By B. Paris
Addressed to all readers of Dostoevsky, in addition to to lecturers, scholars, and experts, this lucidly-written learn methods the underground guy, Raskolnikov, and Ivan and Alyosha Karamazov as imagined people whose emotions, behaviors, and ideas are expressions in their personalities and experience. whereas saying the autonomy of Dostoevsky’s characters, Paris indicates that there's a stress among them and the author’s rhetoric and demonstrates that the characters frequently break out their illustrative roles. through paying shut awareness to mimetic element, this e-book seeks to get better Dostoevsky’s mental intuitions and entirely to understand his brilliance in characterization.
Read or Download Dostoevsky's Greatest Characters: A New Approach to ''Notes from the Underground'', ''Crime and Punishment'', and ''The Brothers Karamozov'' PDF
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Extra info for Dostoevsky's Greatest Characters: A New Approach to ''Notes from the Underground'', ''Crime and Punishment'', and ''The Brothers Karamozov''
So she was having the same thoughts as he when she was staring at him before. This is “a point of likeness,” he thinks; she “really [does] interest” him. ” This shocking question suggests horrors in Liza’s home life. ” This is exactly the way he sees himself. When Liza says that some fathers “are glad to sell their daughters, rather than marrying them honourably,” the underground man replies, “You must have seen wickedness in your own family, if you talk like that. ” The underground man’s expressions of empathy are part of his effort ZVERKOV AND LIZA 25 to manipulate Liza, but they are also a result of his identification with her and are truly felt.
Liza’s remark that he speaks like a book offends the underground man and produces another turning point in his attitude toward her. His vanity is wounded, but he is more deeply hurt, I think, by what he takes to be a personal rebuff. He has opened himself to Liza by expressing his cherished ideas, and he hopes for an emotional response. When Liza begins to say something after his long speech, her voice is “not abrupt, harsh, and unyielding as before,” but there is “something soft and shamefaced” in it (II, vi).
Full of remorse, he speaks to her tenderly—“Liza, my dear, I was wrong . . forgive me, my dear” (author’s ellipsis). He is moved by the love letter she produces from a decent young man to show that she too has been “addressed respectfully” and “genuinely loved”; however, he is so eager to leave that, after reading the letter, he departs without a word. As he walks home in the snow, he is “exhausted, shattered,” and bewildered. The underground man’s confusion is quite understandable. He had striven to triumph over Liza, but now he is sorry for her and hates himself for having caused her such pain.