UNVEILING THE DEPTHS OF THE UNDERGROUND MAN: A STUDY BASED ON FYODOR DOSTOEVSKY'S "CRIME AND PUNISHMENT"

ЗНАКОМСТВО С ВНУТРЕННИМ МИРОМ ПОДПОЛЬНОГО ЧЕЛОВЕКА: ИССЛЕДОВАНИЕ НА ОСНОВЕ РОМАНА ФЕДОРА ДОСТОЕВСКОГО "ПРЕСТУПЛЕНИЕ И НАКАЗАНИЕ"

Овсепян Юрий Арменакович

студент, факультет иностранных языков и регионоведения, Московский Государственный Университет имени М.В. Ломоносова,

РФ, г. Москва

АННОТАЦИЯ

Понятие «подпольный» человек было введено Ф.М. Достоевским с целью дать объяснение поступкам героев своих романов. Цель статьи – ознакомить читателей с образом «подпольного» человека, показать актуальность данного термина и провести сравнительный анализ «подпольных» героев романа «Преступление и наказание».

ABSTRACT

The term the underground man was coined by Fyodor Dostoevsky. It is important to have a clear idea of this term since it explains the patterns of behaviour of the characters in many of Dostoevsky’s novels, including Crime and Punishment. The article provides a general overview of the image of the underground man in Crime and Punishment.

Ключевые слова: Достоевский, преступление и наказание, подпольный человек, русская классическая литература.

Keywords: Dostoevsky, Crime and Punishment, underground man, Russian classical literature.

The enigmatic figure of the underground man, meticulously crafted by Fyodor Dostoevsky, emerges as a captivating study in the intricate landscape of Russian literature. In this exploration, we delve into the essence of the underground person's identity and its profound implications. Dostoevsky, renowned as a Russian novelist, philosopher, and journalist, adeptly introduced and elaborated upon this concept, illuminating the belief system and societal positioning of these intriguing characters. The focal point of this article is the portrayal of the underground man within one of Russian literature's most eminent works, "Crime and Punishment."

At its core, the underground man embodies a synthesis of two character prototypes that have graced Russian literature before – the superfluous man and the little man. Drawing inspiration from these precursors, Dostoevsky's underground man assumes traits of indecision, passivity, egoism, and self-reflection. This enigmatic figure, rife with introspection and self-analysis, navigates a life that appears void of meaning, plagued by a sense of inferiority, oppression, and an ever-present inferiority complex. Fueled by a perception of social injustice, the underground man's journey toward self-actualization is persistently hindered.

Central to Dostoevsky's portrayal is the notion that the underground man encapsulates the essence of the average Russian psyche. Through this character, Dostoevsky sought to illustrate the evolving self-awareness of the superfluous man within the shifting tides of history. The underground man's constant pursuit of self-affirmation and liberty serves as both a defining trait and a catalyst for their eventual demise. Dostoevsky masterfully describes the underground as a realm fraught with chaos, crime, shame, and insignificance, exposing the inherent pitfalls of a freedom founded solely on rationality, devoid of genuine emotion.

Dostoevsky's iconic declaration, "Beauty will save the world," underscores his aesthetic utopia and his plea for redemption amid the turmoil of his characters' lives. While he believed that every individual harbors the potential to rescue both themselves and the world, he lamented humanity's inability to harness this latent power.

In a broader context, any literary character wrestling with societal disparities or harboring profound resentment could be categorized as an underground person. These are individuals who harbor aspirations of change but are acutely aware of their impotence, leading to internal discord. Veiled behind self-imposed disguises, the underground man's true identity remains obscured, resulting in a constant conflict that ultimately drives them to seclusion and introspection.

Turning our gaze to "Crime and Punishment," the embodiment of the underground man is most vividly portrayed through Raskolnikov and Svidrigailov. Raskolnikov, even before committing his crime, epitomizes the underground persona, driven by his self-crafted ideology. Dostoevsky astutely illustrates Raskolnikov's descent into a pit of self-abasement and despair following his crimes, culminating in a profound connection to the underworld.

Svidrigailov, on the other hand, reflects the darker aspects of Raskolnikov's soul, exemplifying a pre-existing "underground" nature. Unlike the archetypal underground man, Svidrigailov lacks an ideal or enthusiasm; his desires center on indulgence rather than perfection. His character diverges from the norm, demonstrating forgiveness, tolerance, and a lack of derision – traits atypical of the underground persona.

In summary, Dostoevsky ingeniously weaves two distinct incarnations of the underground man into "Crime and Punishment" through the characters of Raskolnikov and Svidrigailov. Both protagonists resort to violence, yet their motivations and experiences vastly differ. Raskolnikov's violence is rooted in his fervent ideological pursuit, whereas Svidrigailov's actions provide him with a perverse form of gratification.

Reference:

1. Fyodor, Dostoevsky. Crime and Punishment. Read Books, Ltd. 2018.