, unexpected shifts and changes". . Agláya Ivánovna is the radiantly beautiful youngest daughter of Myshkin's distant relative Lizaveta Prokofyevna and her husband, the wealthy and respected General Epanchin. Lizaveta Prokofyevna is the wife of General Epanchin, a wealthy and respected man in his mid-fifties. Joseph Frank has called The Idiot "perhaps the most original of Dostoevsky's great novels, and certainly the most artistically uneven of them all,"[76] but he also wondered how it was that the novel "triumphed so effortlessly over the inconsistencies and awkwardnesses of its structure." Is it true that you lured and corrupted children?” Stavrogin replies “I did speak those words, but it was not I who offended children.” In four years at a German university, Stavrogin absorbed more than just the teachings of Karl Marx; his bad faith is nourished by the proud philosophies from which those teachings sprang. But as the Prince and Lizaveta Prokofyevna discuss what to do with the invalid, another transformation occurs and Ippolit, after unleashing a torrent of abuse at the Prince, leaves with the other young men. Demons (pre-reform Russian: Бѣсы; post-reform Russian: Бесы, tr. These include the consumptive seventeen-year-old Ippolit Terentyev, the nihilist Doktorenko, and Keller, an ex-officer who, with the help of Lebedyev, has written an article vilifying the Prince and Pavlishchev. “Je prêcherai l’Évangile,” he tells her, “I shall preach the Gospel.” She nurses him in his sickness and reads to him the words of the Amen in the Apocalypse and, at his request, the story of the Gadarene swine. Though surprised and deeply touched, Nastasya Filipovna, after throwing the 100,000 rubles in the fire and telling Ganya they are his if he wants to get them out, chooses to leave with Rogozhin. This was the idea to "depict a completely beautiful human being". Seeing him, Nastasya Filippovna rushes to him and tells him hysterically to take her away, which Rogozhin loses no time in doing. I think it's a bad thing and, you know, Keller, I reproach myself most of all for it. A disillusioned romantic in Kierkegaard’s Either/Or offers this parable: In a theater, it happened that a fire started offstage. The tension is not eased by the entrance of Ganya's father, General Ivolgin, a drunkard with a tendency to tell elaborate lies. Dostoevsky wrote in a note to himself that “Stavrogin is everything.” As Vyacheslav Ivanov makes clear in his brilliant book Freedom and the Tragic Life: A Study in Dostoevsky (Noonday Press, 1959), this must be understood not just socially and psychologically, but religiously and metaphysically. Analogous to musical polyphony, literary polyphony is the simultaneous presence of multiple independent voices, each with its own truth and validity, but always coincident with other voices, affecting them and being affected by them. [41][42], In part 2, the usually comical character of Lebedyev also considers the horror of the moment before execution. In his notes Dostoevsky distinguishes the Prince from other characters of the virtuous type in fiction (such as Don Quixote and Pickwick) by emphasizing innocence rather than comicality. Yet in the epigraph from Luke, the formerly mad Gadarene sits healed at Jesus’s feet. They were living in extreme poverty, and constantly had to borrow money or pawn their possessions. The Idiot (pre-reform Russian: Идіотъ; post-reform Russian: Идиот, tr. Her laughter wakes him from an unhappy dream about Nastasya Filippovna. The Catholic Church, he claims, is merely a continuation of the Western Roman Empire: cynically exploiting the person and teaching of Christ it has installed itself on the earthly throne and taken up the sword to entrench and expand its power. The twentieth century Russian literary critic Mikhail Bakhtin regarded the structural asymmetry and unpredictability of plot development, as well as the perceived 'fantasticality' of the characters, not as any sort of deficiency, but as entirely consistent with Dostoevsky's unique and groundbreaking literary method. In the character of Prince Myshkin, Dostoevsky set himself the task of depicting "the positively good and beautiful man. He is taken home, having left a decidedly negative impression on the guests. At its sesquicentennial, Dostoevsky’s novel is as fresh and urgent as it was in 1871. However, Myshkin's Christianity is not a doctrine or a set of beliefs but is something that he lives spontaneously in his relations with all others. Aglaya becomes angry, demands that he throw the letters back in her face, and storms off. When the Prince calls on them he meets Gavril Ardalionovich Ivolgin (Ganya), the General's assistant. Yulia is abused and insulted at that evening’s crude “quadrille of literature,” a drunken and disorderly affair; some of Verkhovensky’s men simultaneously incite factory workers to burn down the modest wooden houses of Zarechye, home to more than half of those at the ball, so that they might cover up a triple murder. When the General leaves, Myshkin reads Aglaya's note, which is an urgent request to meet her secretly the following morning. "[62] The narrator is thus not omniscient, but a particular kind of insightful but limited spectator, and in the end he openly admits to the reader that the Prince's behaviour is inexplicable to him. Her broken innocence and the social perception of disgrace produce an intensely emotional and destructive personality. 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