2.2.10: Fyodor Dostoyevsky (1821-1881)
- Page ID
- 83033
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Fyodor Dostoyevsky (1821-1881)
Notes from Underground Russian Realism Fyodor Dostoyevsky's life was every bit as eventful as the stories that he wrote. As a young man, he was sentenced to be executed by a firing squad for being part of a group that was considered subversive. He received a last-minute reprieve from the tsar, and Dostoyevsky instead spent four years doing hard labor in a Siberian prison camp. Those experiences informed his works; in addition to characters who face imminent death or time in Siberia, there are characters with epilepsy, gambling problems, bad luck in love, and ongoing poverty—all conditions that he faced. His fame began with his first novella, Poor Folk (1845), but he never made enough money from his writings to support his family in comfort. Despite all of these hardships, Dostoyevsky managed to become one of Russia's greatest writers. Leo Tolstoy praised Dostoyevsky as the better writer, and his works influenced writers such as Ernest Hemingway, Franz Kafka, James Joyce, Virginia Woolf, Jean-Paul Sartre, and William Faulkner, among many others (including Albert Einstein and Sigmund Freud). Dostoyevsky is considered the first existentialist novelist; for him, the psychology of the characters is the basis for realism (their experience of the world is the world). In novels such as Crime and Punishment (1866) and The Brothers Karamazov (1880), characters range from murderers to devout followers of the Russian Orthodox Church (Dostoyevsky's own religious preference), all portrayed with psychological clarity. In Notes from Underground (1864), Dostoyevsky satirizes (among other things) the idea that scientific progress will create a utopian society. In Part One, the unnamed narrator, or Underground Man, may seem crazy at first, with what appear to be random and contradictory thoughts. In fact, the argument is constructed very carefully to demonstrate that human beings demand free will—and that they will give up everything to get it. In Part Two, which is an extended flashback, the Underground Man offers a practical demonstration of his theories in his own past. Of particular interest is his love-hate relationship with Romanticism; the narrator ultimately argues that all of us prefer Romanticism to real life (or Realism), simply because real life is not as satisfying as escapism. Consider while reading:- The Underground Man (UM) contradicts himself in part because he wants to do so (free will). He also claims to be telling us the truth. Why does he need to write to an imaginary audience if he does not intend to show his work to anyone?
- What does the brick wall represent to the UM?
- What is the difference between justice and revenge for the UM, and why is it so problematic?
- What do the chicken coop and the crystal palace represent for the UM?
- In what ways is Liza braver than the UM? What victory does she have at the end?