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There are certain scenes the scene between Aglaia and Nastasya in "The Idiot;" the scene between Sonia and the mother and sister of Raskolnikoff in "Crime and Punishment;" the scene in "The Possessed" where Liza leaves Stavrogin on the morning after the fire; and the scene where the woman, loved by the mad Karamazov brothers, tears her nerves and theirs to pieces, in outrageous obliquity which brand themselves upon the mind as reaching the uttermost limit of devasting vision.
Good-by, gentlemen, don’t be vexed with me for having shouted at you during the examination. Oh, I was still such a fool then.... In another minute I shall be a prisoner, but now, for the last time, as a free man, Dmitri Karamazov offers you his hand. Saying good-by to you, I say it to all men.”
That’s not his character, he tells us, he couldn’t have had such feelings. But yet he talked himself of the broad Karamazov nature; he cried out about the two extremes which a Karamazov can contemplate at once.
Twenty paces from the house Kolya stopped and told Smurov to go on ahead and ask Karamazov to come out to him. “One must sniff round a bit first,” he observed to Smurov. “Why ask him to come out?” Smurov protested. “You go in; they will be awfully glad to see you. What’s the sense of making friends in the frost out here?”
Even Frank Wedekind is anticipated in his Spring's Awakening by the Russian in The Brothers Karamazov: "How can Katarina have a baby if she isn't married?" cries one of the youngsters, a question which is the very nub of the Wedekind play. "Two parallel lines may meet in eternity," which sounds like Ibsen's query: "Two and two may make five on the planet Jupiter."
All at once a fellow, who is an errand-boy at Plotnikov’s now, looked at me and said, ‘What are you looking at the geese for?’ I looked at him; he was a stupid, moon-faced fellow of twenty. I am always on the side of the peasantry, you know. I like talking to the peasants.... We’ve dropped behind the peasants—that’s an axiom. I believe you are laughing, Karamazov?”
They were so crumpled and so short that he looked as though he had grown out of them like a boy. “I am Alexey Karamazov,” Alyosha began in reply. “I quite understand that, sir,” the gentleman snapped out at once to assure him that he knew who he was already. “I am Captain Snegiryov, sir, but I am still desirous to know precisely what has led you—” “Oh, I’ve come for nothing special.
Something utterly unexpected and amazing to Mitya followed. He could never, even a minute before, have conceived that any one could behave like that to him, Mitya Karamazov.
It’s not the Karamazov, mamma, who ... h’m ... etcetera, but his brother, radiant with modest virtues. Come, Arina Petrovna, come, mamma, first your hand to be kissed.” And he kissed his wife’s hand respectfully and even tenderly. The girl at the window turned her back indignantly on the scene; an expression of extraordinary cordiality came over the haughtily inquiring face of the woman.
He is certainly dying.” “How awful! You must admit that medicine is a fraud, Karamazov,” cried Kolya warmly. “Ilusha has mentioned you often, very often, even in his sleep, in delirium, you know. One can see that you used to be very, very dear to him ... before the incident ... with the knife.... Then there’s another reason.... Tell me, is that your dog?” “Yes, Perezvon.”
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