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Richard Pevear and Larissa Volokhonsky’s masterful translation of The Idiot is destined to stand with their versions of Crime and Punishment, The Brothers Karamazov, and Demons as the definitive Dostoevsky in English.
After his great portrayal of a guilty man in Crime and Punishment, Dostoevsky set out in The Idiot to portray a man of pure innocence. The twenty-six-year-old Prince Myshkin, following a stay of several years in a Swiss sanatorium, returns to Russia to collect an inheritance and “be among people.” Even before he reaches home he meets the dark Rogozhin, a rich merchant’s son whose obsession with the beautiful Nastasya Filippovna eventually draws all three of them into a tragic denouement. In Petersburg the prince finds himself a stranger in a society obsessed with money, power, and manipulation. Scandal escalates to murder as Dostoevsky traces the surprising effect of this “positively beautiful man” on the people around him, leading to a final scene that is one of the most powerful in all of world literature.
- Sales Rank: #31007 in Books
- Published on: 2003-07-08
- Released on: 2003-07-08
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.10" w x 5.20" l, 1.05 pounds
- Binding: Paperback
- 656 pages
From Publishers Weekly
Richard Pevear and Larissa Volokhonsky, justly acclaimed for their translations of such Russian classics as Gogol's Dead Souls and Dostoyevski's The Brothers Karamazov, Crime and Punishment and Notes from Underground, have now undertaken another major Dostoyevski novel, The Idiot. Their trademark style fresh, crisp and faithful to the original (bumps and blemishes included) brings the story of nave, truth-telling Prince Myshkin to new life. As is true of their other translations of Dostoyevski, this will likely be the definitive edition for years to come. Intro. by Pevear.
Copyright 2002 Cahners Business Information, Inc.
Review
Praise for Pevear and Volokhonsky’s translation of Crime and Punishment:
“Reaches as close to Dostoevsky’s Russian as is possible in English. . . . The original’s force and frightening immediacy is captured. . . . The Pevear and Volokhonsky translation will become the standard English version.” –Chicago Tribune
From the Inside Flap
Richard Pevear and Larissa Volokhonsky's masterful translation of The Idiot is destined to stand with their versions of Crime and Punishment, The Brothers Karamazov," and Demons as the definitive Dostoevsky in English.
After his great portrayal of a guilty man in Crime and Punishment," Dostoevsky set out in The Idiot to portray a man of pure innocence. The twenty-six-year-old Prince Myshkin, following a stay of several years in a Swiss sanatorium, returns to Russia to collect an inheritance and "be among people." Even before he reaches home he meets the dark Rogozhin, a rich merchant's son whose obsession with the beautiful Nastasya Filippovna eventually draws all three of them into a tragic denouement. In Petersburg the prince finds himself a stranger in a society obsessed with money, power, and manipulation. Scandal escalates to murder as Dostoevsky traces the surprising effect of this "positively beautiful man" on the people around him, leading to a final scene that is one of the most powerful in all of world literature.
Most helpful customer reviews
233 of 245 people found the following review helpful.
Doestoevsky's Master Work
By Sean O'Neill
What could have prompted me to first read "The Idiot" at age 13 on a beach vacation with my family I can not recall. What I do recall, however, is that I was fully engrossed day after day in a world of ideas, people and places far beyond my experience. Having now just "re-read" it 39 years later (following Crime and Punishment and Brothers Karamazov), I know I couldn't possibly have digested all of its ideas at that age: atheism vs. Christianity; nihilism vs. a dying social order; Eros vs. charity; truth vs. artifice; id vs.ego and superego. And yet, I also sense I know what captivated me even then.
The characters in this novel, though usually explained as symbolic of the ideas they represent, are yet the most vividly realized characters I had ever "read" then, and still. The real-time manner in which they are drawn and followed is as if the author simply recorded their actions and conversations as and where they happened. We get to know who these people are, not through narrative description, but, as if by "candid camera", observing what they say, withhold, do, and fail to do. What emerges are fascinating, at times frightening and at times affectionate portraits of real and troubled humans: Lizaveta, the flighty, but loving society mother; General Epanchin, the successful but utterly conventional man of the house; Aglaya, the childish but delightful beauty who resents her sister's and parents' expectation for her; Ganya, who wants money and love, but plays the wounded martyr while more obviously blaming his father for his failures at both; Ivolgin, the pathetic figure of an aging man who aches for dignity and respect but who's former glory is long gone and mostly imagined; and Lebedev, the likeable sycophant and name-dropper.
The more central characters to the events, the murderously passionate Rogozhin, and the self-scorning beauty Nastasya, are more starkly drawn. But even those portraits are created not through direct thought narration or narrative description, but by the author's leading us to read between and behind the lines of their words, conversations with others, and public "displays".
As for the Prince himself, he is often said to symbolize the human side of a Christ-like man. That, of course, is true; but (as can also be seen in Aloysha, the hero of The Brothers Karamazov), he is as much child-like as he is like a Christ. The Prince's honesty, naiveté, trust, and simple affection for those around him, are all qualities that he seems to maintain as a man because he is really only entering the "adult" world of social Petersburg after a long and sheltered upbringing among younger children in Switzerland. When he enters this tangled world of adult competition, insecurity, envy, ambition and intrigue, though much older, he's in the most essential ways still the child that was sent by his benefactor to Switzerland for help with his illness.
One comes away with the strong impression (reinforced by the portrait of Aloysha, hero of Brothers Karamazov) that Dostoevsky saw children as embodying the ideal of spirit that we strive to maintain or regain as adults. The prince's obvious affection for the loyal young boy Kolya and the compassionate young girl Vera, in this book, and similar bonds between his hero Aloysha and the children in Karamozov Brothers, show Dostoevsky's admiration for the child in man.
The Idiot shows what happens when a simple, trusting and exceptionally compassionate child-man enters the more corrupt world of human adulthood without the experience to navigate, or even to perceive, the traps and snares laid by more worldly humans whose innocence has been chipped or stripped bare by ambition, envy, greed, despair or old age.
On another level, The Idiot is an allegory for the Christ story itself- with Prince Myshkin coming from the Swiss sanatorium into the "the world" of Petersburg with a mission to live among, love and save its people. The complications of heart and mind when his human emotions unexpectedly collide with the more selfish and less willing of those around him are at the center of this story of a second coming re-imagined.
One might be left, at the awfully tragic end of this novel, with the idea that Dostoevsky himself was of the same mind as Ippolit, the suicidal atheist, who his hero befriends of compassion. That is, from the disastrous conclusion, one might think that Dostoevsky believes that Holbein's painting (central to the story) of the disfigured and lifeless body of Christ the corpse, shows the impossibility of a divine spirit in (and after) a wretched human existence. Yet, it is with such affection that he describes the many and contradictory (and often delightful) sides of the "ordinary" people in this story, that I felt the opposite: that is, that Dostoevsky recognized not just in the tragically compassionate Prince, and the young Vera and Kolya, but also in the few and fleeting glimpses of love, friendship, compassion and even real dignity of the fallen or struggling others, that there is a redemptive force that underpins the human experience. If there were any doubt of that after reading this novel, it is laid to rest in the Brothers Karamazov, whose likewise tragic denouement yet ends on a note more obviously reflective of Dostoevsky's ultimate optimism.
Crime and Punishment, a psychological crime story, showed Dostoevsky's incredible genius for "writing" the inside of the human mind. Brothers Karamozov was a morality tale that laid out, on a grand scale, yet in great detail, the most essential questions of good and evil, id and ego, life and after-life. For me, The Idiot did what both of these other great novels did, but was the most captivating of the three, because it was so human, intimate and real in its characters' discourse, actions and exposition. It was much less overt than the Brothers Karamazov, and less psychologically analytical than Crime and Punishment. But of the three, the timeless characters of "The Idiot" last most indelibly in the mind.
1 of 1 people found the following review helpful.
Classic Russian Literature. Very descriptive, but not much action.
By JJohns
In part one of this story, we meet Myshkin, a prince, on a train to Petersburg, Russia. He is a prince by title, but does not possess the wealth you might expect from royalty. In fact, there is no indication of royalty in him at all, but he is a prince, nonetheless. Myshkin gets off the train and goes to visit the general, who doesn't want anything to do with him, until he finds out that Myshkin has very good penmanship. Then he suddenly insists that Myshkin rent a room in his home, and, when he finds Myshkin has no money, he lends him a little to get by on until he gets a job and makes his own. There is another man, Ganya, there visiting the general as well. Ganya is supposed to propose marriage to a woman (Nastasya Filipnova) that night. He is not marrying her for love; he intends to marry her for the 75,000 ruple dowry. But first, Ganya asks Myshkin to pass a note to one of the girls who lives in the house, Aglaia, first. Because he just met Myshkin and of course it is appropriate to involve a stranger in your personal life that quickly. The note tells Aglaia that he will call off the proposal if she justs says the word. That makes her mad, because she shouldn't be put in that position, so she tells Myshkin to return the note to Ganya.
Later we meet Nastasya Filipovna. Ganya is prepared to propose in front of her friends and Myshkin, but first another Colonel (Righozin) shows up and proposes first. Righozin offers Nastasya Filipnova 100,000 ruples to marry him instead of Ganya. And then, Myshkin jumps in and he proposes, too, but not for money; for love. Of course that makes sense; he's known this woman for at least an hour now. Nastatsya Filipnova with Myshkin for a bit and then accepts the 100,000. No surprise there, but then she offers the money to Ganya, because she thinks he deserves it. First, though, she throws the money into the fire and tells Ganya all he has to do is pick it out of the fire and it's his. He doesn't, and after a few minutes she gets it out and gives it to him.
So I'm thinking a story like this would not work with American readers. Then I realized that it would. It should just be renamed "Real Housewives of Petersburg, Russia." Then it would be perfect.
Continuing the story, we find that Myshkin did not stay in Petersburg very long. He left and went to Moscow, where he inherited some money (we think it's a lot, but we don't know how much). Meanwhile, Nastasya Filipnova never marries Righozin. She left him once to go hook up with Myshkin in Moscow, but then left Myshkin to go back to Petersburg to Righozin. And again, she left him to go back to Moscow by herself. Seems the woman can't make up her mind what she wants. Meanwhile Myshkin is back in Petersburg looking for her, not knowing she went back to Moscow. While Myshkin was still in Moscow, Ganya brought him the 100,000 ruples and asked him to return the money to the woman, because, you know, they've been friends for at least a day now, so of course Myshkin could be trusted to handle that 100,000 ruples. We don't know if Myshkin ever did return the money to the woman.
While this is happening, a couple of guys come to visit Myshkin, a man and his uncle. Apparently the man who left the money to Myshkin was not related to Myshkin and in fact had a son who felt he should have received the inheritance. Bordovsky claims to be that son, and he went with his nephew to visit Myshkin and demand money, but only after publishing a very insulting article about Myshkin. Myshkin offers to pay 10,000 ruples to Bordovsky, which upsets him because he expected a lot more. Myshkin insists he did not inherit near as much as they think and 10,000 is plenty. But wait, Myshkin has asked Ganya to check into Bordovsky and found that he is not, in fact, the son of the man who left Myshkin the money. Myshkin wants to give him 10,000 ruples anyway because he is sure the man actually thought he was the son. I know, right?
So, while Nastasya Filipovna was out doing her own thing, she was secretly writing letters to Aglai. Nastasya now says she is in love with Myshkin, but believes Myshkin and Aglaia are in love with each other and they should get married. Aglaia confronts Myshkin about it and he says he isn't in love with either one and Nastasya Filipnova is crazy. Aglaia agrees. They don't love each other at all, or do they? Seems a lot of people think they are, in fact, in love. Maybe the three of them, Nastasya, Aglaia, and Myshkin should get in a room together and talk about it. That would be crazy, right? Yes it would.
So much more drama happens in this story. I think American readers would love it; if it were on television, anyway. I read it because a friend recommended it to me. I'm not sure why, but I read it all the way through.
0 of 0 people found the following review helpful.
Great novel, this edition full of errors
By cranky yankee
This review is of the Kindle version of the Dover Thrift Edition. DO NOT BUY THIS. It is full of typographical errors. I am returning it as soon as I finish writing this review.
There is one particular category of error that occurs very frequently: words from the end of a sentence somehow got moved to the middle of the sentence. There were three instances of this within a few pages; I figure, three strikes and you're out.
(If the publishers are reading this: the problems I mentioned occurred at locations 854, 1031 and 1133)
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