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How is this book unique?
The Idiot (Russian: Идио́т, Idiot) is a novel by the 19th-century Russian author Fyodor Dostoyevsky. It was first published serially in the journal The Russian Messenger in 1868-9. The title is an ironic reference to the central character of the novel, Prince Lyov Nikolaevich Myshkin, a young man whose goodness and open-hearted simplicity lead many of the more worldly characters he encounters to mistakenly assume that he lacks intelligence and insight. In the character of Prince Myshkin, Dostoevsky set himself the task of depicting "the positively good and beautiful man". The novel examines the consequences of placing such a unique individual at the centre of the conflicts, desires, passions and egoism of worldly society, both for the man himself and for those with whom he becomes involved. The result, according to philosopher A.C. Grayling, is "one of the most excoriating, compelling and remarkable books ever written; and without question one of the greatest."
- Sales Rank: #909543 in eBooks
- Published on: 2015-12-30
- Released on: 2015-12-30
- Format: Kindle eBook
From Publishers Weekly
Richard Pevear and Larissa Volokhonsky, justly acclaimed for their translations of such Russian classics as Gogol's Dead Souls and Dostoyevski's The Brothers Karamazov, Crime and Punishment and Notes from Underground, have now undertaken another major Dostoyevski novel, The Idiot. Their trademark style fresh, crisp and faithful to the original (bumps and blemishes included) brings the story of nave, truth-telling Prince Myshkin to new life. As is true of their other translations of Dostoyevski, this will likely be the definitive edition for years to come. Intro. by Pevear.
Copyright 2002 Cahners Business Information, Inc.
Review
Praise for Pevear and Volokhonsky’s translation of Crime and Punishment:
“Reaches as close to Dostoevsky’s Russian as is possible in English. . . . The original’s force and frightening immediacy is captured. . . . The Pevear and Volokhonsky translation will become the standard English version.” –Chicago Tribune
Language Notes
Text: English (translation)
Original Language: Russian
Most helpful customer reviews
231 of 243 people found the following review helpful.
Doestoevsky's Master Work
By Sean O'Neill
What could have prompted me to first read "The Idiot" at age 13 on a beach vacation with my family I can not recall. What I do recall, however, is that I was fully engrossed day after day in a world of ideas, people and places far beyond my experience. Having now just "re-read" it 39 years later (following Crime and Punishment and Brothers Karamazov), I know I couldn't possibly have digested all of its ideas at that age: atheism vs. Christianity; nihilism vs. a dying social order; Eros vs. charity; truth vs. artifice; id vs.ego and superego. And yet, I also sense I know what captivated me even then.
The characters in this novel, though usually explained as symbolic of the ideas they represent, are yet the most vividly realized characters I had ever "read" then, and still. The real-time manner in which they are drawn and followed is as if the author simply recorded their actions and conversations as and where they happened. We get to know who these people are, not through narrative description, but, as if by "candid camera", observing what they say, withhold, do, and fail to do. What emerges are fascinating, at times frightening and at times affectionate portraits of real and troubled humans: Lizaveta, the flighty, but loving society mother; General Epanchin, the successful but utterly conventional man of the house; Aglaya, the childish but delightful beauty who resents her sister's and parents' expectation for her; Ganya, who wants money and love, but plays the wounded martyr while more obviously blaming his father for his failures at both; Ivolgin, the pathetic figure of an aging man who aches for dignity and respect but who's former glory is long gone and mostly imagined; and Lebedev, the likeable sycophant and name-dropper.
The more central characters to the events, the murderously passionate Rogozhin, and the self-scorning beauty Nastasya, are more starkly drawn. But even those portraits are created not through direct thought narration or narrative description, but by the author's leading us to read between and behind the lines of their words, conversations with others, and public "displays".
As for the Prince himself, he is often said to symbolize the human side of a Christ-like man. That, of course, is true; but (as can also be seen in Aloysha, the hero of The Brothers Karamazov), he is as much child-like as he is like a Christ. The Prince's honesty, naiveté, trust, and simple affection for those around him, are all qualities that he seems to maintain as a man because he is really only entering the "adult" world of social Petersburg after a long and sheltered upbringing among younger children in Switzerland. When he enters this tangled world of adult competition, insecurity, envy, ambition and intrigue, though much older, he's in the most essential ways still the child that was sent by his benefactor to Switzerland for help with his illness.
One comes away with the strong impression (reinforced by the portrait of Aloysha, hero of Brothers Karamazov) that Dostoevsky saw children as embodying the ideal of spirit that we strive to maintain or regain as adults. The prince's obvious affection for the loyal young boy Kolya and the compassionate young girl Vera, in this book, and similar bonds between his hero Aloysha and the children in Karamozov Brothers, show Dostoevsky's admiration for the child in man.
The Idiot shows what happens when a simple, trusting and exceptionally compassionate child-man enters the more corrupt world of human adulthood without the experience to navigate, or even to perceive, the traps and snares laid by more worldly humans whose innocence has been chipped or stripped bare by ambition, envy, greed, despair or old age.
On another level, The Idiot is an allegory for the Christ story itself- with Prince Myshkin coming from the Swiss sanatorium into the "the world" of Petersburg with a mission to live among, love and save its people. The complications of heart and mind when his human emotions unexpectedly collide with the more selfish and less willing of those around him are at the center of this story of a second coming re-imagined.
One might be left, at the awfully tragic end of this novel, with the idea that Dostoevsky himself was of the same mind as Ippolit, the suicidal atheist, who his hero befriends of compassion. That is, from the disastrous conclusion, one might think that Dostoevsky believes that Holbein's painting (central to the story) of the disfigured and lifeless body of Christ the corpse, shows the impossibility of a divine spirit in (and after) a wretched human existence. Yet, it is with such affection that he describes the many and contradictory (and often delightful) sides of the "ordinary" people in this story, that I felt the opposite: that is, that Dostoevsky recognized not just in the tragically compassionate Prince, and the young Vera and Kolya, but also in the few and fleeting glimpses of love, friendship, compassion and even real dignity of the fallen or struggling others, that there is a redemptive force that underpins the human experience. If there were any doubt of that after reading this novel, it is laid to rest in the Brothers Karamazov, whose likewise tragic denouement yet ends on a note more obviously reflective of Dostoevsky's ultimate optimism.
Crime and Punishment, a psychological crime story, showed Dostoevsky's incredible genius for "writing" the inside of the human mind. Brothers Karamozov was a morality tale that laid out, on a grand scale, yet in great detail, the most essential questions of good and evil, id and ego, life and after-life. For me, The Idiot did what both of these other great novels did, but was the most captivating of the three, because it was so human, intimate and real in its characters' discourse, actions and exposition. It was much less overt than the Brothers Karamazov, and less psychologically analytical than Crime and Punishment. But of the three, the timeless characters of "The Idiot" last most indelibly in the mind.
54 of 55 people found the following review helpful.
sublimely inaccessible
By Michael Fridman
This is one of the more famous of Dostoyevsky's novels, and quite rightly so as it has his very-unique blend of psychology, philosophy and an unrelenting view of the bleakest recesses of the soul.
I read the novel in the original Russian, so this isn't a review of any particular translation but the work itself.
In brief, the book centres around a Prince who has returned to Russia after being treated for mental illness in Switzerland since his childhood (hence the idiot). He quickly becomes involved within the upper-middle eschellons of St Petersburgian society, as people become fascinated by his direct honesty, simplicity and compassion. He becomes emotionally involved with a Fallen Woman, and this develops into a love triangle with another woman, ultimately ending in --- you guessed it! - tragedy. The Idiot is portrayed as the symbol of a child-like innocence: he genuinely wants everyone to live in harmony and love. However, the falseness, politics and backstabbing of the world of Russian middle-nobility will have none of that.
The plot is quite complicated - but not in terms of twists. The story is quite simple in terms of what happened, however much of it is told inside-out, focusing on the internal world of the characters. So, if you feel like you've missed something - a reason for a character's comment, an event etc, chances are, this will be revealed later on.
Dostoyevsky dwells on the extreme minute aspects of the emotional lives of his charactes. This is the richest aspect of the novel - and these emotions possess all the contradiction and chaos that real people have. There are no total heroes in the book - but I found a part of myself identifying with the Prince, as the grown child who just doesn't want to accept the "adult" behaviour of interpersonal relationships. I think it's expected in reading the book that some characters will be loathed, some found amusing and admired, some arousing interest - but not loved. This is because the world portrayed within the book is very inaccessible. It's hard to identify with anyone in terms of more than the generality of emotion - not just because the setting is remote, but because the characters experience thoughts and ideas that are so different to what most people would. I think this inaccessability was deliberate - as we feel not-quite-at-home in the world of the book, so it highlights how the Prince is not quite at home there - and that's where the sublime feeling is derived from.
On a side note, be prepared for the difficulty of keeping track of names, as people are called by their surnames on certain occasions and the rest is first name and father's name. With heaps of characters and many Russian names, it all becomes a mess. But with some concentration (perhaps making a cast of characters?) that can be overcome and a great read will be had.
A great book that will interact with your emotional world - if you don't mind heavy reading.
60 of 66 people found the following review helpful.
Innocence Lost?
By Nathan Knapp_Voronwë
Having previously read my first Dostoevsky (Crime and Punishment) I was literally chomping at the bit to start reading something else of his. I am not altogether sure as to why I found The Idiot to be the most appealing, it probably wasn't the synopsis, because I, in my ignorance, thought I was buying "The Possessed". I realized this as I pulled away from the book store, but didn't worry about it. Dostoevsky is Dostoevsky, right? Well, sort of. I was shocked when I did not find the anti-hero I expected, but Prince Lev Nikolaevich Myshkin, a pure and beautiful soul who I loved from the start. It was hard not to cheer for him throughout the course of the novel, and to feel his pain at the corrupt and confusing society that surrounded him. He is torn apart by his first love for the intriguing Nastasya Filippovna, and then later Aglaia Ivanovna, equally intriguing.
I'll be the first to admit that though I loved this book I struggled through certain portions of it, namely nearly every scene Lebedev is involved in, and Ippolit's letter. The book has a very 'meandering' quality to it, and you get the feeling at times that Dostoevsky didn't have the slightest clue how he would finish it, and so stalled for time in certain areas. This didn't really diminish the book's quality, it simply made it harder to follow. Also, towards the end it seems as if Dostoevsky finally knows, and he finally hurries off.
But, there is, perhaps, some of the greatest writing ever put on paper within these pages. Scenes such as Prince Myshkin's oratory on capital punishment, the party at Nastasya Fillippovna's, Prince Myshkin in the house of Rogozhin, and the most chilling scene in Rogozhin's bedroom. The beauty, terror, and despair in these scenes are so genuine that it's impossible not to be swept into Dostoevsky's world. So, would I recommend it? Of course, but not to someone unaquainted with Dostoevsky. Crime and Punishment is a much better place to start. But once you're acquainted with Dostoevsky's writings dive into this book, and you'll find yourself longing to help the poor Prince Myshkin, the idiot.
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