The Brothers Karamazov by Fyodor Mikhailovich Dostoevsky (English) Mass Market P

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In 1880 Dostoevsky completed "The Brothers Karamazov, the literary effort for which he had been preparing all his life. Compelling, profound, complex, it is the story of a patricide and of the four sons who each had a motive for murder: Dmitry, the sensualist, Ivan, the intellectual; Alyosha, the mystic; and twisted, cunning Smerdyakov, the bastard child. Frequently lurid, nightmarish, always brilliant, the novel plunges the reader into a sordid love triangle, a pathological obsession, and a gripping courtroom drama. But throughout the whole, Dostoevsky searhes for the truth—about man, about life, about the existence of God. A terrifying answer to man's eternal questions, this monumental work remains the crowning achievement of perhaps the finest novelist of all time.

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In 1880 Dostoevsky completed "The Brothers Karamazov," the literary effort for which he had been preparing all his life. Compelling, profound, complex, it is the story of a patricide and of the four sons who each had a motive for murder: Dmitry, the sensualist, Ivan, the intellectual; Alyosha, the mystic; and twisted, cunning Smerdyakov, the bastard child. Frequently lurid, nightmarish, always brilliant, the novel plunges the reader into a sordid love triangle, a pathological obsession, and a gripping courtroom drama. But throughout the whole, Dostoevsky searhes for the truth—about man, about life, about the existence of God. A terrifying answer to man's eternal questions, this monumental work remains the crowning achievement of perhaps the finest novelist of all time.

Author Biography

Richard Peace is Emeritus Professor of Russian at Bristol University. He is the author of Dostoevsky: An Examination of his Major Novels.

Review

"[Dostoevsky is] at once the most literary and compulsively readable of novelists we continue to regard as great . . . The Brothers Karamazov stands as the culmination of his art-his last, longest, richest, and most capacious book. [This] scrupulous rendition can only be welcomed. It returns us to a work we thought we knew, subtly altered and so made new again." -Washington Post Book World "A miracle . . . Every page of the new Karamazov is a permanent standard, and an inspiration." -The Times (London) "One finally gets the musical whole of Dostoevsky's original." -New York Times Book Review "Absolutely faithful . . . Fulfills in remarkable measure most of the criteria for an ideal translation . . . The stylistic accuracy and versatility of registers used . . . bring out the richness and depth of the original in a way similar to a faithful and sensitive restoration of a painting." -The Independent "It may well be that Dostoevsky's [world], with all its resourceful energies of life and language, is only now-and through the medium of [this] new translation-beginning to come home to the English-speaking reader." -New York Review of Books "Heartily recommended to any reader who wishes to come as close to Dostoevsky's Russian as it is possible." -Joseph Frank, Princeton University With an Introduction by Malcolm V. Jones

Review Quote

"[Dostoevsky is] at once the most literary and compulsively readable of novelists we continue to regard as great . . . The Brothers Karamazov stands as the culmination of his arthis last, longest, richest, and most capacious book. [This] scrupulous rendition can only be welcomed. It returns us to a work we thought we knew, subtly altered and so made new again." Washington Post Book World "A miracle . . . Every page of the new Karamazov is a permanent standard, and an inspiration." The Times (London) "One finally gets the musical whole of Dostoevsky's original." New York Times Book Review "Absolutely faithful . . . Fulfills in remarkable measure most of the criteria for an ideal translation . . . The stylistic accuracy and versatility of registers used . . . bring out the richness and depth of the original in a way similar to a faithful and sensitive restoration of a painting." The Independent "It may well be that Dostoevsky's [world], with all its resourceful energies of life and language, is only nowand through the medium of [this] new translationbeginning to come home to the English-speaking reader." New York Review of Books "Heartily recommended to any reader who wishes to come as close to Dostoevsky's Russian as it is possible." Joseph Frank, Princeton University With an Introduction by Malcolm V. Jones

Excerpt from Book

CHAPTER 1 FYODOR PAVLOVICH KARAMAZOV ALexei Fyodorovich Karamazov was the third son of Fyodor Pavlovich Karamazov, a landowner in our district who became a celebrity (and is remembered to this day) because of the tragic and mysterious end he met exactly thirteen years ago, which will be described in its proper place. For the moment, I will only say of this "landowner" (as they referred to him here, although he spent hardly any time on his land) that he belonged to a peculiar though widespread human type, the sort of man who is not only wretched and depraved but also muddle-headed--muddle-headed in a way that allows him to pull off all sorts of shady little financial deals and not much else. Fyodor Karamazov, for instance, started with next to nothing; he was just about the lowliest landowner among us, a man who would dash off to dine at other people''s tables whenever he was given a chance and who sponged off people as much as he could. Yet, at his death, they found that he had a hundred thousand rubles in hard cash. And with all that, throughout his life he remained one of the most muddle-headed eccentrics in our entire district. Let me repeat: it was not stupidity, for most such eccentrics are really quite intelligent and cunning, and their lack of common sense is of a special kind, a national variety. He had been married twice and had three sons--the eldest, Dmitry, by his first wife, and the other two, Ivan and Alexei, by the second. Fyodor Karamazov''s first wife came from a fairly wealthy family of landed gentry--the Miusovs--also from our district. Why should a girl with a dowry, a beautiful girl moreover, one of those bright, clever young things who in this generation are no longer rare and who even cropped up occasionally in the last--why should she marry such a worthless "freak," as they called him? I will not really attempt to explain. But, then, I once knew a young lady of the old, "romantic" generation who, after several years of secret love for a gentleman whom, please note, she could have peacefully married at any moment she chose, invented insurmountable obstacles for herself and, one stormy night, jumped from a steep, rather cliff-like bank into a fairly deep, rapid river and drowned, all because she fancied herself an Ophelia out of Shakespeare. Indeed, if the bank, on which she had had her eye for a long time, had been less picturesque or had there simply been a flat bank, it is conceivable that the suicide would never have taken place at all. This is a true story, and it must be assumed that in the past two or three generations quite a few similar incidents have occurred. In the same way, what Adelaida Miusov did was undoubtedly an echo of outside influences and also the act of exasperation of a captive mind. Perhaps she was trying to display feminine independence, to rebel against social conventions, against the despotism of her family and relatives, while her ready imagination convinced her, if only for a moment, that Fyodor Karamazov, despite his reputation as a sponger, was nevertheless one of the boldest and most caustic men of that "period of transition toward better things," whereas in reality he was nothing but a nasty buffoon. The fact that the marriage plans included elopement added piquancy to it, making it more exciting for Adelaida. Fyodor, at that time, would, of course, have done anything to improve his lowly position, and the opportunity to latch on to a good family and to pocket a dowry was extremely tempting to him. As for love, there does not seem to have been any, either on the bride''s part or, despite her beauty, on Karamazov''s. This was perhaps a unique case in Fyodor Karamazov''s life, for he was as sensual as a man can be, one who throughout his life was always prepared, at the slightest encouragement, to chase any skirt. But his wife just happened to be the one woman who did not appeal to him sensually in the least. Right after the elopement, Adelaida realized that she felt nothing but scorn for her husband. It quickly became obvious what married life was to be. Despite the fact that her family accepted the situation quite soon and gave the runaway bride her dowry, relations between husband and wife became an everlasting succession of quarrels. It was rumored that, in these quarrels, the young wife displayed incomparably more dignity and generosity than her husband, who, it was found out later, soon wheedled out of her every kopek of the twenty-five thousand rubles she had received, so that, as far as she was concerned, those thousands were sunk in deep waters never to be salvaged again. As to the little country estate and the quite decent town house that were also part of her dowry, he kept trying desperately to have them transferred to his name by some suitable deed; he probably would have succeeded because of the loathing and disgust his constant pleading and begging inspired in his wife, because she would do anything to have peace, sick and tired as she was of him; but luckily Adelaida''s family intervened in time to put a stop to his greed. People knew that husband and wife often came to actual blows and rumor had it that it was she who beat him, rather than he her. Indeed, Adelaida was a hot-tempered, bold, dark, and impatient lady endowed with remarkable physical strength. Finally she eloped with a half-starved tutor, a former divinity student, leaving her husband with their three-year-old boy, Mitya. Fyodor Karamazov immediately installed a regular harem in the house and indulged in the most scandalous drunken debauchery. But between one orgy and the next, he would drive all over the province complaining tearfully to all and sundry of Adelaida''s desertion, and revealing on these occasions certain unsavory intimate details of their conjugal life that any other husband would have been ashamed to mention. He even seemed to enjoy--indeed, to feel flattered by--his ridiculous role as a cuckolded husband, for he insisted on describing his own disgrace in minute detail, even embellishing on it. "Why, Fyodor Pavlovich," people remarked, "you act as if an honor had been bestowed upon you. You seem pleased despite your sorrow." Many even added that he was delighted to have the role of clown thrust upon him, that he only pretended to be unaware of his ridiculous position in order to make it even funnier. But who can really tell? Possibly he was quite ingenuous about it all. He finally succeeded in getting on the track of his runaway wife. It led to Petersburg where the poor thing had moved with her divinity student and where she had abandoned herself to a life of complete emancipation. Fyodor Karamazov immediately busied himself with preparations for the journey to Petersburg, and perhaps he would have gone, although he certainly had no idea what he would do there. But once he had decided to go, he felt that he had a special reason for plunging into a bout of unrestrained drunkenness--to fortify himself for the journey. And just at that time his in-laws received word that Adelaida had died in Petersburg. She died suddenly, in a garret, of typhus according to some, of starvation according to others. Karamazov was drunk when he learned of his wife''s death, and some say he exclaimed joyfully, raising his hands to heaven: "Lord, now let Your servant depart in peace." But according to others, he wept, sobbing like a little boy so that people felt sorry for him despite the disgust he aroused in them. It is quite possible that they all were right, that he rejoiced in his regained freedom and wept for the woman from whom he had been freed, both at once. In most cases, people, even the most vicious, are much more naive and simple-minded than we assume them to be. And this is true of ourselves too. CHAPTER 2 HE GETS RID OF HIS ELDEST SON It is, of course, easy to imagine what sort of a father such a man would be, how he would bring up his children. And he lived up to expectation: he completely and thoroughly neglected his child by Adelaida. He did not do so out of any deliberate malice or resentment toward the child''s mother, but simply because he forgot all about the little boy. And while he was pestering people with his tears and self-pitying stories, while he was turning his home into a house of debauchery, a faithful servant of the household, Gregory, took the three-year-old Mitya into his care. If it hadn''t been for Gregory, there would have been no one to change the boy''s shirt. Moreover, it so happened that the child''s relations on his mother''s side had also, at first, forgotten his existence. Mitya''s grandfather, that is, Adelaida''s father, Mr. Miusov, was no longer alive; his widow, Mitya''s grandmother, had moved to Moscow and was in very poor health; and, in the meantime, Adelaida''s sisters had married and moved away. So Mitya spent almost a year in Gregory''s little house in the servants'' quarters. And, even if his father had occasionally remembered him (he could not, after all, have been completely unaware of the child''s existence), Karamazov would have sent his son back to the servants'' quarters anyway, because a child would have been in the way during the orgies. But one day a first cousin of Adelaida''s returned from Paris. Peter Miusov, who was later to settle abroad permanently, was at that time still a young man, but he was already an exception among the Miusovs: he was an enlightened, big-city gentleman, glittering with foreign polish, a European through and through who, later in life, was to become a typical liberal of the 1840''s and 1850''s. In the course of his life, he came in contact with some of the most liberal minds of his era, both in Russia and abroad. He met Proudhon personally, as well as Bakunin

Details ISBN0553212168 Short Title BROTHERS KARAMAZOV Pages 1072 Publisher Bantam Classics Series Bantam Classics Language English ISBN-10 0553212168 ISBN-13 9780553212167 Media Book Format Mass Market Paperback DEWEY FIC Year 1984 Publication Date 1984-04-30 Imprint Bantam Doubleday Dell Publishing Group Place of Publication New York Country of Publication United States Alternative 9781856954891 Audience Age 14-18 Author Fyodor Mikhailovich Dostoevsky DOI 10.1604/9780553212167 Audience General/Trade UK Release Date 1984-04-01 We've got this

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