Table of Contents
Introduction
Select Bibliography
Chronology
Translators' Note
Part One
1: Instead of an Introduction
I
II
III
IV
V
VI
VII
VIII
IX
2: Prince Harry - Matchmaking
I
II
III
IV
V
VI
VII
VIII
3: Someone Else's Sins
I
II
III
IV
V
VI
VII
VIII
IX
X
4: The Lame Girl
I
II
III
IV
V
VI
VII
5: The Wise Serpent
I
II
III
IV
V
VI
VII
VIII
Part Two
1: Night
I
II
III
IV
V
VI
VII
2: Night (Continued)
I
II
III
IV
3: The Duel
1
II
III
IV
4: All in Expectation
1
II
III
5: Before the Fête
I
II
III
6: Pyotr Stepanovich Bustles About
I
II
III
IV: Shatov
IV
V
VI
VII
7: With Our People
I
II
8: Ivan the Tsarevich
9: Stepan Trofimovich Perquisitioned
10: Filibusters. A Fatal Morning
I
II
III
Part Three
1: The Fête. First Part
I
II
III
IV
2 : The End of the Fête
I
II
III
IV
3: A Finished Romance
I
II
III
4: The Last Decision
I
II
III
IV
5: A Traveler
I
II
III
IV
V
VI
6: A Toilsome Night
I
II
III
7: The Last Peregrination of Stepan Trofimovich
I
II
III
8: Conclusion
Appendix
At Tikhon's
I
II
Notes
Demons
FYODOR DOSTOEVSKY
Translated from the Russian by Richard Pevear and Larissa Volokhonsky, with an Introduction by Joseph Frank.
This translation first included in Everyman's Library, 2000
© Richard Pevear and Larissa Volokhonsky, 1994
Introduction © Joseph Frank, 2000
ISBN: 0375411224
Introduction
Dostoevsky's Demons,probably the greatest novel ever inspired by a revolutionary conspiracy, was not the book that its author had intended to write. The story of how it came into being in its present form is rather a complicated one, involving Dostoevsky's own literary ambitions, the fact that he was living abroad, and the appearance in the Russian and German newspapers, which he read assiduously every day, of stories about an atrocious crime committed in his homeland by a small cell of revolutionaries.
At the time this news appeared, Dostoevsky had been dreaming of writing another type of novel entirely, one that would center on the loss of religious faith and its recovery; but he felt that he could not create such a work before returning to Russia from his European exile. The cause of his prolonged, four-year sojourn in Europe was not, as in the case of Turgenev, a preference for the amenities of European culture, but simply a need to escape from creditors who, on his return, might have thrown him into debtors' prison. The debts involved, incidentally, had not accumulated because of his own imprudence, as is too often assumed, but were those of a failed commercial venture of his deceased older brother, whose obligations he had voluntarily assumed. Dostoevsky's first idea for what became
Demonswas thus to knock off rapidly what he called a political 'pamphlet', in which he could express all his by now bitter hatred of the radicals and their ideology. It might also, at the same time, bring in sufficient income to enable him to return to Russia, where he would settle down to write the great work that he regarded as the
Dostoevsky was living in Dresden, plagued by financial worries and undecided about what to undertake next. He had recently finished The Idiot,in which he had tried to depict 'an absolutely beautiful man' (Prince Myshkin), who wished to live in the real world and, at the same time, to incorporate the highest Christian virtue of totally selfless love; but this novel had not met with the same success as Crime and Punishment,nor was he by any means satisfied with it himself. In a letter to the critic N. N. Strakhov, defending what he called his 'fantastic realism' ('what the majority calls almost fantastic and exceptional for me sometimes constitutes the very essence of the real'), he nevertheless admitted that 'much in the novel [The Idiot]was written hastily, much is dragged out and does not come off, but something still does come off. I do not stand by my novel but by my idea.’
This 'idea', in its broadest sense, was to create a positive artistic image to counter the influence of the ideology of Russian radicalism in the 1860s. The intellectual leaders of this movement - N. G. Chernyshevsky, N. Dobrolyubov, D. Pisarev - are little known except to students of Russian culture, but they exercised an enormous influence and determined the literary-cultural ambiance in which Dostoevsky was writing. These critics and publicists (though Chernyshevsky also wrote a famous and influential novel, What Is To Be Done?)were not only atheists who rejected God and the divinity of Christ, but they also attempted to substitute for the Christian morality of love and self-sacrifice one based on a purely homebrewed Russian amalgam of Benthamite Utilitarianism and Utopian Socialist idealism (labelled 'rational egoism'). Dostoevsky's great aim was not only to reveal the disastrous human consequences to which such an ideology might lead (as he had done with both the underground man and, more explicitly, Raskolnikov in Crime and Punishment),but also to rehabilitate the Christian ideal against all its gainsayers. It is thus not surprising that, even before completing the fourth and last part of The Idiot,he should have thought of another embodiment of the same thematic ambition.
In December 1868, writing to his oldest friend, the poet Apollon Maikov, Dostoevsky confides his plan for 'a huge novel whose title would be Atheism',asking his friend to keep the idea secret ('for God's sake, let this remain between us'). The passage is too lengthy to quote entire, but it involves a main character who loses his religious faith, and then embarks on a quest to find a substitute ideal. He goes off in search of this alternate faith among a large variety of competing groups: 'the atheists, the Slavs and Europeans [i.e., the Slavophils and Westernizers], the Russian fanatics, anchorites, the priests'; he even flirts with Polish Jesuits, but 'slips away from them to the depths of the flagellants [Russian sectarians] - and in the end finds Christ and the Russian God'. The importance of this project for Dostoevsky could not be more forcefully expressed: 'Let me write this final novel,' he declares, 'and even if I die - I will have spoken out about everything.'