By Fyodor Dostoyevsky
Notas do subsolo é um marco no grandioso conjunto de obras que Dostoiévski legou ŕ humanidade. Dotado de um humor mordaz, provocativo e desafiador, este livro introduz as idéias de ethical e política que o escritor mais tarde abordaria nas obras-primas Crime e castigo e Os irmăos Karamazóv. Sua idéia de "homem subterrâneo" legou ŕ ficçăo européia moderna um dos seus principais arquétipos, encontrado também em Kafka, Hesse, Camus e Sartre: o anti-herói morbidamente obcecado com a sua própria impotęncia de lidar com a realidade que o cerca.
Dostoevsky’s so much progressive novel, Notes from Underground marks the dividing line among 19th- and twentieth-century fiction, and among the visions of self each one century embodied. essentially the most notable characters in literature, the unnamed narrator is a former reputable who has defiantly withdrawn into an underground lifestyles. In complete retreat from society, he scrawls a passionate, obsessive, self-contradictory narrative that serves as a devastating assault on social utopianism and an statement of man’s basically irrational nature.
Richard Pevear and Larissa Volokhonsky, whose Dostoevsky translations became the normal, provide us a brilliantly devoted version of this vintage novel, conveying all of the tragedy and tormented comedy of the unique.
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Notas do subsolo é um marco no grandioso conjunto de obras que Dostoiévski legou ŕ humanidade. Dotado de um humor mordaz, provocativo e desafiador, este livro introduz as idéias de ethical e política que o escritor mais tarde abordaria nas obras-primas Crime e castigo e Os irmăos Karamazóv.
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I am sure you have enough to do, if that’s what you want. ” pouted Louisa. “Don’t tell me that’s the reason, because it can be nothing of the sort,” said Mrs. Gradgrind. ” Mrs. Gradgrind was not a scientific character, and usually dismissed her children to their studies with this general injunction to choose their pursuit. In truth, Mrs. Gradgrind’s stock of facts in general was woefully defective; but Mr. Gradgrind, in raising her to her high matrimonial position, had been influenced by two reasons.
Bitzer, a student reminiscent of David Copperfield’s Uriah Heep, then gives the preferred reply, in which language does not communicate so much as, vanlike, carry freight: “Quad ruped. Graminivorous. Forty teeth. . Sheds coat in the spring. . ” We hear everything but the horseness of the creature. Imagination and affection are omitted, and the arithmetic of existence rides high in the saddle. The particularly allegorical names of these characters, and their self-satirizing speech, the manner in which their every aspect consists of eccentricity galvanized by wickedness or errant thinking, suggest that even as Dickens’ angry realism informs the novel (and we will see that it does), the effort here is to create a kind of tutelary fairy tale—a small, exaggerated lesson instead of a long journey through space and time (that includes fabulous moments resembling the whole of Hard Times) in which we feelingly witness the education of several souls.
How I fought through it, I don’t know,” said Bounderby. “I was determined, I suppose. I have been a determined character in later life, and I suppose I was then. Here I am, Mrs. ” Mrs. Gradgrind meekly and weakly hoped that his mother—— “My mother? ” said Bounderby. Mrs. Gradgrind, stunned as usual, collapsed and gave it up. “My mother left me to my grandmother,” said Bounderby; “and, according to the best of my remembrance, my grandmother was the wickedest and the worst old woman that ever lived.