Fiódor Dostoievski, página 18 de 64

Netochka Nezvanova - a Nameless Nobody - tells the story of a childhood dominated by her stepfather, Efimov, a failed musician who believes he is a neglected genius. The young girl is strangely drawn to this drunken ruin of a man, who exploits her and drives the family to poverty. But when she is rescued by an aristocratic family, the abuse against Netochkas delicate psyche continues in a more subtle way, condemning her to remain an outsider - a solitary spectator of a glittering society. Conceived as part of a novel on a grand scale, Netochka Nezvanova remained incomplete after Dostoyevsky was exiled to Siberia for revolutionary activities in 1849. With its depiction of the suffering, loneliness, madness and sin that affect both rich and poor in St Petersburg, it contains the great themes that were to dominate his later novels.

It was a wonderful night, such a night as is only possible when we are young, dear reader. The sky was so starry, so bright that, looking at it, one could not help asking oneself whether ill-humoured and capricious people could live under such a sky. That is a youthful question too, dear reader, very youthful, but may the Lord put it more frequently into your heart!... Speaking of capricious and ill-humoured people, I cannot help recalling my moral condition all that day. From early morning I had been oppressed by a strange despondency. It suddenly seemed to me that I was lonely, that every one was forsaking me and going away from me. Of course, any one is entitled to ask who "every one" was. For though I had been living almost eight years in Petersburg I had hardly an acquaintance. But what did I want with acquaintances? I was acquainted with all Petersburg as it was; that was why I felt as though they were all deserting me when all Petersburg packed up and went to its summer villa.

Dostoyevskys narrator has been summoned to his uncle Colonel Rostanevs remote country estate in the hope that he will act as decoy and rescue Rostanevs former ward, Nastenka Yezhevikin, from the tyranny of Opiskin, a despot and charlatan who has the whole household under his thumb. Forty-eight hours of explosive comic drama unfold, culminating in a violent confrontation between Opiskin and the ineffectual Rostanev.Dostoyevsky conveys a delight in lifes absurdities to rival that of Gogol, yet at the same time in Opiskin, a comic monster of Russian literature, he creates an unflattering portrait of his mentor. Here we recognize the genesis of the characters and the revelatory dramatic scenes of and The Karamazov Brothers.

The author of the diary and the diary itself are, of course, imaginary. Nevertheless it is clear that such persons as the writer of these notes not only may, but positively must, exist in our society, when we consider the circumstances in the midst of which our society is formed. I have tried to expose to the view of the public more distinctly than is commonly done, one of the characters of the recent past. He is one of the representatives of a generation still living. In this fragment, entitled "Underground," this person introduces himself and his views, and, as it were, tries to explain the causes owing to which he has made his appearance and was bound to make his appearance in our midst. In the second fragment there are added the actual notes of this person concerning certain events in his life.

In the words of a Russian critic, who seeks to explain the feeling inspired by Dostoevsky: "He was one of ourselves, a man of our blood and our bone, but one who has suffered and has seen so much more deeply than we have his insight impresses us as wisdom... that wisdom of the heart which we seek that we may learn from it how to live. All his other gifts came to him from nature, this he won for himself and through it he became great."

Alexey Fyodorovitch Karamazov was the third son of Fyodor Pavlovitch Karamazov, a land owner well known in our district in his own day, and still remembered among us owing to his gloomy and tragic death, which happened thirteen years ago, and which I shall describe in its proper place. For the present I will only say that this "landowner"for so we used to call him, although he hardly spent a day of his life on his own estatewas a strange type, yet one pretty frequently to be met with, a type abject and vicious and at the same time senseless. But he was one of those senseless persons who are very well capable of looking after their worldly affairs, and, apparently, after nothing else. Fyodor Pavlovitch, for instance, began with next to nothing; his estate was of the smallest; he ran to dine at other mens tables, and fastened on them as a toady, yet at his death it appeared that he had a hundred thousand roubles in hard cash. At the same time, he was all his life one of the most senseless, fantastical fellows in the whole district. I repeat, it was not stupiditythe majority of these fantastical fellows are shrewd and intelligent enoughbut just senselessness, and a peculiar national form of it.

IN UNDERTAKING to describe the recent and strange incidents in our town, till lately wrapped in uneventful obscurity, I find myself forced in absence of literary skill to begin my story rather far back, that is to say, with certain biographical details concerning that talented and highly-esteemed gentleman, Stepan Trofimovitch Verhovensky. I trust that these details may at least serve as an introduction, while my projected story itself will come later.I will say at once that Stepan Trofimovitch had always filled a particular role among us, that of the progressive patriot, so to say, and he was passionately fond of playing the partso much so that I really believe he could not have existed without it. Not that I would put him on a level with an actor at a theatre, God forbid, for I really have a respect for him. This may all have been the effect of habit, or rather, more exactly of a generous propensity he had from his earliest years for indulging in an agreeable day-dream in which he figured as a picturesque public character.

Towards the end of November, during a thaw, at nine oclock one morning, a train on the Warsaw and Petersburg railway was approaching the latter city at full speed. The morning was so damp and misty that it was only with great difficulty that the day succeeded in breaking; and it was impossible to distinguish anything more than a few yards away from the carriage windows.Some of the passengers by this particular train were returning from abroad; but the third-class carriages were the best filled, chiefly with insignificant persons of various occupations and degrees, picked up at the different stations nearer town. All of them seemed weary, and most of them had sleepy eyes and a shivering expression, while their complexions generally appeared to have taken on the colour of the fog outside.When day dawned, two passengers in one of the third-class carriages found themselves opposite each other. Both were young fellows, both were rather poorly dressed, both had remarkable faces, and both were evidently anxious to start a conversation. If they had but known why, at this particular moment, they were both remarkable persons, they would undoubtedly have wondered at the strange chance which had set them down opposite to one another in a third-class carriage of the Warsaw Railway Company.

Brat ya Karamazovy es un libro del autor Dostoevsky, Fyodor editado por AZBUKA-KPASSIKA. Brat ya Karamazovy tiene un código de ISBN 978-5-389-01463-3 y consta de 896 Páginas.

Lungo un canale di Pietroburgo, nella luce crepuscolare delle notti bianche, un giovane e una fanciulla si incontrano per la prima volta. Sospesi tra realta e reverie, i due intraprendono un dialogo serrato, appassionato e velatamente ambiguo. La situazione pare preludere a un epilogo romantico; tuttavia, al quarto incontro notturno, nel momento in cui si realizza il sogno della fanciulla, s''infrange quello del giovane, costretto a tornare alla sua solitaria realta. Questo breve romanzo del primo Dostoevskij, che ha come scenario la luminescente e umbratile magia delle notti bianche, viene presentato qui in una nuova traduzione, a cura di Laura Salmon, che propone nella postfazione un''inedita chiave di lettura dell''opera, tradizionalmente considerata il primo approccio al grande romanziere russo.

Esto es un cuento de Navidad, pero no es precisamente un cuento de hadas. Dostoyevski no escribía cuentos de hadas, o cuando lo hacía era para transformarlos completamente y ponernos frente a lo peor de nuestro mundo. Esta historia viene cargada de humor y acidez, y tambien de una violencia soterrada —violencia de clase y de genero— de la cual no nos hemos librado.

Demons is an allegory of the potentially catastrophic consequences of the political and moral nihilism that were becoming prevalent in Russia in the 1860s. A fictional town descends into chaos as it becomes the focal point of an attempted revolution, orchestrated by master conspirator Pyotr Verkhovensky. The mysterious aristocratic figure of Nikolai StavroginVerkhovenskys counterpart in the moral spheredominates the book, exercising an extraordinary influence over the hearts and minds of almost all the other characters. The idealistic, western-influenced generation of the 1840s, epitomized in the character of Stepan Verkhovensky (who is both Pyotr Verkhovenskys father and Nikolai Stavrogins childhood teacher), are presented as the unconscious progenitors and helpless accomplices of the demonic forces that take possession of the town.