NotesfromUnderground - (EPUB全文下载)

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Table of Contents
INTRODUCTION
SELECT BIBLIOGRAPHY
PART ONE: UNDERGROUND
PART TWO: APROPOS OF THE WET SNOW
Notes from Underground
FYODOR DOSTOEVSKY
Translated from the Russian by Richard Pevear and Larissa Volokhonsky with an Introduction by Richard Pevear
Copyright © 1993 by Richard Pevear and Larissa Volokhonsky
ISBN: 1400041910
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 own sake first of all, but also with an eye for some indeterminate
others —
readers, critics, judges, fellow creatures. He is a passionate amateur, a condition that marks the style and structure as well as the content of the book. Where the master practitioner would present us with a seamless and harmonious verbal construction, the man from underground, who literally cannot contain himself, breaks decorum all the time, interrupts himself, comments on his own intentions, defies his readers, polemicizes with other writers. The literariness of his “notes” and the unliterariness of his style are both results of his “heightened consciousness,” his hostility to and dependence upon the words of others. Thus the unifying idea of
Notes from Underground,
embodied in ............

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