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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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425:), one cannot avoid the simple fact that anyone, at any time, can decide to act in a way that might not be considered to be in their own self-interest; some will do so simply to validate their existence and to protest and confirm that they exist as individuals. The Underground Man ridicules the type of
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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,
463:
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
467:
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
191:
609:. 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.
315:, 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.
570:, 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
981:, meaning that actions should be judged in terms of their expediency. Naturally, utilitarians assumed that we can know the standard against which expediency can be measured: usually it was economic well-being. In Chernyshevsky's
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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.”
1029:), 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".
299:
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
578:, 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
457:'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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Reference is made to "Napoleon—the Great and also the present one", setting the story in the reign of
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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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924:. Translated and edited by Michael R. Katz (2nd ed.). W.W. Norton. p. 152 (
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449:'s observation that "damp showers and wet snow" were indispensable to writers of the
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and rational egoism. The novel rejects the rationalist assumptions which underlie
718:(1995), a film adaptation of Dostoevsky's novella, directed by Gary Walkow, with
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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
1060:"The Case against Rational Egoism in Dostoevsky's Notes from Underground"
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The Underground Man attacks contemporary Russian philosophy, especially
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1104:. Translated and edited by Michael R. Katz. W.W. Norton. pp. 29 (
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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.
147:
1197:. Evanston, IL: Northwestern University Press. p. 130.
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are often at the very beginning of the sentence before the
521:, Dostoevsky challenges the ideologies of his time, mainly
303:. Although the first part of the novella has the form of a
593:, Russia was still very much a post-medieval, traditional
307:, the narrator's form of address to his reader is acutely
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in 1864. It is a first-person narrative in the form of a "
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1123:. Globalization and Community series. Minneapolis, MN:
292:". The work was originally announced by Dostoevsky in
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964:Bird, Robert. "Introduction: Dostoevsky's Wager".
910:, 2016, ch. 8 "We Are All Pushkinists Now", p. 114
865:considered the title more correctly translated as
953:. University of Minnesota Press. pp. 227–28.
445:The title of Part 2 is an allusion to the critic
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1093:
394:The first part also gives a harsh criticism of
1555:Another Man's Wife and a Husband Under the Bed
649:, it is also a place where evil spirits live.
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1031:The Force of Inertia In Dostoevsky's Krotkaja
485:insult will elevate her, it will cleanse her…
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231:
189:
68:
8:
1762:Twenty Six Days from the Life of Dostoyevsky
37:
1209:"Can Dostoevsky Still Kick You in the Gut?"
985:, utlitarianism as a method coincided with
968:. Translated by Yakim, B. Grand Rapids MI:
49:Title page of Russian-language 1866 edition
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1337:
1329:
1243:
1152:. Penn State University Press. p. 77.
621:, the "I" is never really discovered. The
43:
36:
1604:The Beggar Boy at Christ's Christmas Tree
1182:. Ann Arbor, MI: Ardis. pp. 150–159.
1165:Existentialism From Dostoevsky to Sartre
1167:. New York: Meridian Books. p. 52.
882:
855:
838:2010. Kyril Zinovieff and Jenny Hughes.
625:can at times seem "multi-layered"; the
32:Notes from Underground (disambiguation)
827:Richard Pevear and Larissa Volokhonsky
1053:
1051:
7:
1313:EDSITEment's Launchpad Dostoevsky's
1003:. Yale University Press. p. 27.
509:Dostoevsky in 1863, the year before
617:Although the novella is written in
1643:Winter Notes on Summer Impressions
383:spread their suffering to others.
27:1864 novella by Fyodor Dostoyevsky
25:
1815:Russian novels adapted into films
1810:Fiction with unreliable narrators
1805:Novels about Russian prostitution
783:Revised by Ralph E. Matlaw, 1960.
441:Part 2: "Apropos of the Wet Snow"
1569:The Christmas Tree and a Wedding
1287:
1180:Problems in Dostoevsky's Poetics
951:Problems of Dostoevsky's Poetics
296:under the title "A Confession".
1321:The theory of self-interest in
1064:Journal of the History of Ideas
282:first published in the journal
1800:Novels set in Saint Petersburg
1:
1790:Novellas by Fyodor Dostoevsky
1625:The Dream of a Ridiculous Man
1125:University of Minnesota Press
591:emancipated the serfs in 1861
104:
1422:The Village of Stepanchikovo
1178:Bakhtin, Mikhail M. (1973).
1297:public domain audiobook at
1100:Dostoevsky, Fyodor (1989).
920:Dostoevsky, Fyodor (2001).
771:Letters from the Underworld
271:Letters from the Underworld
258:
1831:
1277:Notes from the Underground
999:Morson, Gary Saul (1994).
843:Notes from the Underground
820:Notes from the Underground
799:1961. Andrew R. MacAndrew.
794:Notes from the Underground
265:Notes from the Underground
29:
1366:
1163:Kaufmann, Walter (1956).
949:Bakhtin, Mikhail (1984).
427:enlightened self-interest
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232:
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42:
867:Memoirs from a Mousehole
555:two plus two equals five
550:two plus two equals four
401:two times two makes four
1430:Humiliated and Insulted
1308:in the original Russian
1148:Wanner, Adrian (1997).
1058:Scanlan, James (1999).
38:Notes from Underground
1529:Notes from Underground
1494:The Brothers Karamazov
1323:Notes from Underground
1315:Notes from Underground
1306:Notes from Underground
1294:Notes from Underground
1263:Notes from Underground
1235:Notes from Underground
1102:Notes From Underground
1014:Notes from Underground
966:Notes from Underground
922:Notes From Underground
815:1989. Michael R. Katz.
802:1969. Serge Shishkoff.
759:Notes from Underground
742:Notes from Underground
716:Notes from Underground
666:Notes from Underground
619:first-person narrative
602:Notes from Underground
514:
511:Notes from Underground
487:
376:Sections 7, 8, & 9
364:Sections 2, 3, & 4
351:Notes from Underground
220:Notes from Underground
209:Notes from Underground
69:
18:Notes From Underground
1795:Existentialist novels
1438:The House of the Dead
1193:Morson, Gary (1981).
1119:Simpson, Tim (2023).
1076:10.1353/jhi.1999.0028
1039:University of Toronto
1001:Narrative and Freedom
841:2014. Kirsten Lodge.
805:1972. Jessie Coulson.
726:in the leading roles.
582:on one hand, and the
519:ideological discourse
508:
482:
417:Nikolai Chernyshevsky
353:has eleven sections:
345:Part 1: "Underground"
320:Nikolay Chernyshevsky
262:; also translated as
91:Philosophical fiction
1734:The Grand Inquisitor
1446:Crime and Punishment
1041:. Archived from the
972:. pp. vii–xxiv.
818:1991. Jane Kentish.
753:English translations
734:(2012), directed by
709:(1976), directed by
259:Zapíski iz podpólʹya
233:Записки изъ подполья
192:Записки изъ подполья
70:Записки изъ подполья
30:For other uses, see
1785:1864 Russian novels
1710:Lyubov Dostoevskaya
1470:The Eternal Husband
970:William B. Eerdmans
895:Henry Thomas Buckle
674:Friedrich Nietzsche
533:social philosophy.
422:What Is to Be Done?
325:What Is to Be Done?
253:Записки из подполья
65:Original title
39:
1716:Mikhail Dostoevsky
1688:Rodion Raskolnikov
1668:Nastasya Filipovna
1414:Netochka Nezvanova
1035:Dostoevsky Studies
835:2009. Boris Jakim.
832:2009. Ronald Wilks
515:
501:Themes and context
413:The Crystal Palace
370:Sections 5 & 6
349:The first part of
131:January–April 1864
1772:
1771:
1728:Dostoevsky Museum
1704:Anna Dostoevskaya
1673:Alyosha Karamazov
1618:The Peasant Marey
1360:Fyodor Dostoevsky
1282:Project Gutenberg
1134:978-1-5179-0031-1
778:Constance Garnett
680:The Metamorphosis
562:Political climate
280:Fyodor Dostoevsky
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136:Publication place
59:Fyodor Dostoevsky
16:(Redirected from
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1678:Fyodor Karamazov
1650:A Writer's Diary
1583:A Nasty Anecdote
1562:The Honest Thief
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1576:White Nights
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118:
1765:(1981 film)
1653:(1873–1881)
1635:Non-fiction
1454:The Gambler
906:Alex Beam,
745:(2014), by
706:Taxi Driver
698:(1952), by
689:Franz Kafka
643:crawl space
584:Slavophiles
531:utilitarian
396:determinism
330:determinism
239:post-reform
204:Translation
196:at Russian
167:891.73/3 20
97:Set in
1779:Categories
1724:(mistress)
1712:(daughter)
1661:Characters
1406:The Double
1220:2018-10-31
935:0393976122
877:References
724:Sheryl Lee
683:(1915), a
542:Stone Wall
309:dialogized
290:confession
226:pre-reform
198:Wikisource
1718:(brother)
1462:The Idiot
1398:Poor Folk
1084:170260153
987:socialism
358:Section I
305:monologue
248:‹See Tfd›
114:Publisher
1756:magazine
1748:magazine
1645:" (1863)
1627:" (1877)
1620:" (1876)
1613:" (1876)
1606:" (1876)
1599:" (1873)
1592:" (1865)
1585:" (1862)
1578:" (1848)
1571:" (1848)
1564:" (1848)
1557:" (1848)
1550:" (1846)
1505:Novellas
1299:LibriVox
1043:original
1027:inercija
660:dystopia
629:and the
523:nihilism
455:Nekrasov
154:31124008
77:Language
1697:Related
1376:Letters
731:Yeraltı
685:novella
627:subject
572:tsardom
566:In the
276:novella
274:) is a
243:Russian
228:Russian
81:Russian
1746:Vremya
1532:(1864)
1524:(1859)
1516:(1847)
1497:(1880)
1489:(1875)
1481:(1872)
1478:Demons
1473:(1870)
1465:(1869)
1457:(1867)
1449:(1866)
1441:(1862)
1433:(1861)
1425:(1859)
1417:(1849)
1409:(1846)
1401:(1846)
1390:Novels
1381:Themes
1242:
1131:
1082:
932:
825:1994.
808:1974.
788:1955.
776:1918.
765:1913.
757:Since
653:Legacy
635:object
623:syntax
574:where
435:praxis
55:Author
1754:Epoch
1597:Bobok
1108:)-30.
1080:S2CID
850:Notes
600:When
568:1860s
389:ennui
294:Epoch
285:Epoch
119:Epoch
87:Genre
1240:IMDb
1129:ISBN
1106:n. 6
930:ISBN
722:and
631:verb
540:The
148:OCLC
1280:at
1266:at
1238:at
1072:doi
1033:."
928:).
926:n 3
687:by
662:."
529:'s
419:'s
415:in
406:cf.
322:'s
278:by
268:or
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105:c.
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404:(
223:(
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