![]() ![]() ![]() In Dostoevski’s later, post-Siberian novels, this delicate equilibrium between empathy and contempt for the downtrodden is honed to perfection. While other writers strove to elicit public sympathy for the poor, Dostoevski subtly infused an element of ridiculousness into his portrayals, thereby reducing the social efficacy of the genre while enhancing the complexity of literary expression. He not only imbues them with frantic emotional passions and personality quirks in order to make them strangers to their own mediocre setting but also endows them with precisely the right balance between eccentricity and ordinariness to jar the reader into irritated alertness. What distinguishes Dostoevski from those influences is his carnivalistically exaggerated tone in describing or echoing the torments of members of the lower classes. Hoffmann’s fantastic tales are evident in the young Dostoevski’s preference for gothic and Romantic melodrama. These elements are so abundant in all of Dostoevski’s fiction that he labeled himself a disciple of Gogol. Petersburg clerks and their squalid surroundings, teeming with marginal, grotesque individuals. ![]() The young author was fascinated by Gogol’s humiliated St. The shorter pieces, preceding his imprisonment, reflect native and foreign literary influences, although certain topics and stylistic innovations that became Dostoevski’s trademarks were already apparent. ![]() Fyodor Dostoevski’s (11 November 1821 – 9 February 1881 ) creative development is roughly divided into two stages. ![]()
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