1876
1878
1879
1880
1881
I*
II
III
IV
VI
VII
VIII
IX
X
XI
PART TWO
I
II
III
IV
VI
VII
VIII
IX
X
NOTES
18. 'To domestic animals' (French).
FYODOR DOSTOEVSKY
Notes from Underground
Translated from the Russian by Richard Pevear and Larissa Volkhonsky with an Introduction by Richard Pevear
Copyright © 1993 by Richard Pevear and Larissa Volokhonsky
ISBN: 1400041910
NOTES FROM UNDERGROUND
CONTENTS
Introduction - ix
Select Bibliography - xxiii
Chronology - xxvi
NOTES FROM UNDERGROUND
Part One Underground - 3
Part Two Apropos of the Wet Snow - 39
Notes - 121
INTRODUCTION
The ellipsis after the opening sentence of Notes from Underground is like a window affording us a first glimpse of one of the most remarkable characters in literature, one who has been placed among the bearers of modern consciousness alongside Don Quixote, Hamlet, and Faust. What we see is a man glancing at us out of the corner of his eye, very much aware of us as he speaks, very much concerned with the impression his words are making. In fact, we do not really see him, we only hear him, and not through anything so respectable as a window, but through a crack in the floorboards. He addresses the world from that crack; he has also spent a lifetime listening at it. Everything that can be said about him, and more particularly against him, he already knows; he has, as he says in a typical paradox, overheard it all, anticipated it all, invented it all. 'I am a sick man… I am a wicked man.' In the space of that pause Dostoevsky introduces the unifying idea of his tale: the instability, the perpetual 'dialectic' of isolated consciousness. The nameless hero - nameless 'because T is all of us,' the critic Viktor Shklovsky suggested - is, like so many of Dostoevsky's heroes, a writer. Not a professional man of letters (none of Dostoevsky's 'writers' is that), but one whom circumstances have led or forced to take up the pen, to try to fix something in words, for his
