TheBrothersKaramazov - (EPUB全文下载)

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The Brothers Karamazov
Fyodor Dostoevsky
Introductory Essay by Konstantin

Mochulsky
Translated by Andrew R. MacAndrew
A Note

From The Translator
The best way of handling a translation is about as slippery a

business as the best way of organizing a society, the best way of living a life, or, for that

matter, the best way of writing. In dealing with a piece of literature a translator must hear its

tone, judge its language, appreciate its style, and understand its subtleties of meaning, and

then as if such passive appreciation were not hard enough, he must re-create all these features

as closely as possible in a tongue foreign to the original.
In trying to convey the essence of a literary work in another

language, he is in the position of a conductor of an orchestra of outlandish instruments asked to

perform a classical symphony. He must first adapt the piece to the unfamiliar instruments and

then guide his barbarous musicians through it. If he is tone-deaf in the language into which he

translates, the effect may be like playing the “Moonlight Sonata” on a tin can.
—Andrew R. MacAndrew
Dostoevsky And The Brothers Karamazov
Konstantin

Mochulsky
IN 1839 the eighteen-year-old youth

Dostoevsky wrote to his brother: “Man is a mystery: if you spend your entire life trying to

puzzle it out, then do not say that you have wasted your time. I occupy myself with this mystery,

because I want to be a man.”
The great psychologist had a presentiment of his vocation: all his

creative work is devoted to the mystery of man. In Dostoevsky’s novels there are no landscapes

and pictures of nature. He portrays only man and man’s world; his heroes are people from

contemporary urban civilization, fallen out of the natural world-order and torn away from “living

life.” The writer prided himself on his  realism ; he

was describing not the abstract “universal man,” contrived by J. J. Rousseau, but the real

European of the 19th century with all the endless contradictions of his “sick consciousness.” The

Russian novelist first discovered the real face of the hero of our “troubled time”—the “man from

underground”: this new Hamlet is struck by the infirmity of doubt, poisoned by reflection, doomed

to a lack of will and inertia. He is tragically alone and divided in two; he has the

consciousness of an “harassed mouse.”
Dostoevsky’s psychological art is famous throughout the world.

Long befo ............

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