With this second novel was to be founded a real philosophy of fantastic, philosophy that will generate all the later great novels. Dostoevsky quickly realized this and has oriented his artistic vision in another direction. The predilection/obsession to describe the humanitarian/progressive ideals that transpire in his first novel is a sure way to artistic sterility. In fact, the second novel is his first attempt to evade the time, to his epoch and thus to overcome this early stage of compassionate description of oppressed people. But Dostoevsky did not want to repeat the Gogol's mistake. What his contemporaries do not understand is that his first novel, Poor Folk, is not a truly authentic poetic way if he had continued on the same line opened by his first book, his style had slipped to a realism specific to journalism, and maybe he will become a chronicler of human suffering, a social prophet, but not a great artist. The idea of double, perhaps the most important of Dostoevsky's work, is that who turns the writer into a real artist. The interweaving of the subjective and objective aspects made by Golyadkin's duplication, here's the stakes with which is invested this novel by Dostoevsky therefore, the double is not a simple alter-ego, another side of the same I, but it is actually another being, a copy linked with invisible threads to the original. Even if is not everything unique in his face, the way in which the author described the evolution of his mind, his strange and destructive boldness to conceive as non-identical with itself, capable to project himself out and to objectively recreate himself supposed to provoke a revolution in Russian literature of the nineteenth century. Golyadkin, the central character of the Double, is configuring in the writer's mind as a true revelation, he will have the necessary strength to dethrone Chichikov, gogolian character who held supremacy among the preferences of young people of that time. You you'll love it! You'll enjoy more than Dead Souls, I'm sure!"1Īll these exclamation points submitted in the letter to his brother express one thing: Dostoevsky's belief that the Double will be the best Russian novel written before. Our people say that after the Dead souls never appeared in Russia anything like it, which is a brilliant work, and all such sorts of things! With what hope everybody looks me! Indeed, I succeeded Golyadkin could not be better. "Golyadkin is ten times higher than Poor Folk. Essentially, The Double would remain in its creator consciousness a failed work.Īnd still, throughout the elaboration of the novel, Dostoevsky is convinced and confesses to his brother his conviction that he works on the best of his books, expecting the same recognition by the others.
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It says that the mature Dostoevsky does not bind him nothing about his second novel, apart from remembering this years when he was young and full of a boundless poetic moose. Generally, after the appearance of the novel, the Russian writer was quite harsh in his appreciations to the The Double: A Petersburg Poem, which he described as an unsuccessful novel, although the idea that has the basis of him was profound and original. In contrast, the second novel, waited with great impatience by everyone, not only disappointed the readers, but even the author, who at first had declared himself enthusiastic about the writing evolution.
With everyone thought that was born a new Gogol, perhaps a writer more profound than the author of Dead Souls. Despite some criticisms that have been made, it was received with enthusiasm, including by demanding literary critic Vissarion Belinsky. In a Writer's Diary of the year 1877, more than three decades since its publication, Dostoevsky remembers with nostalgia what it meant to him publishing his first novel, Poor Folk (1845). Keywords: the idea of double, a philosophy of fantastic, self, the conscience, underground.
The final analysis is focused on the underground, a concept which describes the ontological ambivalence of Dostoevsky's heroes. In this study, the author brings strong arguments that contradict the view expressed by Russian philosopher. Lev Shestov claims that Dostoevsky's work is divided into two major periods that have almost nothing in common. Abstract: The paper starts with the finding that the idea of double, perhaps the most important of Dostoevsky's work, is that who turns the writer into a real artist.