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Extra info for Aristotle: Poetics
Reflect, each in his own way, the social disintegration of their time. Three of them, for instance, commit suicide (Kraft, Olga, and le grand dadais) under quite different circumstances and for seemingly quite different reasons, but one element is present in each case: the loss of the last solid values. And although the sensitive juvenile delinquent Trishatov does not commit suicide, he kills his dream instead and plunges deeper into crime. As to Lambert, the most villainous member of the young generation, Dostoevsky makes him a young and stupid caricature of the Versilov type.
But now he is no longer a romantic because, being an uprooted intellectual, he couldn't help but succumb to the latest intellectual fad that has swept over the young generation. , the position of Cherny-shevsky and his nihilist followers). What makes the underground man different from the others (his imaginary audience that he keeps addressing) is, above all, his cumbersome intelligence—his lucidity. In the Notes, he alone draws the inevitable conclusions from the philo- . sophical acceptance of the deterministic theory, namely, that all truly voluntary action is impossible since whatever man does is only a part of the causal chain and could even be predicted years in advance.
Many of them, however, were only too willing to crawl and scatter in search of the nearest cracks and holes to take refuge in dank darkness. The metaphysical and social landscape in The Adolescent (1874) is essentially the same as in Crime and Punishment (1866), The Idiot (1868), The Possessed (1872), and The Brothers Karamazov (1880), although its political overtones may well be, as has often been pointed out, less virulent than in its immediate predecessor, The Possessed. But whatever variations in emphasis there may be among these books, they are minor in comparison with the palpable ideological difference between Dostoevsky's late major works and his earlier writings.