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“But you will bless life on the whole, all the same.” “Just so, hurrah! You are a prophet. Oh, we shall get on together, Karamazov! Do you know, what delights me most, is that you treat me quite like an equal. But we are not equals, no, we are not, you are better! But we shall get on.
Two years later came another book of tremendous and irregular power "The Idiot." With the exception of "The Karamazov Brothers," this is the most peculiarly characteristic of all Dostoevski's works. It is almost insufferably long; it reads as though it had never been revised; it abounds in irrelevancies and superfluous characters.
“I understand, I quite understand,” cried Fetyukovitch, as though he, too, were embarrassed and in haste to excuse himself. “You, like any other, might well be interested in an acquaintance with a young and beautiful woman who would readily entertain the élite of the youth of the neighborhood, but ... I only wanted to know ... It has come to my knowledge that Madame Svyetlov was particularly anxious a couple of months ago to make the acquaintance of the younger Karamazov, Alexey Fyodorovitch, and promised you twenty-five roubles, if you would bring him to her in his monastic dress.
“Yes, I’d heard of you and had thought of you, too ... and if it’s partly vanity that makes you ask, it doesn’t matter.” “Do you know, Karamazov, our talk has been like a declaration of love,” said Kolya, in a bashful and melting voice. “That’s not ridiculous, is it?” “Not at all ridiculous, and if it were, it wouldn’t matter, because it’s been a good thing.” Alyosha smiled brightly.
But I need not recall the painful scene, though I will make one or two comments, selecting such trivial ones as might not be obvious at first sight to every one, and so may be overlooked. In the first place, Smerdyakov must have given back the money and hanged himself yesterday from remorse. And only yesterday he confessed his guilt to Ivan Karamazov, as the latter informs us.
"The Hobbledehoy," translated into French as "Un Adolescent," is, on the whole, Dostoevski's worst novel, which is curious enough, coming at a time when he was doing some of his best work. He wrote this while his mind was busy with a great masterpiece, "The Karamazov Brothers," and in this book we get nothing but the lees. It is a novel of portentous length and utter vacuity.
For I cannot imagine the horror and moral suffering of Karamazov when he learnt that she loved him, that for his sake she had rejected her first lover, that she was summoning him, Mitya, to a new life, that she was promising him happiness—and when? When everything was over for him and nothing was possible!
If she were to say to him, ‘I am yours, I won’t have Fyodor Pavlovitch,’ then he must have money to take her away. That was more important than carousing. Could a Karamazov fail to understand it? That anxiety was just what he was suffering from—what is there improbable in his laying aside that money and concealing it in case of emergency?
“The strength of the Karamazovs—the strength of the Karamazov baseness.” “To sink into debauchery, to stifle your soul with corruption, yes?” “Possibly even that ... only perhaps till I am thirty I shall escape it, and then—” “How will you escape it? By what will you escape it? That’s impossible with your ideas.” “In the Karamazov way, again.” “ ‘Everything is lawful,’ you mean?
At last the President opened the case of the murder of Fyodor Pavlovitch Karamazov. I don’t quite remember how he described him. The court usher was told to bring in the prisoner, and Mitya made his appearance. There was a hush through the court. One could have heard a fly. I don’t know how it was with others, but Mitya made a most unfavorable impression on me.
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