Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Idiot by Fyodor Dostoyevsky (grave mercy TXT) 📖
- Author: Fyodor Dostoyevsky
- Performer: 014044792X
Book online «The Idiot by Fyodor Dostoyevsky (grave mercy TXT) 📖». Author Fyodor Dostoyevsky
“All the while I was in their house I felt sure that somewhere beneath the floor there was hidden away some dreadful corpse, wrapped in oilcloth, perhaps buried there by his father, who knows? Just as in the Moscow case. I could have shown you the very spot!
“He is always silent, but I know well that he loves me so much that he must hate me. My wedding and yours are to be on the same day; so I have arranged with him. I have no secrets from him. I would kill him from very fright, but he will kill me first. He has just burst out laughing, and says that I am raving. He knows I am writing to you.”
There was much more of this delirious wandering in the letters— one of them was very long.
At last the prince came out of the dark, gloomy park, in which he had wandered about for hours just as yesterday. The bright night seemed to him to be lighter than ever. “It must be quite early,” he thought. (He had forgotten his watch.) There was a sound of distant music somewhere. “Ah,” he thought, “the Vauxhall! They won’t be there today, of course!” At this moment he noticed that he was close to their house; he had felt that he must gravitate to this spot eventually, and, with a beating heart, he mounted the verandah steps.
No one met him; the verandah was empty, and nearly pitch dark. He opened the door into the room, but it, too, was dark and empty. He stood in the middle of the room in perplexity. Suddenly the door opened, and in came Alexandra, candle in hand. Seeing the prince she stopped before him in surprise, looking at him questioningly.
It was clear that she had been merely passing through the room from door to door, and had not had the remotest notion that she would meet anyone.
“How did you come here?” she asked, at last.
“I-I—came in—”
“Mamma is not very well, nor is Aglaya. Adelaida has gone to bed, and I am just going. We were alone the whole evening. Father and Prince S. have gone to town.”
“I have come to you—now—to—”
“Do you know what time it is?”
“N—no!”
“Half-past twelve. We are always in bed by one.”
“I-I thought it was half-past nine!”
“Never mind!” she laughed, “but why didn’t you come earlier? Perhaps you were expected!”
“I thought” he stammered, making for the door.
“Au revoir! I shall amuse them all with this story tomorrow!”
He walked along the road towards his own house. His heart was beating, his thoughts were confused, everything around seemed to be part of a dream.
And suddenly, just as twice already he had awaked from sleep with the same vision, that very apparition now seemed to rise up before him. The woman appeared to step out from the park, and stand in the path in front of him, as though she had been waiting for him there.
He shuddered and stopped; she seized his hand and pressed it frenziedly.
No, this was no apparition!
There she stood at last, face to face with him, for the first time since their parting.
She said something, but he looked silently back at her. His heart ached with anguish. Oh! never would he banish the recollection of this meeting with her, and he never remembered it but with the same pain and agony of mind.
She went on her knees before him—there in the open road—like a madwoman. He retreated a step, but she caught his hand and kissed it, and, just as in his dream, the tears were sparkling on her long, beautiful lashes.
“Get up!” he said, in a frightened whisper, raising her. “Get up at once!”
“Are you happy—are you happy?” she asked. “Say this one word. Are you happy now? Today, this moment? Have you just been with her? What did she say?”
She did not rise from her knees; she would not listen to him; she put her questions hurriedly, as though she were pursued.
“I am going away tomorrow, as you bade me—I won’t write—so that this is the last time I shall see you, the last time! This is really the LAST TIME!”
“Oh, be calm—be calm! Get up!” he entreated, in despair.
She gazed thirstily at him and clutched his hands.
“Goodbye!” she said at last, and rose and left him, very quickly.
The prince noticed that Rogojin had suddenly appeared at her side, and had taken her arm and was leading her away.
“Wait a minute, prince,” shouted the latter, as he went. “I shall be back in five minutes.”
He reappeared in five minutes as he had said. The prince was waiting for him.
“I’ve put her in the carriage,” he said; “it has been waiting round the corner there since ten o’clock. She expected that you would be with THEM all the evening. I told her exactly what you wrote me. She won’t write to the girl any more, she promises; and tomorrow she will be off, as you wish. She desired to see you for the last time, although you refused, so we’ve been sitting and waiting on that bench till you should pass on your way home.”
“Did she bring you with her of her own accord?”
“Of course she did!” said Rogojin, showing his teeth; “and I saw for myself what I knew before. You’ve read her letters, I suppose?”
“Did you read them?” asked the prince, struck by the thought.
“Of course—she showed them to me herself. You are thinking of the razor, eh? Ha, ha, ha!”
“Oh, she is mad!” cried the prince, wringing his hands. “Who knows? Perhaps she is not so mad after all,” said Rogojin, softly, as though thinking aloud.
The prince made no reply.
“Well, goodbye,” said Rogojin. “I’m off tomorrow too, you know. Remember me kindly! By-the-by,” he added, turning round sharply again, “did you answer her question just now? Are you happy, or not?”
“No, no, no!” cried the prince, with unspeakable sadness.
“Ha, ha! I never supposed you would say ‘yes,’” cried Rogojin, laughing sardonically.
And he disappeared, without looking round again.
I.
A WEEK had elapsed since the rendezvous of our two friends on the green bench in the park, when, one fine morning at about half-past ten o’clock, Varvara Ardalionovna, otherwise Mrs. Ptitsin, who had been out to visit a friend, returned home in a state of considerable mental depression.
There are certain people of whom it is difficult to say anything which will at once throw them into relief—in other words, describe them graphically in their typical characteristics. These are they who are generally known as “commonplace people,” and this class comprises, of course, the immense majority of mankind. Authors, as a rule, attempt to select and portray types rarely met with in their entirety, but these types are nevertheless more real than real life itself.
“Podkoleosin” [A character in Gogol’s comedy, The Wedding.] was perhaps an exaggeration, but he was by no means a non-existent character; on the contrary, how many intelligent people, after hearing of this Podkoleosin from Gogol, immediately began to find that scores of their friends were exactly like him! They knew, perhaps, before Gogol told them, that their friends were like Podkoleosin, but they did not know what name to give them. In real life, young fellows seldom jump out of the window just before their weddings, because such a feat, not to speak of its other aspects, must be a decidedly unpleasant mode of escape; and yet there are plenty of bridegrooms, intelligent fellows too, who would be ready to confess themselves Podkoleosins in the depths of their consciousness, just before marriage. Nor does every husband feel bound to repeat at every step, “Tu l’as voulu, Georges Dandin!” like another typical personage; and yet how many millions and billions of Georges Dandins there are in real life who feel inclined to utter this soul-drawn cry after their honeymoon, if not the day after the wedding! Therefore, without entering into any more serious examination of the question, I will content myself with remarking that in real life typical characters are “watered down,” so to speak; and all these Dandins and Podkoleosins actually exist among us every day, but in a diluted form. I will just add, however, that Georges Dandin might have existed exactly as Moliere presented him, and probably does exist now and then, though rarely; and so I will end this scientific examination, which is beginning to look like a newspaper criticism. But for all this, the question remains,— what are the novelists to do with commonplace people, and how are they to be presented to the reader in such a form as to be in the least degree interesting? They cannot be left out altogether, for commonplace people meet one at every turn of life, and to leave them out would be to destroy the whole reality and probability of the story. To fill a novel with typical characters only, or with merely strange and uncommon people, would render the book unreal and improbable, and would very likely destroy the interest. In my opinion, the duty of the novelist is to seek out points of interest and instruction even in the characters of commonplace people.
For instance, when the whole essence of an ordinary person’s nature lies in his perpetual and unchangeable commonplaceness; and when in spite of all his endeavours to do something out of the common, this person ends, eventually, by remaining in his unbroken line of routine—. I think such an individual really does become a type of his own—a type of commonplaceness which will not for the world, if it can help it, be contented, but strains and yearns to be something original and independent, without the slightest possibility of being so. To this class of commonplace people belong several characters in this novel;— characters which—I admit—I have not drawn very vividly up to now for my reader’s benefit.
Such were, for instance, Varvara Ardalionovna Ptitsin, her husband, and her brother, Gania.
There is nothing so annoying as to be fairly rich, of a fairly good family, pleasing presence, average education, to be “not stupid,” kind-hearted, and yet to have no talent at all, no originality, not a single idea of one’s own—to be, in fact, “just like everyone else.”
Of such people there are countless numbers in this world—far more even than appear. They can be divided into two classes as all men can—that is, those of limited intellect, and those who are much cleverer. The former of these classes is the happier.
To a commonplace man of limited intellect, for instance, nothing is simpler than to imagine himself an original character, and to revel in that belief without the slightest misgiving.
Many of our young women have thought fit to cut their hair short, put on blue spectacles, and call themselves Nihilists. By doing this they have been able to persuade themselves, without further trouble, that they have acquired new convictions
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