Fyodor Dostoevsky · 1864

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Un ex-fonctionnaire amer se dispute avec un lecteur imaginaire, puis met ses théories à l’épreuve sur une jeune femme qu’il connaît à peine.

Notes d’un souterrain (1864) est une nouvelle de Fiodor Dostoïevski, écrite comme la confession d’un ancien fonctionnaire amer et sans nom qui vit à Saint-Pétersbourg. Dans la première partie, il s’en prend aux idées rationnelles et utopiques de son temps ; dans la seconde, il se souvient d’épisodes humiliants de sa jeunesse, dont un dîner avec d’anciens camarades et la rencontre d’une jeune prostituée, Liza. Le livre confronte ses théories à sa façon réelle d’agir.

Première publication
1864
Forme littéraire
novella
Langue originale
Русский
Langues des textes publiés
Русский · vietnamien
Temps de lecture
≈ 2 h 29 min de lecture

Aucune traduction publiée dans la langue de cette interface. Vous pouvez lire l’original ou une autre édition disponible.

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Oil portrait of a bearded man in a grey-brown coat, seated against a dark background with his hands clasped on his knee and his gaze turned aside.
Image associée. Portrait of Fyodor Dostoevsky by Vasily Perov, 1872, held by the Tretyakov Gallery. It shows the author eight years after the novella appeared, not a scene from it.Vasily Perov, Portrait of Fyodor Dostoevsky, 1872; Tretyakov Gallery, via Google Art Project. Public domain. Wikimedia Commons. Source

Pourquoi cette œuvre compte

Notes from Underground appeared in the journal Epoch in 1864 as a first-person “confession”; Dostoevsky had announced it under the title “A Confession”. Its speaker is a bitter, isolated, unnamed former civil servant in St. Petersburg who addresses a reader he keeps arguing with, contradicting himself as he goes. The book is still read because that voice is so unsettlingly alive: he defends the right to act against his own interest, and he cannot stop noticing how he comes across. Wikipedia’s entry on Dostoevsky calls the novella one of the first works of existentialist literature, and its unease about reason, comfort and freedom has not gone out of date.

Part 1 is aimed at the determinism and rational egoism of the 1860s, above all Nikolay Chernyshevsky’s What Is to Be Done?, whose Crystal Palace stands for a planned, harmonious society. The narrator’s reply is that people may choose what harms them simply to prove they are free; “two times two makes four” is his emblem of the stone wall of natural law. Wikipedia reports that Nietzsche read the book in a French translation and lists Kafka’s The Metamorphosis and Ralph Ellison’s Invisible Man among works it has influenced. It also quotes Bakhtin, for whom every word of the confession anticipates an answer from someone else.

Notice how the book changes gear. Part 2, “Apropos of the Wet Snow”, turns the arguments into anecdote: a humiliating farewell dinner for a former schoolmate, then the narrator’s night with a young prostitute, Liza, whom he first lectures and then treats cruelly. The theory of Part 1 is tested against a living person, and he does not come out well. Wikipedia adds that “underground” may be a loose rendering of a word nearer to a crawl space beneath the floor. Content note: contempt, humiliation, cruelty toward a woman, self-destructive impulses; nothing graphic. The Vietnamese text on this site is the site’s own translation made directly from the Russian.

Présentation rédigée pour LitMundi avec l’aide de l’IA et vérifiée d’après les sources ci-dessous.

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Русский

Записки из подполья · Russian, Wikisource transcription

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