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appointed location. They fail to tell him that the time has been changed to six instead of five, so he arrives early. He gets into an argument with the four of them after a short time, declaring to all his hatred of society and using them as the symbol of it. At the end, they go off without him to a secret brothel, and, in his rage, the underground man follows them there to confront
Zverkov once and for all, regardless if he is beaten or not. He arrives at the brothel to find Zverkov and the others already retired with prostitutes to other rooms. He then encounters Liza, a young prostitute.
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utopian dreams (similar to his ridicule of the
Crystal Palace in Part 1), she eventually realizes the plight of her position and how she will slowly become useless and will descend more and more, until she is no longer wanted by anyone. The thought of dying such a terribly disgraceful death brings her to realize her position, and she then finds herself enthralled by the Underground Man's seemingly poignant grasp of the destructive nature of society. He gives her his address and leaves.
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as the
Underground Man points out in his rant, such dreams are based on a utopian trust of not only the societal systems in place, but also humanity's ability to avoid corruption and irrationality in general. The points made in Part 1 about the Underground Man's pleasure in being rude and refusing to seek medical help are his examples of how idealised rationality is inherently flawed for not accounting for the darker and more irrational side of humanity.
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reiterates the truth of her miserable position. Near the end of his painful rage he wells up in tears after saying that he was only seeking to have power over her and a desire to humiliate her. He begins to criticize himself and states that he is in fact horrified by his own poverty and embarrassed by his situation. Liza realizes how pitiful he is and tenderly embraces him. The
Underground Man cries out "They—they won't let me—I—I can't be good!"
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In Part 2, the rant that the
Underground Man directs at Liza as they sit in the dark, and her response to it, is an example of such discourse. Liza believes she can survive and rise up through the ranks of her brothel as a means of achieving her dreams of functioning successfully in society. However,
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The first section tells of the
Underground Man's obsession with an officer who once insulted him in a pub. This officer frequently passes him by on the street, seemingly without noticing his existence. He sees the officer on the street and thinks of ways to take revenge, eventually borrowing money to
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was written, there was an intellectual ferment on discussions regarding religious philosophy and various 'enlightened' utopian ideas. The work is a challenge to, and a method of understanding, the larger implications of the ideological drive toward a utopian society. Utopianism largely pertains to a
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He is subsequently overcome by the fear of her actually arriving at his dilapidated apartment after appearing such a "hero" to her and, in the middle of an argument with his servant, she arrives. He then curses her and takes back everything he said to her, saying he was, in fact, laughing at her and
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Unlike most people, who typically act out of revenge because they believe justice is the end, the
Underground Man is conscious of his problems and feels the desire for revenge, but he does not find it virtuous; the incongruity leads to spite towards the act itself with its concomitant circumstances.
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After all this, he still acts terribly toward her, and, before she leaves, he stuffs a five ruble note into her hand, which she throws onto the table (it is implied that the
Underground Man had sex with Liza and that the note is payment). He tries to catch her as she goes out to the street, but he
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The remaining sections deal with his encounter with Liza and its repercussions. The story cuts to Liza and the
Underground Man lying silently in the dark together. The Underground Man confronts Liza with an image of her future, by which she is unmoved at first, but after challenging her individual
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And isn't it better, won't it be better?… Insult—after all, it's a purification; it's the most caustic, painful consciousness! Only tomorrow I would have defiled her soul and wearied her heart. But now the insult will never ever die within her, and however repulsive the filth that awaits her, the
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The narrator observes that utopian society removes suffering and pain, but man desires both things and needs them in order to be happy. He argues that removing pain and suffering in society takes away a man's freedom. He says that the cruelty of society makes human beings moan about pain only to
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Sections II to V focus on a going-away dinner party with some old school friends to bid farewell to one of these friends—Zverkov—who is being transferred out of the city. The
Underground Man hated them when he was younger, but after a random visit to Simonov's, he decides to meet them at the
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In chapter 11, the narrator refers to his inferiority to everyone around him and describes listening to people as like "listening through a crack under the floor." The word "underground" actually comes from a bad translation into English. A better translation would be a
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593:. The point the Underground Man makes is that individuals will ultimately always rebel against a collectively imposed idea of paradise; a utopian image such as The Crystal Palace will always fail because of the underlying irrationality of humanity.
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He feels that others like him exist, but he continuously concentrates on his spitefulness instead of on actions that would help him avoid the problems that torment him. The main issue for the Underground Man is that he has reached a point of
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The novella is divided into two parts. The title of the first part—"Underground"—is itself given a footnoted introduction by Dostoevsky in which the character of the 'author' of the Notes and the nature of the 'excerpts' are discussed.
299:, in the Underground Man's confession "there is literally not a single monologically firm, undissociated word". The Underground Man's every word anticipates the words of an other, with whom he enters into an obsessive internal polemic.
554:, Russia was beginning to absorb the ideas and culture of Western Europe at an accelerated pace, nurturing an unstable local climate. There was especially a growth in revolutionary activity accompanying a general restructuring of
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He recalls this moment as making him unhappy whenever he thinks of it, yet again proving the fact from the first section that his spite for society and his inability to act makes him no better than those he supposedly despises.
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The challenge posed by the Underground Man towards the idea of an "enlightened" society laid the groundwork for later writing. The work has been described as "probably the most important single source of the modern
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The concluding sentences recall some of the themes explored in the first part, and he tells the reader directly, "I have merely carried to an extreme in my life what you have not dared to carry even halfway.”
1013:), defined as "conscious-sitting-with-arms-folded" and also criticises his supposed antitheses, men of action and men of nature and truth for their active, machine-like existence. Knapp, Liza. 1985. "
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At the end of Part 2, a further editorial note is added by Dostoevsky, indicating that the 'author' couldn't help himself and kept writing, but that "it seems to us that we might as well stop here".
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The novella presents itself as an excerpt from the memoirs of a bitter, isolated, unnamed narrator (generally referred to by critics as the Underground Man), who is a retired civil servant living in
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Part 2 consists of ten sections covering some events from the narrator's life. While he continues in his self-conscious, polemical style, the themes of his confession are now developed anecdotally.
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buy an expensive overcoat and intentionally bumping into the officer to assert his equality. To the Underground Man's surprise, however, the officer does not seem to notice that it even happened.
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The narration by the Underground Man is laden with ideological allusions and complex conversations regarding the political climate of the period. Using his fiction as a weapon of
562:, enacted by an unwieldy autocracy, only induced a greater sense of tension in both politics and civil society. Many of Russia's intellectuals were engaged in a debate with the
441:'s poem "When from the darkness of delusion..." about a woman driven to prostitution by poverty. The quotation is interrupted by an ellipsis and the words "Etc., etc., etc."
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on the other, concerned with favoring importation of Western reforms or promoting pan-Slavic traditions to address Russia's particular social reality. Although
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discuss the moral and intellectual fluctuation that the narrator feels along with his conscious insecurities regarding "inertia"—inaction.
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that Chernyshevsky proposes as the foundation of Utopian society. The idea of cultural and legislative systems relying on this
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was first published in Russian, there have been a number of translations into English over the years, including:
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cover theories of reason and logic, closing with the last two sections as a summary and transition into Part 2.
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has had an impact on various authors and works in the fields of philosophy, literature, and film, including:
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as a goal: in essence, it is in everyone's individual self-interest that the whole of society flourish."
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cannot find her and never hears from her again. He tries to stop the pain in his heart by "fantasizing."
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propounds a number of riddles whose meanings are further developed as the narration continues.
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The Boundaries of Genre: Dostoevsky's Diary of a Writer and the Traditions of Literary Utopia
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goes into the depths of the narrator's thoughts. The narrator repeats many of his concepts.
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in Petersburg. Following the title there is an epigraph containing the opening lines from
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society's collective dream, but what troubles the Underground Man is this very idea of
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and rational egoism. The novel rejects the rationalist assumptions which underlie
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The Feud: Vladimir Nabokov, Edmund Wilson, and the End of a Beautiful Friendship
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is what the protagonist despises. The Underground Man embraces this ideal in
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More generally, the work can be viewed as an attack on and rebellion against
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is one of the symbols in the novella and represents all the barriers of the
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Chief among them is the Underground Man, who confesses to his own inertia (
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The Underground Man as Big Brother: Dostoevsky's and Orwell's Anti-Utopia
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The Underground Man attacks contemporary Russian philosophy, especially
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Betting on Macau: Casino Capitalism and China's Consumer Revolution
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that stand against man and his freedom. Put simply, the rule that
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angers the Underground Man because he wants the freedom to say
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deal with suffering and the irrational pleasure of suffering.
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1181:. Evanston, IL: Northwestern University Press. p. 130.
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are often at the very beginning of the sentence before the
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505:, Dostoevsky challenges the ideologies of his time, mainly
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in 1864. It is a first-person narrative in the form of a "
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1107:. Globalization and Community series. Minneapolis, MN:
276:". The work was originally announced by Dostoevsky in
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948:Bird, Robert. "Introduction: Dostoevsky's Wager".
894:, 2016, ch. 8 "We Are All Pushkinists Now", p. 114
849:considered the title more correctly translated as
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937:. University of Minnesota Press. pp. 227–28.
429:The title of Part 2 is an allusion to the critic
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378:The first part also gives a harsh criticism of
1539:Another Man's Wife and a Husband Under the Bed
633:, it is also a place where evil spirits live.
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1015:The Force of Inertia In Dostoevsky's Krotkaja
469:insult will elevate her, it will cleanse her…
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1746:Twenty Six Days from the Life of Dostoyevsky
1193:"Can Dostoevsky Still Kick You in the Gut?"
969:, utlitarianism as a method coincided with
952:. Translated by Yakim, B. Grand Rapids MI:
38:Title page of Russian-language 1866 edition
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1136:. Penn State University Press. p. 77.
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605:, the "I" is never really discovered. The
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1588:The Beggar Boy at Christ's Christmas Tree
1166:. Ann Arbor, MI: Ardis. pp. 150–159.
1149:Existentialism From Dostoevsky to Sartre
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1151:. New York: Meridian Books. p. 52.
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822:2010. Kyril Zinovieff and Jenny Hughes.
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609:can at times seem "multi-layered"; the
21:Notes from Underground (disambiguation)
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811:Richard Pevear and Larissa Volokhonsky
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1297:EDSITEment's Launchpad Dostoevsky's
987:. Yale University Press. p. 27.
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493:Dostoevsky in 1863, the year before
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601:Although the novella is written in
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1627:Winter Notes on Summer Impressions
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367:spread their suffering to others.
16:1864 novella by Fyodor Dostoyevsky
14:
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1799:Russian novels adapted into films
1794:Fiction with unreliable narrators
1789:Novels about Russian prostitution
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767:Revised by Ralph E. Matlaw, 1960.
425:Part 2: "Apropos of the Wet Snow"
1553:The Christmas Tree and a Wedding
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1164:Problems in Dostoevsky's Poetics
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935:Problems of Dostoevsky's Poetics
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280:under the title "A Confession".
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1048:Journal of the History of Ideas
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1774:Novellas by Fyodor Dostoevsky
1609:The Dream of a Ridiculous Man
1109:University of Minnesota Press
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575:emancipated the serfs in 1861
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1406:The Village of Stepanchikovo
1162:Bakhtin, Mikhail M. (1973).
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1281:public domain audiobook at
1084:Dostoevsky, Fyodor (1989).
904:Dostoevsky, Fyodor (2001).
755:Letters from the Underworld
255:Letters from the Underworld
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1261:Notes from the Underground
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827:Notes from the Underground
804:Notes from the Underground
783:1961. Andrew R. MacAndrew.
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249:Notes from the Underground
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534:two plus two equals four
385:two times two makes four
1414:Humiliated and Insulted
1292:in the original Russian
1132:Wanner, Adrian (1997).
1042:Scanlan, James (1999).
27:Notes from Underground
1513:Notes from Underground
1478:The Brothers Karamazov
1307:Notes from Underground
1299:Notes from Underground
1290:Notes from Underground
1278:Notes from Underground
1247:Notes from Underground
1219:Notes from Underground
1086:Notes From Underground
998:Notes from Underground
950:Notes from Underground
906:Notes From Underground
799:1989. Michael R. Katz.
786:1969. Serge Shishkoff.
743:Notes from Underground
726:Notes from Underground
700:Notes from Underground
650:Notes from Underground
603:first-person narrative
586:Notes from Underground
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495:Notes from Underground
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360:Sections 7, 8, & 9
348:Sections 2, 3, & 4
335:Notes from Underground
209:Notes from Underground
198:Notes from Underground
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1779:Existentialist novels
1422:The House of the Dead
1177:Morson, Gary (1981).
1103:Simpson, Tim (2023).
1060:10.1353/jhi.1999.0028
1023:University of Toronto
985:Narrative and Freedom
825:2014. Kirsten Lodge.
789:1972. Jessie Coulson.
710:in the leading roles.
566:on one hand, and the
503:ideological discourse
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401:Nikolai Chernyshevsky
337:has eleven sections:
329:Part 1: "Underground"
304:Nikolay Chernyshevsky
246:; also translated as
80:Philosophical fiction
1718:The Grand Inquisitor
1430:Crime and Punishment
1025:. Archived from the
956:. pp. vii–xxiv.
802:1991. Jane Kentish.
737:English translations
718:(2012), directed by
693:(1976), directed by
243:Zapíski iz podpólʹya
222:Записки изъ подполья
181:Записки изъ подполья
59:Записки изъ подполья
19:For other uses, see
1769:1864 Russian novels
1694:Lyubov Dostoevskaya
1454:The Eternal Husband
954:William B. Eerdmans
879:Henry Thomas Buckle
658:Friedrich Nietzsche
517:social philosophy.
406:What Is to Be Done?
309:What Is to Be Done?
237:Записки из подполья
54:Original title
28:
1700:Mikhail Dostoevsky
1672:Rodion Raskolnikov
1652:Nastasya Filipovna
1398:Netochka Nezvanova
1019:Dostoevsky Studies
819:2009. Boris Jakim.
816:2009. Ronald Wilks
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485:Themes and context
397:The Crystal Palace
354:Sections 5 & 6
333:The first part of
120:January–April 1864
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1712:Dostoevsky Museum
1688:Anna Dostoevskaya
1657:Alyosha Karamazov
1602:The Peasant Marey
1344:Fyodor Dostoevsky
1266:Project Gutenberg
1118:978-1-5179-0031-1
762:Constance Garnett
664:The Metamorphosis
546:Political climate
264:Fyodor Dostoevsky
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1634:A Writer's Diary
1567:A Nasty Anecdote
1546:The Honest Thief
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1595:The Meek One
1560:White Nights
1512:
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1497:The Landlady
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1355:Bibliography
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1202:. Retrieved
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881:(1821–1862).
875:Napoleon III
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591:collectivism
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564:Westernizers
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320:Plot summary
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107:
1749:(1981 film)
1637:(1873–1881)
1619:Non-fiction
1438:The Gambler
890:Alex Beam,
729:(2014), by
690:Taxi Driver
682:(1952), by
673:Franz Kafka
627:crawl space
568:Slavophiles
515:utilitarian
380:determinism
314:determinism
228:post-reform
193:Translation
185:at Russian
156:891.73/3 20
86:Set in
1763:Categories
1708:(mistress)
1696:(daughter)
1645:Characters
1390:The Double
1204:2018-10-31
919:0393976122
861:References
708:Sheryl Lee
667:(1915), a
526:Stone Wall
293:dialogized
274:confession
215:pre-reform
187:Wikisource
1702:(brother)
1446:The Idiot
1382:Poor Folk
1068:170260153
971:socialism
342:Section I
289:monologue
103:Publisher
1740:magazine
1732:magazine
1629:" (1863)
1611:" (1877)
1604:" (1876)
1597:" (1876)
1590:" (1876)
1583:" (1873)
1576:" (1865)
1569:" (1862)
1562:" (1848)
1555:" (1848)
1548:" (1848)
1541:" (1848)
1534:" (1846)
1489:Novellas
1283:LibriVox
1027:original
1011:inercija
644:dystopia
613:and the
507:nihilism
439:Nekrasov
143:31124008
66:Language
1681:Related
1360:Letters
715:Yeraltı
669:novella
611:subject
556:tsardom
550:In the
260:novella
258:) is a
232:Russian
217:Russian
70:Russian
1730:Vremya
1516:(1864)
1508:(1859)
1500:(1847)
1481:(1880)
1473:(1875)
1465:(1872)
1462:Demons
1457:(1870)
1449:(1869)
1441:(1867)
1433:(1866)
1425:(1862)
1417:(1861)
1409:(1859)
1401:(1849)
1393:(1846)
1385:(1846)
1374:Novels
1365:Themes
1226:
1115:
1066:
916:
809:1994.
792:1974.
772:1955.
760:1918.
749:1913.
741:Since
637:Legacy
619:object
607:syntax
558:where
419:praxis
44:Author
1738:Epoch
1581:Bobok
1092:)-30.
1064:S2CID
834:Notes
584:When
552:1860s
373:ennui
278:Epoch
269:Epoch
108:Epoch
76:Genre
1224:IMDb
1113:ISBN
1090:n. 6
914:ISBN
706:and
615:verb
524:The
137:OCLC
1264:at
1250:at
1222:at
1056:doi
1017:."
912:).
910:n 3
671:by
646:."
513:'s
403:'s
399:in
390:cf.
306:'s
262:by
252:or
1765::
1195:.
1076:^
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1052:60
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1034:^
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240:,
234::
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94:c.
92:,
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388:(
212:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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