shǒuyè>> >> 心理学小说>> Fyodor Mikhailovich Dostoevsky   Russia   俄罗斯帝国   (November 11, 1821 ADFebruary 9, 1881 AD)
zuì Crime and Punishment
  zài bǎo pín mín jiā gōng de céng lóu dǒu shì zhù zhe qióng xué shēng 'ěr zhèng zài jīng zhe yīcháng tòng 'ér liè de xiǎng dǒu zhēng héng héng yào què dìng shì shǔ wéi suǒ wéi de píng fán de rénhái shì zhǐ pèi zuò píng fán de rén de gōng de tōng rén yuán zài jiù xuéyīn jiāo xué fèi 'ér bèi chuò xuéxiàn zài kào qīn mèi mèi cóng jié de shēng huó fèi zhōng jié shěng xià lái de qián wéi chí shēng huó jīng hěn jiǔ méi yòu jiāo fáng liǎojìn láifáng dōng tài tài jǐn tíng zhǐ gōng gěi huǒ shíér qiě cuī shèn jǐnzhè shí jiàn liǎo xiǎo gōng yuán 'ěr měi tuó 'ěr měi tuó yīn shī 'ér xiàn jué jìngcháng suǒ bèi dāng liǎo jiē tóu 'ěr yuàn xiàng 'ěr měi tuó yàng rénrén zǎi suàn yòng shí yàn lái zhèng míng shì píng fán de rén”。
     zhù chù yuǎn yòu jiā dàngpùlǎo bǎn niàn shì gāo dài zhěxīn hěn shǒu tiān wǎn shàng 'ěr chéng rén zài jiāchuǎng shì nèi shā shí lǎo bǎn niàn de mèi mèi wài chū fǎn huí 'ěr zài huāng luàn zhōng yòu shā liǎo qīng chén shōu dào jǐng chá de chuán piàojīng kǒng wàn fēnhòu zhī shì wéi zhuī jiāo qiàn kuǎn shí cái sōng liǎo kǒu zài kāi shí zhōng tīng dào jǐng guān tán lùn zuó wǎn xiōng shā 'ànjǐn zhāng hūn jué guò yǐn jǐng guān zhù qīng xǐng hòu huí dào jiā jiù chuáng tiān bùxǐng rén shìhòu lái bìng qíng yòu suǒ hǎo zhuǎndàn nèi xīn què chǔyú gèng tòng de máo dùn chōng zhōng
     tiān hòu 'ěr 'ǒu rán jiàn dào yīn chē huò 'ér shēng mìng chuí wēi de 'ěr měi tuó yào qiú jǐng chá jiāng shāng zhě sòng huí jiā zhōng 'ěr měi tuó dào jiā hòu jiù 'ěr tóng qíng 'ér guǎ de xìng chū qīn gāng lái de 25 jiē men shī rén xiǎng yòng piàn shǒu duàn 'ěr de mèi mèi yóu zāo dào 'ěr de fǎn duì 'ér gào chuī rén huái hèn zài xīn xiàn suǒ tōu de qián lái zhèng míng 'ěr xíng wéi duān héng héng jiāng qīn de xuè hàn qián sòng gěi huài rén 'ěr dāng zhòng jiē chuān liǎo rén de chǐ xíng wéisuǒ shí fēn gǎn
     'ěr shā rén hòujìn guǎn méi hén dàn shì què bǎi tuō nèi xīn de kǒng gǎn dào yuán xiān de qiē měi hǎo de gǎn qíng suí zhī mǐn miè liǎozhè shì chéng gèng yán de liáng xīn chéng shí dào deshí yànshī bài liǎo huái zhe tòng de xīn qíng lái dào suǒ chùshòu dào suǒ zōng jiào xiǎng de gǎn zhàoxiàng shuō chū liǎo fàn zuì de zhēn xiāng dòng zài suǒ de quàn shuō xià xiàng jǐng fāng tóu 'àn shǒu
     'ěr bèi pàn chù 8 nián lái dào liǎo jiǔsuǒ lái dào liǎo tiān qīng chénliǎng rén zài biān xiāng men jué xīn qián xìn shàng chàn huǐ de xīn qíng chéng shòu qiē nánhuò jīng shén shàng de xīn shēng
  
  《 zuì shì zhuó yuè de shè huì xīn xiǎo shuō de biǎo biāo zhì zhe tuó tuǒ shù fēng de chéng shú
     xiǎo shuō zhù rén gōng 'ěr fàn zuì fàn zuì hòu shòu dào liáng xīn dào chéng wéi zhù xiànguǎng fàn miáo xiě liǎo 'é guó chéng shì pín mín zǒu tóu de bēi cǎn jìng jiān ruì de shè huì máo dùnzuò zhě xià de jīng chéng bǎo shì pài 'àn tiān de jǐng xiàngcǎo shì chǎng shàng zhuóyǎn jīng bèi qīng de zhuó de shuǐ zhōng zhēngzhá zhe tóu jìn de gōngqióng kùn liáo dǎo de xiǎo gōng yuán bèi chē zhuàng dǎo zài jiē tóu fēng de rén dài zhe hái yán jiē tǎo tóng shígāo dài lǎo tài dèng zhe xiōng hěn de yǎn jīngyào zhà gān qióng rén de zuì hòu xuè hànmǎn shēn tóng chòu de shì kuài yòng yòu piàn xiàn de shǒu duàn cán hàixiǎo rén ”, dào de mùdìér huāng yín de guì zhù wéi mǎn de shòu duàn gān chū lìng rén fàzhǐ de gòu dāng…… zuò zhě huái zhe zhēn qiē de tóng qíng mǎn qiāng de fènjiāng 19 shì 60 nián dài shā 'é jīng chéng de hēi 'ànchì pínjué wàng zhuó qíng zhǎn xiàn zài zhě miàn qián
     'ěr shì xiǎo shuō zhōng de zhōng xīn rén zhè shì diǎn xíng de yòu shuāngchóng rén de xíng xiàng shì xīn shàn liáng zhù rén de qióng xué shēng yòu tiān yòu zhèng gǎn de qīng niándàn tóng shí de xìng yīn ,“ yòu shí shèn zhì lěng qíng rén dào liǎo háo rén xìng de ”, wèile zhèng míng shì xià píng fán de rén”, jìng rán xíng xiōng shā rén,“ zài shēn shàng yòu liǎng zhǒng jié rán tóng de xìng zài jiāo biàn huà”。 zhèng shì zhè shuāngchóng rén zhī jiān de liè chōng shǐ zhù rén gōng duàn dòng yáo zài duì de lùn”( guān píng fán de rén píng fán de rénde guān diǎnde kěn dìng fǒu dìng zhī jiānduì 'ěr lái shuō guǒ gān yuàn zuò lái shùn shòu depíng fán de rén”, me děng dài de shì 'ěr měi tuó de bēi cǎn jié guǒ zuò qiē dào zhǔn derén lèi zhù zǎi zhě”, jiù huì wéi fēi zuò dǎi de bēi zhī rén wéi jiā luò tóng liú de rén zhōng de zhù dǎo miàn zhōng zài bái huà de dǒu zhōng zhàn liǎo yōu shìbìng tuī dòng zuì hòu fǒu dìng de lùn”, xiàng suǒ kào lǒngxiǎo shuō tōng guò zhè xíng xiàngshēn jiē liǎo chǎn jiē deruò ròu qiáng shíyuán duì xiǎo chǎn jiē zhī shí fènzǐ de hàiyòu pàn liǎo zhè yuán de fǎn rén dào zhù de shí zhìbìng qiě cóng guān shàng fǒu dìng liǎo jiàn zàichāo rénzhé xué chǔ shàng de zhèng zhù shì de fǎn kàngyīn wéi zhè zhǒng fǎn kàng jué néng gěi bèi zhě dài lái xīn shēng huó de zhuǎn
     rán 'érzuò zhě zuò chū de shàng shù jiē pàn jǐn jǐn shì cóng lún dào guān niàn zōng jiào xiǎng chū dezuò zhě rèn wéi qiē bào kàng 'è de zuò dōubù yīn wéi rén táo nèi xīn de chéng zài huǐ miè rén de tóng shí huǐ miè liǎo shēnzuò zhě hái 'ěr de fàn zuì xíng wéi guī jié wéi pāo liǎo duì shàng de xìn yǎng suǒ zhìyòng suǒ de huà lái shuōshì yīn wéinín kāi liǎo shàng shàng chéng liǎo nín nín jiāo gěi liǎo guǐ!” zuò zhě wéi 'ěr 'ān pái de tiáoxīn shēngzhī shí shàng jiù shì tiáo hēi 'àn xiàn shí tuǒ xié de dào jiù shì suǒ wèisuǒ de dào ”。 zuò zhě suǒ kàn zuò rén lèi nán de xiàng zhēngbìng zài shēn shàng xiàn liǎo qián xìn shàng chéng shòu xìngtōng guò tòng jìng huà líng hún de xiǎngzuò wéi hēi 'àn shè huì de shēng pǐn shòu zuì shēn de xìngsuǒ de xíng xiàng yòu zhe de diǎn xíng dàn shì zuò wéi xiǎng rén zhè xíng xiàng què xiǎn shí fēn cāng báixiǎn rántuó tuǒ zài xiǎo shuō zhōng xuān yáng de zhè xiē zōng jiào xiǎng zhěng zuò pǐn suǒ xiǎn shì de qiáng pàn liàng shì xiāng xié diào dezhè chōng fēn biǎo xiàn chū zuò zhě shì jiè guān de jiān ruì máo dùn
    《 zuì yòu hěn gāo de shù chéng jiùxiǎo shuō jiào quán miàn xiǎn shì liǎo tuó tuǒ guān huà rén de xīn líng shēn chù de 'ào de diǎnzuò zhě shǐ zhōng ràng rén chù zài jiě tuō de máo dùn zhī zhōngtōng guò rén bēi xìng de nèi xīn chōng jiē shì rén xìng tóng shí zuò zhě duì huàn juémèng yǎn biàn tài xīn de huà wéi chū xiǎo shuō zhōngyóu zuò zhě zhuólì tuò kuān rén de xīn jié gòuqíng jié jié gòu xiāng duì chǔyú cóng shǔ wèijìn guǎn zuò pǐn zhōng 'ěr měi tuó jiā de zāo lìng rén tóng qíngxiōng shā shì jiàn kòu rén xīn xiándàn mendōu zhǐ shì fèn fàn zuì de xīn bào gàode chéng fēnzhèng yīn wéi zhè yàngzhù rén gōng de nèi xīn shì jiè cái qián suǒ wèi yòu de shēn zhǎn xiàn zài zhě miàn qián wàizhè xiǎo shuō chǎng miàn zhuǎn huàn kuàichǎng jǐng tuī xùn zhù yào qíng jié guò chéng zhǐ yòng liǎo tiān shí jiānzài nóng suō de shí kōng zhōng róng liǎo fēng de xiǎng nèi róngxiǎo shuō de shí dài cǎi zhèng lùn cǎi shí fēn xiān míng


  Crime and Punishment (Russian: Преступление и наказание Prestuplenie i nakazanie) is a novel by the Russian author Fyodor Dostoevsky. This was first published in the Russian literary journal The Russian Messenger in twelve monthly installments during 1866. It was later published in a single volume. This is the second of Dostoevsky's full-length novels following his return from years of exile in the gulags of Siberia, and this is his first great novel of his "mature period" of writing.
  
  Crime and Punishment focuses on the mental anguish and moral dilemmas of Rodion Romanovich Raskolnikov, an impoverished ex-student from St. Petersburg who formulates and executes a plan to kill an unscrupulous pawnbroker for her money. Raskolnikov argues that with the pawnbroker's money he can perform good deeds to counterbalance the crime, while ridding the world of a worthless parasite. This murder he also commits to test Raskolnikov's hypothesis that some people are naturally able to and also have the right to murder. Several times throughout the novel, Raskolnikov also justifies his actions by connecting himself mentally with Napoleon Bonaparte, believing that murder is permissible in pursuit of a higher purpose.
  
  Creation
  
  Dostoevsky conceived the idea of Crime and Punishment in the summer of 1865, having gambled away much of his fortune, unable to pay his bill or afford proper meals. At the time the author owed large sums of money to creditors, and was trying to help the family of his brother Mikhail, who had died in early 1864. Projected under the title The Drunkards, it was to deal "with the present question of drunkness ... [in] all its ramifications, especially the picture of a family and the bringing up of children in these circumstance, etc., etc." Once Dostoevsky conceived Raskolnikov and his crime, now inspired by the case of Pierre François Lacenaire, this theme became ancillary, centering on the story of the Marmeladov family.
  
  Dostoevsky offered his story or novella (at the time Dostoevsky was not thinking of a novel) to the publisher Mikhail Katkov. His monthly journal, The Russian Messenger, was a prestigious publication of its kind, and the outlet for both Ivan Turgenev and Leo Tolstoy, but Dostoevsky, having carried on quite bruising polemics with Katkov in early 1860s, had never published anything in its pages. Dostoevsky turned as a last resort to Katkov, and asked for an advance on a proposed contribution after all other appeals elsewhere failed. In a letter to Katkov written in September 1865, Dostoevsky explained to him that the work was to be about a young man who yields to "certain strange, 'unfinished' ideas, yes floating in the air"; he had thus embarked on his plan to explore the moral and psychological dangers of the "radical" ideology. In letters written in November 1865 an important conceptual change occurred: the "story" has become a "novel", and from here on all references to Crime and Punishment are to a novel.
  
  Dostoevsky had to race against time, in order to finish on time both The Gambler and Crime and Punishment. Anna Snitkina, a stenographer who would soon become his second wife, was a great help for Dostoevsky during this difficult task. The first part of Crime and Punishment appeared in the January 1866 issue of The Russian Messenger, and the last one was published in December 1866.
  “ At the end of November much had been written and was ready; I burned it all; I can confess that now. I didn't like it myself. A new form, a new plan excited me, and I started all over again. ”
   — Dostoevsky's letter to his friend Alexander Wrangel in February 1886
  
  In the complete edition of Dostoevsky's writings published in the Soviet Union, the editors reassembled and printed the notebooks that the writer kept while working on Crime and Punishment, in a sequence roughly corresponding to the various stages of composition. Because of these labors, there is now a fragmentary working draft of the story, or novella, as initially conceived, as well as two other versions of the text. These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the final plan, involving the shift from a first-person narrator to the indigenous variety of third-person form invented by Dostoevsky. The Wiesbaden edition concentrates entirely on the moral/physic reactions of the narrator after the murder. It coincides roughly with the story that Dostoevsky described in his letter to Katkov, and written in a form of a diary or journal, corresponds to what eventually became part II.
  “ I wrote [this chapter] with genuine inspiration, but perhaps it is no good; but for them the question is not its literary worth, they are worried about its morality. Here I was in the right—nothing was against morality, and even quite the contrary, but they saw otherwise and, what's more, saw traces of nihilism ... I took it back, and this revision of a large chapter cost me at least three new chapters of work, judging by the effort and the weariness; but I corrected it and gave it back. ”
   — Dostoevsky's letter to A.P. Milyukov
  
  Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, "one possibility is that his protagonist began to develop beyond the boundaries in which he had first been conceived". The notebooks indicate that Dostoevsky was aware of the emergence of new aspects of Raskolnikov's character as the plot action proceeded, and he structured the novel in conformity with this "metamorphosis," Frank says. Dostoevsky thus decided to fuse the story with his previous idea for a novel called The Drunkards. The final version of Crime and Punishment came to birth only when, in November 1865, Dostoevsky decided to recast his novel in the third person. This shift was the culmination of a long struggle, present through all the early stages of composition. Once having decided, Dostoevsky began to rewrite from scratch, and was able to easily integrate sections of the early manuscript into the final text—Frank says that he did not, as he told Wrangel, burn everything he had written earlier.
  
  The final draft went smoothly, except for a clash with the editors of The Russian Messenger, about which very little is known. Since the manuscript Dostoevsky turned in to Katkov was lost, it is unclear what the editors had objected to in the original. In 1889, the editors of the journal commented that "it was not easy for him [Dostoevsky] to give up his intentionally exaggerated idealization of Sonya as a woman who carried self-sacrifice to the point of sacrificing her body". It seems that Dostoevsky had initially given Sonya a much more affirmative role in the scene, in which she reads the Gospel story of the raising of Lazarus to Raskolnikov.
  Plot
  
  Raskolnikov, a mentally unstable drop-out student, lives in a tiny, rented room in Saint Petersburg. He refuses all help, even from his friend Razumikhin, and devises a plan to murder and to rob an unpleasant elderly pawn-broker and money-lender, Alyona Ivanovna. His motivation, whether personal or ideological, remains at this point unclear. While still considering the plan, Raskolnikov makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth. He also receives a letter from his sister and mother, speaking of their coming visit to St. Petersberg, and his sister's sudden marriage plans which they plan on discussing upon their arrival.
  
  After much deliberation, Raskolnikov sneaks into Alyona Ivanovna's apartment where he murders her with an ax. He also kills her half-sister, Lizaveta, who happens to stumble upon the scene of the crime. Shaken by his actions, Raskolnikov manages to only steal a handful of items and a small purse, leaving much of the pawn-broker's wealth untouched. Raskolnikov then flees and manages to leave miraculously unseen and undetected.
  
  After the bungled murder, Raskolnikov falls into a feverish state and begins to worry obsessively over the murder. He hides the stolen items and purse under a rock, and tries desperately to clean his clothing of any blood or evidence. He falls into a fever later that day, though not before calling briefly on his old friend Razumikhin. As the fever comes and goes in the following days, Raskolnikov behaves as though he wishes to betray himself. He shows strange reactions to whosoever mentions the murder of the pawn-broker, which is now known about and talked of in the city. In his delirium, Raskolnikov wanders Petersberg, drawing more and more attention to himself and his relation to the crime. In one of walks through the city, he sees Marmeladov being struck mortally by a carriage in the streets. Rushing to help him, Raskolnikov gives the remainder of his money to the man's family, which includes his teenage daughter, Sonia, who has been forced to become a prostitute to support her family.
  
  In the meantime, Raskolnikov's mother, Pulkheria Alexandrovna, and his sister, Avdotya Romanovna (or Dunya) have arrived in town. Avdotya had been working as a governess for the Svidrigailov family until this point, but was forced out of the position by the head of the family, Arkady Ivanovich Svidrigaïlov. Svidrigailov, a married man, was attracted to Avdotya's physical beauty and her stunning spiritual qualities, and offered her riches and elopement. Avdotya, having none of this, fled the family and lost her source of income, only to meet Pyotr Petrovich Luzhin, a man of modest income and rank. Luzhin proposes to marry Avdotya, thereby securing her and her mother's financial safety, provided she accept him quickly and without question. It is for these very reasons that the two of them come to St. Petersberg, both to meet Luzhin there and to attain Raskolnikov's approval. Luzhin, however, calls on Raskolnikov while he is in a delirious state and presents himself as a foolish, self-righteous and presuming man. Raskolnikov dismisses him immediately as a potential husband for his sister, and realizes that she only accepted him to help her family.
  
  As the novel progresses, Raskolnikov is introduced to the detective Porfiry, who begins to suspect him for the murder purely on psychological grounds. At the same time, a chaste relationship develops between Raskolnikov and Sonya. Sonya, though a prostitute, is full of Christian virtue and is only driven into the profession by her family's poverty. Meanwhile, Razumikhin and Raskolnikov manage to keep Avdotya from continuing her relationship with Luzhin, whose true character is exposed to be conniving and base. At this point, Svidrigailov appears on the scene, having come from the province to Petersberg, almost solely to seek out Avdotya. He reveals that his wife is dead, and that he is willing to pay Avdotya a vast sum of money in exchange for nothing. She, upon hearing the news, refuses flat out, suspecting him of treachery.
  
  As Raskolnikov and Porfiry continue to meet, Raskolnikov's motives for the crime become exposed. Porfiry becomes increasingly certain of the man's guilt, but has no concrete evidence or witnesses with which to back this suspicion up. Raskolnikov's nerves begin to wear thin, and he is constantly struggling with the the idea of confessing, though he knows that he can never be truly convicted. He turns to Sonya for support, and confesses his crime to her. By coincidence, Svidrigailov has taken up residence in a room next to Sonya's and overhears the entire confession. When the two men meet face to face, Svidrigailov acknowledges this fact, and suggests that he may use it against him, should he need to. Svidrigailov also speaks of his own past, in which he reveals that he has committed murder and most recently killed his wife.
  
  Raskolnikov is at this point completely torn; he is urged by Sonya to confess, and Svidrigailov's testimony could potentially convict him. Meantime, Svidrigailov attempts to seduce and then rape Avdotya, who convinces him not to. He then spends a night in confusion, and in the morning shoots himself. This same morning, Raskolnikov goes again to Sonya, who again urges him to confess and to clear his conscience. He makes his way to the police station, where he is met by the news of Svidrigailov's suicide. He hesitates a moment, thinking again that he might get away with a perfect crime, but is persuaded by Sonya to confess.
  
  The epilogue tells of how Raskolnikov is sentenced to penal servitude in Siberia, where Sonya follows him. Avdotya and Razumikhin marry and are left in a happy position by the end of the novel. Raskolnikov, however, struggles in Siberia. It is only after some time serving that his redemption and moral regeneration begin under Sonya's loving influence.
  Characters
  
  In Crime and Punishment Dostoevsky succeeds in fusing the personality of his main character, Rodion Romanovich Raskolnikov (Russian: Родион Романович Раскольников), with his new anti-radical ideological themes. The main plot involves a murder as the result of "ideological intoxication," and depicts all the disastrous moral and psychical consequences that result from the murderer. Raskolnikov's psychology is placed at the center, and carefully interwoven with the ideas behind his transgression; every other feature of the novel illuminates the agonizing dilemma in which Raskolnikov is caught. From another point of view, the novel's plot is another variation of a conventional nineteenth-century theme: an innocent young provincial comes to seek his fortune in the capital, where he succumbs to corruption, and loses all traces of his former freshness and purity. However, as Gary Rosenshield points out, "Raskolnikov succumbs not to the temptations of high society as Honoré de Balzac's Rastignac or Stendhal's Julien Sorel, but to those of rationalistic Petersburg".
  
  Raskolnikov is the protagonist, and the action is focalized primarily from his perspective. Despite its name, the novel does not so much deal with the crime and its formal punishment, as with Raskolnikov's internal struggle (the English translation does not do justice to the plot, however, in Russia, the title means 'transgression' over a border, which is what Raskolnikov emotionally does).[citation needed] The book shows that his punishment results more from his conscience than from the law. He committed murder with the belief that he possessed enough intellectual and emotional fortitude to deal with the ramifications, [based on his paper/thesis, "On Crime", that he is a Napoleon], but his sense of guilt soon overwhelms him. It is only in the epilogue that he realizes his formal punishment, having decided to confess and end his alienation.
  
  Sofia Semyonovna Marmeladova (Russian: Софья Семёновна Мармеладова), variously called Sonia and Sonechka, is the daughter of a drunk, Semyon Zakharovich Marmeladov, whom Raskolnikov meets in a tavern at the beginning of the novel, and who, Raskolnikov discerns, shares the same feelings of shame and alienation as he does. She becomes the first person to whom Raskolnikov confesses his crime, and she supports him even though she was friends with one of the victims (Lizaveta). For most of the novel, Sonya serves as the spiritual guide for Raskolnikov. After his confession she follows him to Siberia where she lives in the same town as the prison.
  
  Other characters of the novel are:
  
   * Porfiry Petrovich (Порфирий Петрович) – The detective in charge of solving the murders of Lizaveta and Alyona Ivanovna, who, along with Sonya, guides Raskolnikov towards confession. Unlike Sonya, however, Porfiry does this through psychological games. Despite the lack of evidence, he becomes certain Raskolnikov is the murderer following several conversations with him, but gives him the chance to confess voluntarily. He attempts to confuse and to provoke the unstable Raskolnikov in an attempt to coerce him to confess.
   * Avdotya Romanovna Raskolnikova (Авдотья Романовна Раскольникова) – Raskolnikov's strong willed and self-sacrificial sister, called Dunya, Dounia or Dunechka for short. She initially plans to marry the wealthy, yet smug and self-possessed, Luzhin, to save the family from financial destitution. She has a habit of pacing across the room while thinking. She is followed to Saint Petersburg by the disturbed Svidrigailov, who seeks to win her back through blackmail. She rejects both men in favour of Raskolnikov's loyal friend, Razumikhin.
   * Arkady Ivanovich Svidrigaïlov (Аркадий Иванович Свидригайлов) – Sensual, depraved, and wealthy former employer and current pursuer of Dunya, Svidrigaïlov is suspected of multiple acts of murder, and overhears Raskolnikov's confessions to Sonya. With this knowledge he torments both Dunya and Raskolnikov but does not inform the police. When Dunya tells him she could never love him (after attempting to shoot him) he lets her go and commits suicide. Whereas Sonya represents the path to salvation, Svidrigaïlov represents the other path towards suicide. Despite his apparent malevolence, Svidrigaïlov is similar to Raskolnikov in regard to his random acts of charity. He fronts the money for the Marmeladov children to enter an orphanage (after both their parents die), gives Sonya five percent bank notes totalling three thousand rubles, and leaves the rest of his money to his juvenile fiancée.
   * Marfa Petrovna Svidrigailova (Марфа Петровна Свидригайлова) – Arkady Svidrigaïlov's deceased wife, whom he is suspected of having murdered, and who he claims has visited him as a ghost. Her bequest of 3,000 rubles to Dunya allows Dunya to reject Luzhin as a suitor.
   * Dmitri Prokofich Razumikhin (Дмитрий Прокофьич Разумихин) – Raskolnikov's loyal friend. In terms of Razumikhin's contribution to Dostoevsky's anti-radical thematics, he is intended to represent something of a reconciliation of the pervasive thematic conflict between faith and reason. The fact that his name means reason shows Dostoevsky's desire to employ this faculty as a foundational basis for his Christian faith in God.
   * Katerina Ivanovna Marmeladova (Катерина Ивановна Мармеладова) – Semyon Marmeladov's consumptive and ill-tempered second wife, stepmother to Sonya. She drives Sonya into prostitution in a fit of rage, but later regrets it, and beats her children mercilessly, but works ferociously to improve their standard of living. She is obsessed with demonstrating that slum life is far below her station. Following Marmeladov's death, she uses Raskolnikov's money to hold a funeral.
   * Semyon Zakharovich Marmeladov (Семён Захарович Мармеладов) – Hopeless drunk who indulges in his own suffering, and father of Sonya. Marmeladov could be seen as a Russian equivalent of the character of Micawber in Charles Dickens' novel, David Copperfield.[citation needed]
   * Pulkheria Alexandrovna Raskolnikova (Пульхерия Александровна Раскольникова) – Raskolnikov's relatively clueless, hopeful and loving mother. Following Raskolnikov's sentence, she falls ill (mentally and physically) and eventually dies. She hints in her dying stages that she is slightly more aware of her son's fate, which was hidden from her by Dunya and Razumikhin.
   * Pyotr Petrovich Luzhin (Пётр Петрович Лужин) – A well-off lawyer who is engaged to Raskolnikov's sister Dunya in the beginning of the novel. His motives for the marriage is rather despicable, as he states more or less that he chose her since she will be completely beholden to him financially.
   * Andrey Semyenovich Lebezyatnikov (Андрей Семёнович Лебезятников) – Luzhin's utopian socialist roommate who witnesses his attempt to frame Sonya and subsequently exposes him.
   * Alyona Ivanovna (Алёна Ивановна) – Suspicious old pawnbroker who hoards money and is merciless to her patrons. She is Raskolnikov's intended target.
   * Lizaveta Ivanovna (Лизавета Ивановна) – Alyona's simple and innocent sister. Raskolnikov murders her when she walks in immediately after Raskolnikov had killed Alyona. Lizaveta was a friend of Sonya's.
   * Zosimov (Зосимов) – A friend of Razumikhin and a doctor who cared for Raskolnikov.
   * Nastasya Petrovna (Настасья Петровна) – Raskolnikov's landlady's servant and a friend of Raskolnikov.
   * Nikodim Fomich (Никодим Фомич)– The amiable Chief of Police.
   * Ilya "Gunpowder" Petrovich (Илья Петрович) – A police official and Fomich's assistant.
   * Alexander Grigorievich Zamyotov (Александр Григорьевич Заметов) – Head clerk at the police station and friend to Razumikhin. Raskolnikov arouses Zamyotov's suspicions by explaining how he, Raskolnikov, would have committed various crimes, although Zamyotov later apologizes, believing, much to Raskolnikov's amusement, that it was all a farce to expose how ridiculous the suspicions were. This scene illustrates the argument of Raskolnikov's belief in his own superiority as Übermensch.[citation needed]
   * Nikolai Dementiev (Николай Дементьев) – A painter and sectarian who admits to the murder, since his sect holds it to be supremely virtuous to suffer for another person's crime.
   * Polina Mikhailovna Marmeladova (Полина Михайловна Мармеладова) – Ten-year-old adopted daughter of Semyon Zakharovich Marmeladov and younger stepsister to Sonya, sometimes known as Polechka.
  
  Name Word Meaning (in Russian)
  Rodion Romanovich Raskolnikov raskol a schism, or split; "raskolnik" is "one who splits" or "dissenter"; the verb raskalyvat' means "to cleave", "to chop","to crack","to split" or "to break"
  Pyotr Petrovich Luzhin luzha a puddle
  Dmitri Prokofich Razumikhin razum reason, intelligence
  Alexander Grigorievich Zamyotov zametit to notice, to realize
  Andrey Semyenovich Lebezyatnikov lebezit to fawn on somebody, to cringe
  Semyon Zakharovich Marmeladov marmelad marmalade/jam
  Arkady Ivanovich Svidrigailov Svidrigailo a Lithuanian duke of the fifteenth century
  Structure
  
  Crime and Punishment has a distinct beginning, middle and end. The novel is divided into six parts, with an epilogue. The notion of "intrinsic duality" in Crime and Punishment has been commented upon, with the suggestion that there is a degree of symmetry to the book. Edward Wasiolek who has argued that Dostoevsky was a skilled craftsman, highly conscious of the formal pattern in his art, has likened the structure of Crime & Punishment to a "flattened X", saying:
  
   Parts I-III [of Crime and Punishment] present the predominantly rational and proud Raskolnikov: Parts IV-VI, the emerging "irrational" and humble Raskolnikov. The first half of the novel shows the progressive death of the first ruling principle of his character; the last half, the progressive birth of the new ruling principle. The point of change comes in the very middle of the novel.
  
  This compositional balance is achieved by means of the symmetrical distribution of certain key episodes throughout the novel's six parts. The recurrence of these episodes in the two halves of the novel, as David Bethea has argued, is organized according to a mirror-like principle, whereby the "left" half of the novel reflects the "right" half. For her part, Margaret Church discerns a contrapuntal structuring: parts I, III and V deal largely with the main hero's relationship to his family (mother, sister and mother surrogates), while parts II, IV and VI deal with his relationship to the authorities of the state "and to various father figures".
  
  The seventh part of the novel, the Epilogue, has attracted much attention and controversy. Some of Dostoevsky's critics have criticized the novel's final pages as superfluous, anti-climactic, unworthy of the rest of the work, while others have rushed to the defense of the Epilogue, offering various ingenious schemes which conclusively prove its inevitability and necessity. Steven Cassedy argues that Crime and Punishment "is formally two distinct but closely related, things, namely a particular type of tragedy in the classical Greek mold and a Christian resurrection tale". Cassedy concludes that "the logical demands of the tragic model as such are satisfied without the Epilogue in Crime and Punishment ... At the same time, this tragedy contains a Christian component, and the logical demands of this element are met only by the resurrection promised in the Epilogue".
  
  Crime and Punishment is written from a third-person omniscient perspective. It is focalized primarily from the point of view of Raskolnikov; however, it does at times switch to the perspective of Svidrigailov, Razumikhin, Peter Petrovich, or Dunya. This narrative technique, which fuses the narrator very closely with the consciousness and point of view of the central characters of the plot, was original for its period. Franks notes that his identification, through Dostoevsky's use of the time shifts of memory and his manipulation of temporal sequence, begins to approach the later experiments of Henry James, Joseph Conrad, Virginia Woolf, and James Joyce. A late nineteenth-century reader was, however, accustomed to more orderly and linear types of expository narration. This led to the persistence of the legend that Dostoevsky was an untidy and negligent craftsman, and to critical observations like the following by Melchior de Vogüé:
  
   "A word ... one does not even notice, a small fact that takes up only a line, have their reverberations fifty pages later ... [so that] the continuity becomes unintelligible if one skips a couple of pages."
  
  Dostoevsky uses different speech mannerisms and sentences of different length for different characters. Those who use artificial language—Luzhin, for example—are identified as unattractive people. Mrs. Marmeladov's disintegrating mind is reflected in her language, too. In the original Russian text, the names of the major characters have something of a double meaning, but in translation the subtlety of the language is sometimes lost. There is even a play with the Russian word for crime ("prestuplenie"), which is literally translated as a stepping across or a transgression. The physical image of crime as a crossing over a barrier or a boundary is lost in translation. So is the religious implication of transgression, which in English refers to a sin rather than a crime.
  Symbolism
  
  The Dreams
  
  Raskolnikov's dreams always have a symbolic meaning, which suggests a psychological view. In the dream about the horse, the mare has to sacrifice itself for the men who are too much in a rush to wait. This could be symbolic of women sacrificing themselves for men, just like Raskolnikov's belief that Dunya is sacrificing herself for Rodya by marrying Luzhin. Some critics have suggested this dream is the fullest single expression of the whole novel, containing the nihilistic destruction of an innocent creature and Rodion's suppressed sympathy for it (although the young Rodion in the dream runs to the horse, he still murders the pawnbroker soon after waking). The dream is also mentioned when Raskolnikov talks to Marmeladov. He states that his daughter, Sonya, has to sell her body to earn a living for their family. The dream is also a blatant warning for the impending murder.
  
  In the final pages, Raskolnikov, who at this point is in the prison infirmary, has a feverish dream about a plague of nihilism, that enters Russia and Europe from the east and which spreads senseless dissent (Raskolnikov's name alludes to "raskol", dissent) and fanatic dedication to "new ideas": it finally engulfs all of mankind. Though we don't learn anything about the content of these ideas they clearly disrupt society forever and are seen as exclusively critical assaults on ordinary thinking: it is clear that Dostoevsky was envisaging the new, politically and culturally nihilist ideas which were entering Russian literature and society in this watershed decade, and with which Dostoevsky would be in debate for the rest of his life (cp. Chernyshevsky's What Is to Be Done?, Dobrolyubov's abrasive journalism, Turgenev's Fathers and Sons and Dostoevsky's own The Possessed). Just like the novel demonstrates and argues Dostoevsky's conviction that "if God doesn't exist (or is not recognized) then anything is permissible" the dream sums up his fear that if men won't check their thinking against the realities of life and nature, and if they are unwilling to listen to reason or authority, then no ideas or cultural institutions will last and only brute barbarism can be the result. Janko Lavrin, who took part in the revolutions of the WWI era, knew Lenin and Trotsky and many others, and later would spend years writing and researching on Dostoevsky and other Russian classics, called this final dream "prophetic in its symbolism".
  
  The Cross
  
  Sonya gives Rodya a cross when he goes to turn himself in. He takes his pain upon him by carrying the cross through town, like Jesus; he falls to his knees in the town square on the way to his confession. Sonya carried the cross up until then, which indicates that, as literally mentioned in the book, she suffers for him, in a semi-Christ-like manner. Sonya and Lizaveta had exchanged crosses and become spiritual sisters, originally the cross was Lizaveta's — so Sonya carries Lizaveta's cross, the cross of Rodya's innocent victim, whom he didn't intend to kill.
  
  Saint Petersburg
  “ On an exceptionally hot evening early in July a young man came out of the garret in which he lodged in S. Place and walked slowly, as though in hesitation, towards K. bridge. ”
  
  — Fyodor Dostoevsky, Crime and Punishment, I, I
  
  The above opening sentence of the novel has a symbolic function: Russian critic Vadim K. Kozhinov argues that the reference to the "exceptionally hot evening" establishes not only the suffocating atmosphere of Saint Petersburg in midsummer but also "the infernal ambience of the crime itself". Dostoevsky was among the first to recognize the symbolic possibilities of city life and imagery drawn from the city. I. F. I. Evnin regards Crime and Punishment as the first great Russian novel "in which the climactic moments of the action are played out in dirty taverns, on the street, in the sordid black rooms of the poor".
  
  Dostoevsky's Petersburg is the city of unrelieved poverty; "magnificence has no place in it, because magnificence is external, formal abstract, cold". Dostoevsky connects the city's problems to Raskolnikov's thoughts and subsequent actions. The crowded streets and squares, the shabby houses and taverns, the noise and stench, all are transformed by Dostoevsky into a rich store of metaphors for states of mind. Donald Fanger asserts that "the real city [...] rendered with a striking concreteness, is also a city of the mind in the way that its atmosphere answers Raskolnikov's spiritual condition and almost symbolizes it. It is crowded, stifling, and parched."
  Themes
  
  Dostoevsky's letter to Katkov reveals his immediate inspiration, to which he remained faithful even after his original plan evolved into a much more ambitious creation: a desire to counteract what he regarded as nefarious consequences arising from the doctrines of Russian nihilism. In the novel, Dostoevsky pinpointed the dangers of both utilitarianism and rationalism, the main ideas of which inspired the radicals, continuing a fierce criticism he had already started with his Notes from Underground. A Slavophile religious believer, Dostoevsky utilized the characters, dialogue and narrative in Crime and Punishment to articulate an argument against westernizing ideas in general. He thus attacked a peculiar Russian blend of French utopian socialism and Benthamite utilitarianism, which had led to what revolutionaries, such as Nikolai Chernyshevsky, called "rational egoism".
  
  The radicals refused, however, to recognize themselves in the novel's pages (Dimitri Pisarev ridiculed the notion that Raskolnikov's ideas could be identified with those of the radicals of his time), since Dostoevsky portrayed nihilistic ideas to their most extreme consequences. The aim of these ideas was altruistic and humanitarian, but these aims were to be achieved by relying on reason and suppressing entirely the spontaneous outflow of Christian pity and compassion. Chernyshevsky's utilitarian ethic proposed that thought and will in man were subject to the laws of physical science. Dostoevsky believed that such ideas limited man to a product of physics, chemistry and biology, negating spontaneous emotional responses. In its latest variety of Bazarovism, Russian nihilism encouraged the creation of an élite of superior individuals to whom the hopes of the future were to be entrusted.
  
  Raskolnikov exemplifies all the potentially disastrous hazards contained in such an ideal. Frank notes that "the moral-psychological traits of his character incorporate this antinomy between instinctive kindness, sympathy, and pity on the one hand and, on the other, a proud and idealistic egoism that has become perverted into a contemptuous disdain for the submissive herd". Raskolnikov's inner conflict in the opening section of the novel results in a utilitarian-altruistic justification for the proposed crime: why not kill a wretched and "useless" old moneylender to alleviate the human misery? Dostoevsky wants to show that this utilitarian type of reasoning and its conclusions had become widespread and commonplace; they were by no means the solitary invention of Raskolnikov's tormented and disordered mind. Such radical and utilitarian ideas act to reinforce the innate egoism of Raskolnikov's character, and to turn him into a hater rather than a lover of his fellow humans. He even becomes fascinated with the majestic image of a Napoleonic personality who, in the interests of a higher social good, believes that he possesses a moral right to kill. Indeed, his "Napoleon-like" plan drags him to a well-calculated murder, the ultimate conclusion of his self-deception with utilitarianism.
  
  In his depiction of the Petersburg background, Dostoevsky accentuates the squalor and human wretchedness that pass before Raskolnikov's eyes. He also uses Raskolnikov's encounter with Marmeladov to present both the heartlessness of Raskolnikov's convictions and the alternative set of values to be set against them. Dostoevsky believes that the "freedom" propounded by the aforementioned ideas is a dreadful freedom "that is contained by no values, because it is before values". The product of this "freedom", Raskolnikov, is in perpetual revolt against society, himself, and God. He thinks that he is self-sufficient and self-contained, but at the end "his boundless self-confidence must disappear in the face of what is greater than himself, and his self-fabricated justification must humble itself before the higher justice of God". Dostoevsky calls for the regeneration and renewal of the "sick" Russian society through the re-discovering of their country, their religion, and their roots.
  Reception
  
  The first part of Crime and Punishment published in the January and February issues of The Russian Messenger met with public success. Although the remaining parts of the novel had still to be written, an anonymous reviewer wrote that "the novel promises to be one of the most important works of the author of The House of the Dead". In his memoirs, the conservative belletrist Nikolay Strakhov recalled that in Russia Crime and Punishment was the literary sensation of 1866.
  
  The novel soon attracted the criticism of the liberal and radical critics. G.Z. Yeliseyev sprang to the defense of the Russian student corporations, and wondered, "Has there ever been a case of a student committing murder for the sake of robbery?" Pisarev, aware of the novel's artistic value attempted in 1867 another approach: he argued that Raskolnikov was a product of his environment, and explained that the main theme of the work was poverty and its results. He measured the novel's excellence by the accuracy and understanding with which Dostoevsky portrayed the contemporary social reality, and focused on what he regarded as inconsistencies in the novel's plot. Strakhov rejected Pisarev's contention that the theme of environmental determinism was essential to the novel, and pointed out that Dostoevsky's attitude towards his hero was sympathetic: "This is not mockery of the younger generation, neither a reproach nor an accusation—it is a lament over it."
  English translations
  
   * Frederick Whishaw (1885)
   * Constance Garnett (1914)
   * David Magarshack (1951)
   * Princess Alexandra Kropotkin (1953)
   * Jessie Coulson (1953)
   * Sidney Monas (1968)
   * David McDuff (1991)
   * Richard Pevear & Larissa Volokhonsky (1992)
   * Julius Katzer
   * Michael Scammell
  
  Film adaptations
  Main article: Film adaptations of Crime and Punishment
  
  There have been over 25 film adaptations of Crime and Punishment. They include:
  
   * Raskolnikow (aka Crime and Punishment) (1923, directed by Robert Wiene)
   * Crime and Punishment (1935, starring Peter Lorre, Edward Arnold and Marian Marsh)
   * Eigoban Tsumi to Batsu (1953, manga by Tezuka Osamu, under his interpretation)
   * Crime and Punishment (1970 film) (Soviet film, 1970, starring Georgi Taratorkin, Tatyana Bedova, Vladimir Basov, Victoria Fyodorova) dir. Lev Kulidzhanov
   * Rikos ja Rangaistus (1983; Crime and Punishment), the first movie by the Finnish director Aki Kaurismäki, with Markku Toikka in the lead role. The story has been transplanted to modern-day Helsinki, Finland.
   * Crime and Punishment in Suburbia (2000, an adaptation set in modern America and "loosely based" on the novel)
   * Columbo (1971 - 78, and intermittently otherwise, starring the American actor Peter Falk) According to the creator of "Columbo", William Link, the American detective "Columbo", is based in part upon Porfiry Petrovich.
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   shùn kāi liǎo zài lóu shàng de fáng dōng xiāng jiān dǒu shì shì yīzhuàng gāo gāo de céng lóu fáng de dǐng jiānjiù zài fáng dǐng xià shuō xiàng jiān zhù fángdǎo shuō gèng xiàng chú xiàng fáng dōng liǎo zhè jiān gōngjǐ huǒ shíér qiě yòu shì hòu de dǒu shì fáng dōng jiù zhù zài lóu xià tào dān de zhù fáng měi wài chū dìng fáng dōng de chú fáng mén qián jīng guòér chú fáng mén jīhū zǒng shì chòngzhe lóu chǎng zheměi zhè nián qīng rén cóng bàng zǒu guò de shí hòudōuyòu zhǒng bìng tài de dǎn qiè de gǎn jué wèicǐ gǎn dào xiū kuì shì zhòu méi tóu qiàn liǎo fáng dōng shēn zhài jiàn miàn
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  ① zuò zhě shuōxiǎo shuō zhōng de shì shēng zài liù niánxiǎo shuō zhōng méi yòu míng què shuō míng nián fèndàn yòu xiē fāng céng yòu suǒ 'àn shìzhè huà jiù shì zhōng zhī héng héng liù nián xià tiān tiān bié
  ② liù liù nián zuò zhě xiě zhè xiǎo shuō de shí hòu jiù zhù zài xiǎo shì mín jiē jiàng tóng yīzhuàng lèi de fáng
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   shì zhè dào liǎo jiē shàng hòu zhǒng dào zhài zhù de kǒng xīn jiù lián gǎn dào jīng
  “ zhèng yào xià jué xīn zuò jiàn shénme yàng de shì qíng 'ādàn què hài xiē wēi dào de suǒ shì!” xiǎngliǎn shàng chū guài de wēi xiào。“ ǹg…… shì de…… shì zài rén wéi què jǐn jǐn yóu dǎn qiè 'ér cuò guò qiē…… zhè shì míng xiǎn de dào …… zhēn yòu rén men zuì hài shénme men zuì hài mài chū xīn de zuì hài de xīn xiǎng …… guò shuō kōng huà shuō tài duō liǎoyīn wéi jìn shuō kōng huàsuǒ shénme zuò guò gài néng shì zhè yàngyóu shénme zuòsuǒ cái jìn shuō kōng huà shì zài zuì jìn yuè xué huì shuō kōng huà dezhěng tiān tǎng zài jiǎo luò xiǎng 'ā…… xiǎng fēi fēiǹgxiàn zài gànshénmenán dào néng gān zhè nán dào zhè shì dàngzhēnjué duì shì dàngzhēn dejiù shì zhè yàngwèile mèng xiǎng zài hōng ér duì liǎo gài shì 'ér !”
   jiē shàng ér qiě mènyōng kāndào chù dōushì shí huī jiāngjiǎo shǒu jiàzhuān tóuhuī chénhái yòu zhǒng xià tiān de shū chòu měi zuò bié shù de bǎo réndōu me shú de zhǒng chòu héng héng suǒ yòu zhè qiē xià jiù lìng rén kuài zhèn hàn liǎo zhè qīng nián rén běn hěn zhèng cháng de shén jīngzài chéng shì de zhè fēnxiǎo jiǔ guǎn bié duōcóng zhè xiē xiǎo jiǔ guǎn mào chū de chòu hái yòu xiē jìn guǎn shì zài gōng zuò shí jiānquè duàn pèng dào de zuì guǐgěi zhè jiē jǐng tiān shàng liǎo zuì hòu lìng rén yàn 'è de yōu cǎiyòu shùn jiān duān yàn 'è de shén qíng zài zhè qīng nián rén qīng xiù de miàn páng shàng rán shǎnshùn biàn shuō shēng shēng hěn měiyòu shuāng piào liàng de hēi yǎn jīng tóu de tóu zhōng děng shēn cái hái gāo xiēxiāo shòu 'ér shēn cái yúnchèndàn jiǔ jiù fǎng xiàn chén shèn zhìshuō gèng què qiē xiē shì xiǎng chū liǎo shén wǎng qián zǒu jīng zhù zhōu wéi de qiēér qiě xiǎng zhù zhǐ shì 'ǒu 'ěr nán nán zhè shì yóu yòu yán de guànduì zhè guànxiàn zài jīng 'àn chéng rèn liǎozhè shí shí dào de xiǎng yòu shí shì hùn luàn deér qiě shí fēn ruò jīng yòu tiān duō jīhū shénme méi chī liǎo
   chuān me chā guǒ huàn rén shǐ shì duì jīng wéi cháng de rén shān lán bái tiān shàng jiē huì gǎn dào hǎo guò zhè jiē jiù shì zhè yàng dezài zhè 'ér zhù hěn nán ràng rén gǎn dào jīng zhè 'ér kào jìn gān cǎo guǎng chǎng①, yuàn jiē shìér qiě jūn zài bǎo shì zhōng xīn zhè xiē jiē xiǎo xiàng de mínzhù yào shì xiē zài chē jiān gànhuó de gōng rén shǒu gōng gōng jiàngyīn yòu shí zài zhè 'ér jiù shì huì dào zhè yàng xiē rénshǐ zhè 'ér de jiē jǐng xiǎn gèng jiā fēng duō cǎi guǒ pèng dào zhè yàng de rén jiù gǎn dào jīng dǎo fǎn 'ér shì guài shì liǎozhè nián qīng rén xīn jīng liǎo me duō fèn mèn píng de huǒ miè shì qiēsuǒ jìn guǎn yòu qīng nián rén yòu de 'ài miàn xīn yòu shí fēi cháng zhù jié shì chuānzhuó zhè shēn làn 'ér wài chūquè háo jué hǎo yào shì jiàn gēn běn jiù yuàn pèng dào de mǒu xiē shú rén qián de tóng xué jiù shì lìng huí shì liǎo…… rán 'ér yòu zuì xūn xūn de rén zhī wèishénme zài zhè shí hòu zuò zài liàng chē shàng jiē shàng jīng guòchē shàng tào zhe chē de gāo tóu zhī shì yào sòng wǎng zhè zuì guǐ cóng bàng shǐ guò de shí hòu rán duì zhe hǎn shēng:“ ài guó zuò mào de gōng rén!” rén yòng shǒu zhǐ zhe chě zhe sǎng hǎnnián qīng rén rán zhàn zhù máng zhuā zhù liǎo de mào zhè dǐng gāo tǒng yuán mào shì cóng méi 'ěr mànmào diàn mǎi de guò jīng dài shí fēn jiùyán tuì jìn liǎodào chù dōushì dòng méi yòu kuān mào yánmào tǒng wāi dào liǎo biānshàng miàn zhé chū guài nán kàn de jiǎo láidàn shì xiū kuìér wán quán shì lìng zhǒngshèn zhì shì zhǒng lèi kǒng de gǎn jué rán xiàng lái
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  ① bǎo zuì de shì chǎng jiù zài gān cǎo guǎng chǎng shàng
  ② méi 'ěr màn shì dāng shí bǎo jiā zhì mào gōng chǎng niè jiē shàng jiā mào diàn de lǎo bǎn
  “ jiù zhī dào!” jīng kǒng 'ān nán nán shuō,“ jiù zhè me kǎo guòzhè shì zuì zāo gāo de liǎozhēn de guǎn shénme yàng de chǔn shì guǎn shénme yǎn de jié huì huài zhěng jìhuàshì 'āmào tài róng ràng rén zhù liǎo…… xiàoyīn jiù róng ràng rén zhù…… zhè shēn làn 'ér dìng pèi dǐng zhì mào shì dǐng jiān bǐng shì de jiù mào xíng néng dài zhè nán kàn de guài wán 'érshuí dài zhè yàng de mào 'é wài jiù huì ràng rén zhù dàojiù huì zhù de…… zhù yào de shì hòu huì xiǎng láiqiáozhè jiù shì zuì zhèngzhè 'ér yào jìn néng rén zhù …… jiézhù yào shì jié!…… jiù shì zhè xiē jiézǒng shì huì chū wèn huǐ diào qiē……”
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  ① 'é děng · liù gōng
   yòng zhe zǒu duō yuǎn shèn zhì zhī dàocóng chuáng fáng de mén chū lái yào zǒu duō shǎo zhěng zhěng bǎi sān shí yòu huàn xiǎng wán quán chū liǎo shén de shí hòucéng jīng shù guò shí hái xiāng xìn de zhè xiē huàn xiǎng suǒ huàn xiǎng de zhè xiē suī shuō shì méi yòu dào rán 'ér què shì shí fēn yòu rén de dǎn jìhuàzhǐ shì huì shēng xiàn zàiguò liǎo yuè hòu jīng kāi shǐ lìng zhǒng yǎn guāng lái kàn dài zhè qiē liǎojìn guǎn zǒng shì yán cháo xiào néng yōu róu guǎ duànquè zhī zěn me shèn zhì yóu zhù jīng guàn zhèméi yòu dào de huàn xiǎng kàn zuò xiàng shì liǎosuī shuō réng rán xiāng xìn xiàn zài shèn zhì yào wéi wán chéng de zhè shì jìn xíng shì tànměi zǒu de dòng 'ān yuè lái yuè qiáng liè liǎo
   xīn qíng jǐn zhāngshén jīng zhànlìzǒu dào yīzhuàng hěn de fáng qiánfáng de qiáng duì zhe yùn lìng miàn qiáng chòngzhe × jiēzhè chuáng fáng fēn zuò tào tào de zhù zhái miàn zhù mǎn liǎo xíng de shǒu rén héng héng cái féngxiǎo jiàngchú niànxíng xíng de guó rén xiǎo guān hángyè de rénjìn jìn chū chū de rén jiù zhè yàng zài fáng de liǎng dào mén liǎng yuàn cōng cōng zǒu guòzhè 'ér yòu sān yào me shì guǎn yuàn de nián qīng rén méi pèng dào men dāng zhōng de rèn rén chá jué liù jìn ménwǎng yòu guǎiliù shàng liǎo lóu yīn gǎn dào fēi cháng mǎn lóu yòu 'ànyòu zhǎishìhòu lóu ”, dàn shì duì zhè qiēdōu jīng liǎo jiěér qiě chá kàn guò liǎoduì zhè zhěng huán jìng tādōu shí fēn huānzài zhè yàng de hēi 'àn zhōngjiù lián hàoqí de guāng bìng wēi xiǎn。“ yào shì zhè shí hòu jiù zhè me hài shuō dìng shénme shí hòu guǒ zhēn de yào gān jiàn shì de huàyòu huì zěn yàng ?……” shàng lóu de shí hòu yóu xiǎng dāng bān yùn gōng de tuì shì bīng zài zhè dǎng zhù liǎo de men zhèng cóng tào zhù zhái wǎng wài bān jiā qián jīng zhī dàozhè tào zhù zhái zhù zhe dài jiā juàn de guó rénshì guān :“ zhè me shuōzhè guó rén xiàn zài bān zǒu liǎoyīn 'ér céng lóu shàngzhè dào lóu zhè lóu píng tái shàngzài duàn shí jiān jiù zhǐ shèng xià lǎo tài de zhù zhái hái zhù zhe rénzhè hǎo liǎo…… fáng wàn ……” yòu xiǎngbìng qiě liǎo lǎo tài zhù fáng de mén língmén líng xiǎng shēng hěn qīnghǎo xiàng líng shì tóng deér shì yòng bái tiě zuò dezhè yàng de lóu fáng zhōng tào tào zhè zhǒng de zhù zhái jīhū dōushì zhuāng zhe zhè yàng de mén líng jīng wàng liǎo zhè xiǎo líng chēng de xiǎng shēngxiàn zài zhè hěn bié de xiǎng shēng rán ràng xiǎng liǎo shénmebìng qīng qīng chǔ chǔ xiǎng xiàng…… měng zhànlì liǎo xiàzhè shén jīng zhēn shì tài cuì ruò liǎoshāo guò liǎo huì 'érfáng mén kāi liǎo hěn xiǎo dào féngzhù zài miàn de rén dài zhe míng xiǎn xìn rèn de shén qíng cóng mén féng dǎliang lái rénzhǐ néng kàn dào shuāng zài hēi 'àn zhōng shǎn shǎn liàng de xiǎo yǎn jīngdàn shì kàn dào lóu píng tái shàng yòu shǎo rén dǎn zhuàng lái shì fáng mén wán quán kāi liǎonián qīng rén kuà guò mén kǎnzǒu jìn yòng bǎn kāi de qián shì bǎn hòu miàn shì jiān hěn xiǎo de chú fánglǎo tài zhàn zài miàn qián wèn zhù shì zhe zhè shì gān biě de xiǎo lǎo tài liù shí lái suìyòu shuāng guāng ruì shén qíng xiōng 'è de xiǎo yǎn jīngjiān jiān de xiǎo guāng zhe tóuméi bāo tóu jīn xiàng tuǐ yàng cháng de shàng chán zhe kuài lán róng wéi jīnbié kàn tiān jiān shàng hái zhe jiàn chuān shí fēn jiù jīng huáng de máo duǎn shàng lǎo tài tíng sòu chū chī chī de shēng yīnxiǎng shì nián qīng rén yòng yàng de yǎn guāng kàn liǎo yǎnyīn 'ér xiān qián zhǒng xìn rèn de shén qíng rán yòu zài yǎn jīng shǎn
  “ xué shēng yuè qián lái guò nín zhè 'ér,” nián qīng rén máng hán hán shuōbìng qiě wēi wēi gōng xíng yīn wéi xiǎng yīnggāi xiē
  “ xiān shēng hěn qīng chǔnín lái guò,” lǎo tài qīng qīng chǔ chǔ shuōréng rán méi wèn de guāng cóng liǎn shàng kāi
  “ me…… yòu shì wéi zhè shì lái de……” jiē zhe shuōshāo yòu diǎn 'ér jiǒngbìng qiě wéi lǎo tài de xìn rèn gǎn dào chà
  “ guò xiàng dōushì zhè yàng què méi yòu zhù ,” huái zhe kuài de xīn qíng xiǎng
   lǎo tài chén liǎo huì 'érfǎng zài kǎo suí hòu tuì dào biānzhǐ zhǐ fáng jiān de ménràng rén dào qián miàn bìng qiě shuō
  “ qǐng jìnxiān shēng。”
   nián qīng rén jìn de jiān fáng jiān bìng qiáng shàng zhe huáng de qiáng zhǐ bǎi zhe tiān zhú kuíchuāng shàng guà zhe shā chuāng liánzhè shí luò de huī zhào liàng táng táng de。“ zhè me shuō shí hòutài yáng huì xiàng zhè yàng zhào zhe!……” zhè xiǎng fǎng zhōng lüè guò de nǎo hǎi shì yòng guāng cōng cōng dǎliang liǎo xià de qiēxiǎng jìn néng liǎo jiě bìng zhù de guò bìng méi yòu rèn shū de dōng jiā dōuhěn jiù liǎodōushì huáng zuò de zhāng yòu lǎo de wān kào bèi de shā shā qián bǎi zhāng tuǒ yuán xíng de yuán zhuōchuāng mén zhī jiān de qiáng shàng yòu dài jìng de shū zhuāng táiyán qiáng fàng zhe hái yòu liǎng sān háo jià zhí de huà zhuāng zài huáng de huà kuàng shàng miàn huà zhe shǒu zhe xiǎo niǎo de guó xiǎo jiěhéng héng zhè jiù shì quán jiā qiáng jiǎo luò de shén xiàng qián diǎn zhe shén dēng qiēdōu hěn gān jìngjiā bǎn liàng qiēdōu shǎn shǎn guāng。“ zhā wēi zuò de,” nián qīng rén xiǎngzhěng tào zhù zhái xiān chén rǎn。“ xiōng 'è de lǎo guǎ jiā cái huì zhè me gān jìng,” 'àn cǔnbìng qiě hàoqí xié zhe yǎn jīng piǎo liǎo piǎo 'èr jiān xiǎo fáng jiān mén qián de yìn huā mén lián jiān bǎi zhe lǎo tài de chuáng chōu guì hái méi cháo kàn guòzhěng tào zhù zhái jiù zhǐ yòu zhè liǎng jiān fáng jiān
  “ yòu shénme shì 'ā?” lǎo tài zǒu jìn láiyán shuōréng rán zhèng duì zhe zhàn zhezhè yàng zhí chǒu zhe de liǎn
  “ liǎo jiàn pǐn láinín qiáozhè jiù shì!” shuō zhe cóng dài tāo chū kuài biǎn píng de jiù yín biǎobiǎo de bèi miàn zhe qiú biǎo liàn shì gāng de
  “ yào zhī dàoshàng de dōng jīng dào liǎohái zài qián tiān jiù chāo guò yuè liǎo。”
  “ zài gěi nín yuè de qǐng nín kuān xiàn xià。”
  “ xiān shēngkuān xiàn tiānhái shì zhè huì 'ér jiù nín de dōng mài diàozhè yóu jué dìng。”
  “ biǎo dāng duō shǎo qiánā liào · wàn nuò ?”
  “ xiān shēng jìn xiē zhí qián de dōng láichàbù duō wén zhíshàng jiè zhǐ gěi liǎo nín liǎng zài shǒu shì shāng 'érhuā bàn jiù néng mǎi xīn de。”
  “ qǐng gěi dìng lái shúshì qīn de hěn kuài jiù huì dào qián liǎo。”
  “ bàn xiān yào shì nín yuàn de huà。”
  “ bàn !” nián qīng rén jiào liǎo lái
  “ suí nín biàn。” shuō zhe lǎo tài biǎo hái gěi nián qīng rén jiē guò biǎo láigǎn dào yàng fèn jīng xiǎng yào zǒu liǎodàn yòu gǎi liǎo zhù yīn wéi xiǎng zài chù ér qiě lái zhè 'ér hái yòu bàng de mùdì
  “ lái !” bào shuō
   lǎo tài shēn shǒu dào dài tāo yàoshìrán hòu zǒu jìn mén lián hòu miàn lìng jiān zhǐ shèng xià nián qīng rén rén zhàn zài fáng zhōng jiānhàoqí 'ěr tīngàn cāi tīng dào kāi liǎo chōu guì。“ gài shì shàng miàn de chōu ,” cāi 。“ zhè me shuō shì yàoshì zhuāng zài yòu biān kǒu dài …… quándōu chuàn chéng chuànchuàn zài gāng juàn 'ér shàng…… 'ér yòu zuì de yàoshìyòu bàng de sān bèi dài chǐdāng rán shì kāi chōu guì de…… jiàn hái yòu xiǎo xiá yào me shì xiǎo xiāng …… qiáozhè zhēn yòu xiǎo xiāng dōushì yòng zhè yàng de yàoshì…… guòzhè qiē duō me bēi ……”
   lǎo tài huí lái liǎo
  “ nín qiáoxiān shēng rán yuè de shì shí me bàn gāi shōu nín shí xiān yuè de shàng liǎng zhào zhè yàng suàngāi xiān shōu nín 'èr shí zhè me shuōzǒng gòng shì sān shí xiàn zài nín zhè kuài biǎozǒng gòng hái gāi gěi nín shí zhè shìqǐng shōu xià 。”
  “ zěn mexiàn zài jiù zhǐ yòu shí liǎo!”
  “ zhèng shì zhè yàng。”
   nián qīng rén méi yòu zhēng lùnjiē guò liǎo qián chǒu zhe lǎo tài bìng chū hái xiǎng shuō diǎn 'ér shénmeyào me shì zuò diǎn 'ér shénmedàn hǎo xiàng zhī dàodào yào gànshénme……
  “ ā liào · wàn nuò jiù zài zhè tiān hái yào gěi nín yàng dōng lái…… yín de…… hěn jīng zhì de…… yān …… zhǐ děng cóng péng yǒu huí lái……” jiǒng liǎo shì zhù liǎo shēng
  “ hǎodào shí zài shuō xiān shēng。”
  “ zài jiàn…… nín zǒng shì rén zài jiāmèi mèi zài ?” dào qián shì de shí hòujìn néng suí suí biàn biàn wèn
  “ xiān shēngnín wèn gànshénme?”
  “ āméi shí me guò zhè me wèn wènnín xiàn zài zhēn shì…… ā liào · wàn nuò !”
   cóng chū lái shí jīng shí fēn xīn huāng luànzhè 'ān de xīn qíng yuè lái yuè qiáng liè liǎoxià lóu shí shèn zhì yòu hǎo tíng liǎo xià láifǎng yòu shénme shì qíng shǐ rán chī liǎo jīngzuì hòu jīng dào liǎo jiē shàng de shí hòu dòng shuō
  “ ōtiān zhè qiē duō me lìng rén yàn 'ènán dàonán dào …… zhè shì zhī tánzhè shì huāng miù jué lún!” rán jué rán jiā shàng
  “ nán dào de tóu nǎo huì chū xiàn zhè yàng de xiǎng de liáng xīn jìng néng yǔn gān zhè zhǒng 'āng zàng de shì qíngzhù yào de shìāng zàngbēi è lièè liè!……
   ér zhěng zhěng yuè……”
   dàn shì néng yòng yán néng yòng gǎn tàn lái biǎo de dòng 'ānhái zài gāng gāng lǎo tài 'ér de shí hòu jiù kāi shǐ shǐ gǎn dào 'ān de duān yàn 'è de xīn qíngxiàn zài jīng dào zhè zhǒng chéng ér qiě biàn shí fēn míng xiǎn zhì zhī gāi duǒ dào cái néng táo de yōu chóu xiàng zuì liǎo zài rén hángdào shàng zǒu zhekàn jiàn shàng de xíng rénlǎo shì huì zhuàng dào menqīng xǐng guò lái de shí hòu jīng dào liǎo lìng tiáo jiē shàng huán zhōu jué zhàn zài jiā xiǎo jiǔ guǎn bàngyào jìn jiǔ guǎn cóng rén hángdào shùn zhe lóu wǎng xiàdào xià shì jiù zài zhè shíqià hǎo cóng mén zǒu chū liǎng zuì xūn xūn de rén lái men xiāng chān zhezuǐ gān jìng zheshùn zhe lóu dào jiē shàng méi xiǎng duō jiǔ jiù xià liǎozài qián cóng wèi jìn guò jiǔ guǎndàn shì xiàn zài gǎn dào tóu hūnjiā huǒ shāo huǒ liáo de gān zhèng zài zhé zhe xiǎng diǎn 'ér bīng lěng de jiǔér qiě rán gǎn dào de ruò guī jiù 'è zuò dào yòu 'àn yòu zàng de jiǎo luò zhāng nián de xiǎo zhuō bàng biānyào liǎo jiǔtān lán gān liǎo bēi qiēdōu xiāo shī liǎo de xiǎng qīng liǎo。“ zhè qiēdōu shì shuō dào,” mǎn huái wàng shuō,“ zhè 'ér méi yòu shénme gǎn dào 'ān dezhǐ guò shì shēn shū shì zhǒng bìng tàizhǐ yào bēi jiǔ xiǎo kuài gān miàn bāohéng héng qiáozhuǎn shùn jiān jiù biàn jiān qiáng lái xiǎng qīng chǔ liǎo xiàng jiān dìng liǎopēizhè qiē shì duō me wēi dào!……” dàn jìn guǎn qīng miè cuì liǎo kǒu tuò què jīng gāo xīng láifǎng rán bǎi tuō liǎo mǒu zhǒng de chén zhòng dānbìng qiě guāng yǒu hǎo sǎo shì liǎo xià zài zuò de rén guò jiù shì zài zhè shí hòu yǐn yǐn yuē yuē gǎn dàozhè zhǒng qiēdōu wǎng hǎo chù xiǎng de guān tài shì zhǒng bìng tài
   zhè shí xiǎo jiǔ guǎn shèng xià de rén jīng duō liǎochú liǎo zài lóu shàng pèng dào guò de liǎng zuì guǐyòu yòu chǎo chǎo rǎng rǎng de qún rén gēn zhe men zǒu liǎo chū men zhè huǒ yuē yòu liù rén zhōng yòu niànhái dài zhe jià shǒu fēng qín men zǒu liǎo hòubiàn jìng qiǎo qiǎokōng dàng dàng deshèng xià de rén zhōng yòu jīng zuì liǎo guò zuì bìng hàizuò zài bǎi zhe jiǔ de zhuō biānkàn yàng shì xiǎo shì mín de tóng bàn shì pàng shēn cái kuí chuān jiàn shù lǐng de yāo duǎn shàng huā bái de jīng mǐng dǐng zuìzhèng zuò zài cháng dèng shàng shuìyòu shí rán bàn shuì bàn xǐngshēn kāi shuāng shǒukāi shǐ yòng shǒu zhǐ fěi bìng méi yòu cóng cháng dèng shàng zhàn láishàng shēn què shí wǎng shàng dòng dòngér qiě zài luàn hēng zhe shǒu shénme gēqǔjié xiǎng hǎo xiàng shì
   zhěng zhěng nián qīn qīn
   zhěng héng héng zhěng nián héng héng qīn qīn héng héng ……
   yào me shì rán xǐng láiyòu chàng dào
   jiē xián guàng
   zhǎo dào liǎo cóng qián de niàn……
   dàn shuí fēn xiǎng de xìng chén guǎ yán de huǒ bàn duì zhè xiē gǎn qíng bào shèn zhì bào yòu ér qiě chí huái tài 'ér hái yòu rénkàn yàng hǎo xiàng shì tuì zhí de guān miàn duì de jiǔ bēidān zuò zài zhāng zhuō bàng biānyòu shí kǒu jiǔbìng xiàng zhōu kàn kàn yòu diǎn 'ér dòng 'ān


  On an exceptionally hot evening early in July a young man came out of the garret in which he lodged in S. Place and walked slowly, as though in hesitation, towards K. bridge.
   He had successfully avoided meeting his landlady on the staircase. His garret was under the roof of a high, five-storied house and was more like a cupboard than a room. The landlady who provided him with garret, dinners, and attendance, lived on the floor below, and every time he went out he was obliged to pass her kitchen, the door of which invariably stood open. And each time he passed, the young man had a sick, frightened feeling, which made him scowl and feel ashamed. He was hopelessly in debt to his landlady, and was afraid of meeting her.
   This was not because he was cowardly and abject, quite the contrary; but for some time past he had been in an overstrained irritable condition, verging on hypochondria. He had become so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but anyone at all. He was crushed by poverty, but the anxieties of his position had of late ceased to weigh upon him. He had given up attending to matters of practical importance; he had lost all desire to do so. Nothing that any landlady could do had a real terror for him. But to be stopped on the stairs, to be forced to listen to her trivial, irrelevant gossip, to pestering demands for payment, threats and complaints, and to rack his brains for excuses, to prevaricate, to lie--no, rather than that, he would creep down the stairs like a cat and slip out unseen.
   This evening, however, on coming out into the street, he became acutely aware of his fears.
   "I want to attempt a thing /like that/ and am frightened by these trifles," he thought, with an odd smile. "Hm . . . yes, all is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most. . . . But I am talking too much. It's because I chatter that I do nothing. Or perhaps it is that I chatter because I do nothing. I've learned to chatter this last month, lying for days together in my den thinking . . . of Jack the Giant-killer. Why am I going there now? Am I capable of /that/? Is /that/ serious? It is not serious at all. It's simply a fantasy to amuse myself; a plaything! Yes, maybe it is a plaything."
   The heat in the street was terrible: and the airlessness, the bustle and the plaster, scaffolding, bricks, and dust all about him, and that special Petersburg stench, so familiar to all who are unable to get out of town in summer--all worked painfully upon the young man's already overwrought nerves. The insufferable stench from the pot- houses, which are particularly numerous in that part of the town, and the drunken men whom he met continually, although it was a working day, completed the revolting misery of the picture. An expression of the profoundest disgust gleamed for a moment in the young man's refined face. He was, by the way, exceptionally handsome, above the average in height, slim, well-built, with beautiful dark eyes and dark brown hair. Soon he sank into deep thought, or more accurately speaking into a complete blankness of mind; he walked along not observing what was about him and not caring to observe it. From time to time, he would mutter something, from the habit of talking to himself, to which he had just confessed. At these moments he would become conscious that his ideas were sometimes in a tangle and that he was very weak; for two days he had scarcely tasted food.
   He was so badly dressed that even a man accustomed to shabbiness would have been ashamed to be seen in the street in such rags. In that quarter of the town, however, scarcely any shortcoming in dress would have created surprise. Owing to the proximity of the Hay Market, the number of establishments of bad character, the preponderance of the trading and working class population crowded in these streets and alleys in the heart of Petersburg, types so various were to be seen in the streets that no figure, however queer, would have caused surprise. But there was such accumulated bitterness and contempt in the young man's heart, that, in spite of all the fastidiousness of youth, he minded his rags least of all in the street. It was a different matter when he met with acquaintances or with former fellow students, whom, indeed, he disliked meeting at any time. And yet when a drunken man who, for some unknown reason, was being taken somewhere in a huge waggon dragged by a heavy dray horse, suddenly shouted at him as he drove past: "Hey there, German hatter" bawling at the top of his voice and pointing at him--the young man stopped suddenly and clutched tremulously at his hat. It was a tall round hat from Zimmerman's, but completely worn out, rusty with age, all torn and bespattered, brimless and bent on one side in a most unseemly fashion. Not shame, however, but quite another feeling akin to terror had overtaken him.
   "I knew it," he muttered in confusion, "I thought so! That's the worst of all! Why, a stupid thing like this, the most trivial detail might spoil the whole plan. Yes, my hat is too noticeable. . . . It looks absurd and that makes it noticeable. . . . With my rags I ought to wear a cap, any sort of old pancake, but not this grotesque thing. Nobody wears such a hat, it would be noticed a mile off, it would be remembered. . . . What matters is that people would remember it, and that would give them a clue. For this business one should be as little conspicuous as possible. . . . Trifles, trifles are what matter! Why, it's just such trifles that always ruin everything. . . ."
   He had not far to go; he knew indeed how many steps it was from the gate of his lodging house: exactly seven hundred and thirty. He had counted them once when he had been lost in dreams. At the time he had put no faith in those dreams and was only tantalising himself by their hideous but daring recklessness. Now, a month later, he had begun to look upon them differently, and, in spite of the monologues in which he jeered at his own impotence and indecision, he had involuntarily come to regard this "hideous" dream as an exploit to be attempted, although he still did not realise this himself. He was positively going now for a "rehearsal" of his project, and at every step his excitement grew more and more violent.
   With a sinking heart and a nervous tremor, he went up to a huge house which on one side looked on to the canal, and on the other into the street. This house was let out in tiny tenements and was inhabited by working people of all kinds--tailors, locksmiths, cooks, Germans of sorts, girls picking up a living as best they could, petty clerks, etc. There was a continual coming and going through the two gates and in the two courtyards of the house. Three or four door-keepers were employed on the building. The young man was very glad to meet none of them, and at once slipped unnoticed through the door on the right, and up the staircase. It was a back staircase, dark and narrow, but he was familiar with it already, and knew his way, and he liked all these surroundings: in such darkness even the most inquisitive eyes were not to be dreaded.
   "If I am so scared now, what would it be if it somehow came to pass that I were really going to do it?" he could not help asking himself as he reached the fourth storey. There his progress was barred by some porters who were engaged in moving furniture out of a flat. He knew that the flat had been occupied by a German clerk in the civil service, and his family. This German was moving out then, and so the fourth floor on this staircase would be untenanted except by the old woman. "That's a good thing anyway," he thought to himself, as he rang the bell of the old woman's flat. The bell gave a faint tinkle as though it were made of tin and not of copper. The little flats in such houses always have bells that ring like that. He had forgotten the note of that bell, and now its peculiar tinkle seemed to remind him of something and to bring it clearly before him. . . . He started, his nerves were terribly overstrained by now. In a little while, the door was opened a tiny crack: the old woman eyed her visitor with evident distrust through the crack, and nothing could be seen but her little eyes, glittering in the darkness. But, seeing a number of people on the landing, she grew bolder, and opened the door wide. The young man stepped into the dark entry, which was partitioned off from the tiny kitchen. The old woman stood facing him in silence and looking inquiringly at him. She was a diminutive, withered up old woman of sixty, with sharp malignant eyes and a sharp little nose. Her colourless, somewhat grizzled hair was thickly smeared with oil, and she wore no kerchief over it. Round her thin long neck, which looked like a hen's leg, was knotted some sort of flannel rag, and, in spite of the heat, there hung flapping on her shoulders, a mangy fur cape, yellow with age. The old woman coughed and groaned at every instant. The young man must have looked at her with a rather peculiar expression, for a gleam of mistrust came into her eyes again.
   "Raskolnikov, a student, I came here a month ago," the young man made haste to mutter, with a half bow, remembering that he ought to be more polite.
   "I remember, my good sir, I remember quite well your coming here," the old woman said distinctly, still keeping her inquiring eyes on his face.
   "And here . . . I am again on the same errand," Raskolnikov continued, a little disconcerted and surprised at the old woman's mistrust. "Perhaps she is always like that though, only I did not notice it the other time," he thought with an uneasy feeling.
   The old woman paused, as though hesitating; then stepped on one side, and pointing to the door of the room, she said, letting her visitor pass in front of her:
   "Step in, my good sir."
   The little room into which the young man walked, with yellow paper on the walls, geraniums and muslin curtains in the windows, was brightly lighted up at that moment by the setting sun.
   "So the sun will shine like this /then/ too!" flashed as it were by chance through Raskolnikov's mind, and with a rapid glance he scanned everything in the room, trying as far as possible to notice and remember its arrangement. But there was nothing special in the room. The furniture, all very old and of yellow wood, consisted of a sofa with a huge bent wooden back, an oval table in front of the sofa, a dressing-table with a looking-glass fixed on it between the windows, chairs along the walls and two or three half-penny prints in yellow frames, representing German damsels with birds in their hands--that was all. In the corner a light was burning before a small ikon. Everything was very clean; the floor and the furniture were brightly polished; everything shone.
   "Lizaveta's work," thought the young man. There was not a speck of dust to be seen in the whole flat.
   "It's in the houses of spiteful old widows that one finds such cleanliness," Raskolnikov thought again, and he stole a curious glance at the cotton curtain over the door leading into another tiny room, in which stood the old woman's bed and chest of drawers and into which he had never looked before. These two rooms made up the whole flat.
   "What do you want?" the old woman said severely, coming into the room and, as before, standing in front of him so as to look him straight in the face.
   "I've brought something to pawn here," and he drew out of his pocket an old-fashioned flat silver watch, on the back of which was engraved a globe; the chain was of steel.
   "But the time is up for your last pledge. The month was up the day before yesterday."
   "I will bring you the interest for another month; wait a little."
   "But that's for me to do as I please, my good sir, to wait or to sell your pledge at once."
   "How much will you give me for the watch, Alyona Ivanovna?"
   "You come with such trifles, my good sir, it's scarcely worth anything. I gave you two roubles last time for your ring and one could buy it quite new at a jeweler's for a rouble and a half."
   "Give me four roubles for it, I shall redeem it, it was my father's. I shall be getting some money soon."
   "A rouble and a half, and interest in advance, if you like!"
   "A rouble and a half!" cried the young man.
   "Please yourself"--and the old woman handed him back the watch. The young man took it, and was so angry that he was on the point of going away; but checked himself at once, remembering that there was nowhere else he could go, and that he had had another object also in coming.
   "Hand it over," he said roughly.
   The old woman fumbled in her pocket for her keys, and disappeared behind the curtain into the other room. The young man, left standing alone in the middle of the room, listened inquisitively, thinking. He could hear her unlocking the chest of drawers.
   "It must be the top drawer," he reflected. "So she carries the keys in a pocket on the right. All in one bunch on a steel ring. . . . And there's one key there, three times as big as all the others, with deep notches; that can't be the key of the chest of drawers . . . then there must be some other chest or strong-box . . . that's worth knowing. Strong-boxes always have keys like that . . . but how degrading it all is."
   The old woman came back.
   "Here, sir: as we say ten copecks the rouble a month, so I must take fifteen copecks from a rouble and a half for the month in advance. But for the two roubles I lent you before, you owe me now twenty copecks on the same reckoning in advance. That makes thirty-five copecks altogether. So I must give you a rouble and fifteen copecks for the watch. Here it is."
   "What! only a rouble and fifteen copecks now!"
   "Just so."
   The young man did not dispute it and took the money. He looked at the old woman, and was in no hurry to get away, as though there was still something he wanted to say or to do, but he did not himself quite know what.
   "I may be bringing you something else in a day or two, Alyona Ivanovna --a valuable thing--silver--a cigarette-box, as soon as I get it back from a friend . . ." he broke off in confusion.
   "Well, we will talk about it then, sir."
   "Good-bye--are you always at home alone, your sister is not here with you?" He asked her as casually as possible as he went out into the passage.
   "What business is she of yours, my good sir?"
   "Oh, nothing particular, I simply asked. You are too quick. . . . Good-day, Alyona Ivanovna."
   Raskolnikov went out in complete confusion. This confusion became more and more intense. As he went down the stairs, he even stopped short, two or three times, as though suddenly struck by some thought. When he was in the street he cried out, "Oh, God, how loathsome it all is! and can I, can I possibly. . . . No, it's nonsense, it's rubbish!" he added resolutely. "And how could such an atrocious thing come into my head? What filthy things my heart is capable of. Yes, filthy above all, disgusting, loathsome, loathsome!--and for a whole month I've been. . . ." But no words, no exclamations, could express his agitation. The feeling of intense repulsion, which had begun to oppress and torture his heart while he was on his way to the old woman, had by now reached such a pitch and had taken such a definite form that he did not know what to do with himself to escape from his wretchedness. He walked along the pavement like a drunken man, regardless of the passers-by, and jostling against them, and only came to his senses when he was in the next street. Looking round, he noticed that he was standing close to a tavern which was entered by steps leading from the pavement to the basement. At that instant two drunken men came out at the door, and abusing and supporting one another, they mounted the steps. Without stopping to think, Raskolnikov went down the steps at once. Till that moment he had never been into a tavern, but now he felt giddy and was tormented by a burning thirst. He longed for a drink of cold beer, and attributed his sudden weakness to the want of food. He sat down at a sticky little table in a dark and dirty corner; ordered some beer, and eagerly drank off the first glassful. At once he felt easier; and his thoughts became clear.
   "All that's nonsense," he said hopefully, "and there is nothing in it all to worry about! It's simply physical derangement. Just a glass of beer, a piece of dry bread--and in one moment the brain is stronger, the mind is clearer and the will is firm! Phew, how utterly petty it all is!"
   But in spite of this scornful reflection, he was by now looking cheerful as though he were suddenly set free from a terrible burden: and he gazed round in a friendly way at the people in the room. But even at that moment he had a dim foreboding that this happier frame of mind was also not normal.
   There were few people at the time in the tavern. Besides the two drunken men he had met on the steps, a group consisting of about five men and a girl with a concertina had gone out at the same time. Their departure left the room quiet and rather empty. The persons still in the tavern were a man who appeared to be an artisan, drunk, but not extremely so, sitting before a pot of beer, and his companion, a huge, stout man with a grey beard, in a short full-skirted coat. He was very drunk: and had dropped asleep on the bench; every now and then, he began as though in his sleep, cracking his fingers, with his arms wide apart and the upper part of his body bounding about on the bench, while he hummed some meaningless refrain, trying to recall some such lines as these:
   "His wife a year he fondly loved His wife a--a year he--fondly loved."
   Or suddenly waking up again:
   "Walking along the crowded row He met the one he used to know."
   But no one shared his enjoyment: his silent companion looked with positive hostility and mistrust at all these manifestations. There was another man in the room who looked somewhat like a retired government clerk. He was sitting apart, now and then sipping from his pot and looking round at the company. He, too, appeared to be in some agitation.
'èr zhāng -1
   guàn rén lái wǎngér qiě zhèng xiàng jīng shuō guò de zǒng shì táo qiē jiāo yìng chóu bié shì zuì jìn shí dàn xiàn zài zhī shì shénme rán shǐ xiǎng gēn rén jiē chù liǎo xīn chǎn shēng liǎo mǒu zhǒng xīn xiǎng tóng shí gǎn dào wàng rén jiāo wǎngzhěng zhěng yuè rěn shòu qiáng liè de yōu chóujīng shòu xīn qíng yōu jǐn zhāng de zhé jīng gǎn dào juànyīn wàng zhǐ shì fēn zhōng hǎonéng zài lìng shì jiè chuǎn kǒu suí biàn zài shénme yàng de huán jìng dōukě yīn jìn guǎn zhè 'āng zàng kānxiàn zài hái shì hěn gāo xīng dài zài xiǎo jiǔ guǎn
   jiǔ guǎn de lǎo bǎn dài zài lìng jiān guò cháng cóng 'ér zǒu xià tái jiējìn zhè jiān zhù yào de diàn tángér qiě shǒu xiān ràng rén kàn dào de zǒng shì shuāng yòu hóng fān kǒuchá liǎo céng yóu de shí máo xuē chuān jiàn yāo de cháng wài jiàn yóu bān de hēi duàn kǎn jiānméi lǐng dàimǎn liǎn shàng chá liǎo yóujiù xiàng gěi tiě suǒ shàng yóu yàngguì tái hòu zhàn zhe shí sān suì de xiǎo nán háihái yòu nián gèng xiǎo de nán hái yòu rén yào jiǔ shí jiù gěi sòng bǎi zhe qiē suì de huáng guāhēi miàn bāo gānqiē chéng kuài kuài de zhè qiēdōu yòu nán wén de wèiyòu mèn yòu zuò zài zhè jiǎn zhí ràng rén shòu liǎoér qiě qiēdōu shèn tòu liǎo jiǔ wèi dān wén wén zhè 'ér de kōng xiāo fēn zhōng jiù huì gěi xūn xūn xūn zuì
   yòu shí huì pèng dào zhè yàng xiē rén men men shèn zhì xiāng shídàn zhī zěn delián huà hái méi shuōquè rán xià gāng jiàn miàn jiù yǐn men de xīng zuò shāo yuǎnhǎo xiàng tuì zhí guān de rénjiù zhèng shì ràng chǎn shēng liǎo zhè yàng de yìn xiàng hòu zhè nián qīng rén zhǐ huí xiǎng zhè yìn xiàngshèn zhì rèn wéi zhè shì yóu gǎn zào chéng de duàn dǎliang guān dāng ránzhè shì yīn wéi rén zài jìn 'ér chǒu zhe ér qiě kàn chū lái rén hěn xiǎng kāi kǒu gēn shuō huàduì jiǔ guǎn de rénbāo kuò lǎo bǎn zài nèi guān què zhī zěn zǎo jīng kàn guàn liǎoshèn zhì gǎn dào liáoér qiě dài yòu mǒu zhǒng 'ào màn de miǎo shì wèijiù xiàng duì dài shè huì wèi wén huà chéng dōuhěn de rén men yàngjué gēn men gēn běn huà tánzhè shì jīng nián guò bàn bǎi de rénzhōng děng shēn cái jiàn zhuàngbìn yòu báifàtóu dǐng shàng liǎo lǎo kuàiyóu jīng cháng jiǔ zhǒng de huáng liǎn shèn zhì yòu diǎn 'ér shāo wēi zhǒng zhàng de yǎn xià shuāng xiàng liǎng tiáo féngrán 'ér hěn yòu jīng shénwēi wēi hóng de xiǎo yǎn jīng jiǒng jiǒng guāngdàn shēn shàng yòu mǒu zhǒng hěn guài de xiàn xiàng de guāng liú chū shèn zhì fǎng shì xīng gāo cǎi liè de shén qínghéng héng kàn lái yòu xìngyòu yòu zhì huìhéng héng dàn tóng shí yòu yǐn yuē xiǎn shì chū fēng kuáng de xiàng chuān jiàn jīng wán quán làn làn de hēi jiù yàn wěi niǔ kòu jīhū diào guāng liǎozhǐ yòu hái miǎnqiǎng lián zài shàng miàn jiù shì yòng zhè niǔ kòu kòu shàngkàn lái shì wàng bǎo chí miànhuáng kǎn jiān xià chū zhòu xiàng yàng bān bān de zàng xiōng suǒ yòu guān yuán yàng méi liú guò liǎn jīng guā guò hěn jiǔ liǎosuǒ jīng kāi shǐ cháng chū liǎo nóng dehuī lán de cháér qiě de xíng wéi zhǐ dàngzhēn dōuyòu zhǒng guān yuán men suǒ yòu de zhuāng zhòng fēng dàn shì xiǎn fán zào 'ān tóu nòng luàn péng péng deyòu shí shén qíng yōu xiù jīng de gēbo zhǒu chēng zài hěn zàng 'ér qiě nián de zhuō shàngyòng shuāng shǒu tuō zhe nǎo dàizuì hòu zhí duì zhe kàn liǎo yǎngāo shēng 'ér jiān jué shuō
  “ de xiān shēngshù mào mèi zhī néng fǒu nín pān tán yīn wéi suī rán nín zhù bìng kǎo jiūdàn píng de jīng yàn què néng kàn chūnín shì wèi shòu guò jiào de rén cháng jiǔ xiàng zūn zhòng shòu guò jiào 'ér qiě zhēn xīn chéng de rénchú 'ér wài hái shì jiǔ děng wén guān 'ěr méi duō héng héng zhè shì de xìngjiǔ děng wén guānshù mào mèiqǐng wèn nín zài gōng zuò ?”
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  ① 'èr 'èr nián zhì dìngděng biǎo”, suǒ yòu wén guān yuán fēn wéi shí děng děng zuì gāoshí děng zuì jiǔ děng wén guān xiāng dāng wèi
  “ zài qiú xué……” qīng nián rén huí gǎn dào jīng zhè yòu fēn shì yóu duì fāng shuō huà de bié jiáo róu zào zuò yóu jìng shì me zhí jié liǎo dāng shuō huàjìn guǎn jiǔ qián yòu me duǎn zàn de shùn jiān xiǎng rén jiāo wǎng guǎn shì shénme yàng de jiāo wǎng dōuhǎodàn dāng zhēn yòu rén shuō huà shícái tīng dào huà jiù yòu rán gǎn dào yàn 'è nǎo liǎohéng héng duì suǒ yòu jiē chùhuò xiǎng yào jiē chù de réntōng cháng tādōu huì chǎn shēng zhè zhǒng yàn 'è nǎo de xīn qíng
  “ me shuōshì xué shēng liǎohuò zhě qián shì xué shēng!” guān gāo shēng shuō,“ jiù shì zhè yàng xiǎng dejīng yàn xiān shēng shì shuǎng de jīng yàn liǎo!” bìng qiě chuī shī gēn shǒu zhǐ 'àn zài qián 'é shàng。“ qián shì xué shēnghuò zhě gǎo guò xué shù yán jiūduì ……” qiàn shēn láiyáo huàng liǎo xià de jiǔ jiǔ bēizuò dào qīng nián rén bàng biānshāo yòu diǎn 'ér xié duì zhe zuì liǎo guò réng rán jiàn tánshuō huà hěn liú zhǐ shì 'ǒu 'ěr yòu de fāng qián yán hòu ér qiě luó luó suō shèn zhì yàng jíqiè wàng jiāo tánhǎo xiàng yòu zhěng zhěng yuè méi gēn rén shuō guò huà shìde
  “ xiān shēng,” jīhū shì zhèng zhòng shì kāi shǐ shuō,“ pín qióng shì zuì 'èzhè shì zhēn zhī dào jiǔ shì měi zhè gèng shì zhēn shì chì pínxiān shēngchì pín què shì zuì 'èpín qióng de shí hòunín hái néng bǎo chí tiān shēng gǎn qíng de gāo shàng zài chì pín de qíng kuàng xiàquè lùn shénme shí hòu lùn shénme réndōu zuò dàowèile chì pínshèn zhì shì rén yòng gùn gǎn zǒuér shì sǎo zhǒu cóng rén lèi shè huì qīng sǎo chū ràng shòu gèng deér qiě zhè shì gōng zhèng deyīn wéi zài chì pín de qíng kuàng xià shǒu xiān jiù zhǔn bèi shì jiù zhǎo dào liǎo jiǔxiān shēng yuè qián tài tài ràng liè bié jiǎ xiān shēng tòng liǎo dùn guò tài tài shì zhè zhǒng rénnín míng bái duì hái yào wèn nín shēng shǐ zhǐ shì chū bān de hàoqí xīnnín zài niè shàng de gān cǎo chuán guò guò ?”
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  ① shí jiǔ shì liù shí nián dài shì bǎo jiā guī zhě guò de fāng
  “ méi yòuméi yòu guò guò ,” huí 。“ zhè shì shénme ?”
  “ āi jiù shì cóng 'ér lái de jīng shì liǎo……”
   zhēn liǎo bēi jiǔ gān liǎo shì xiàn chén zhēn de de shàngshèn zhì lián de tóu yòu xiē fāng hái kàn dào nián zài shàng miàn de gēn gēn gān cǎohěn yòu néng jīng tiān méi tuō méi liǎn liǎoyóu shì shuāng shǒu zàng yào mìngmǎn shǒu yóu gòu hóngzhǐ jiá qiàn mǎn hēi de
   de huà hǎo xiàng yǐn liǎo jiā de zhù suī shuō zhè zhù shì jīng cǎi deguì tái hòu miàn de liǎng nán hái chī chī xiào láilǎo bǎn hǎo xiàng cóng shàng miàn de fáng jiān xià láihǎo lái tīng tīng zhè dòu de jiā huǒzài shuō shí me zuò dào shāo yuǎn diǎn 'ér de fānglǎn yáng yáng dàn shén shí dǎzháo qiànxiǎn rán 'ěr méi duō zǎo shì zhè 'ér jiādōu shú de rén liǎoér qiě 'ài yòng jiáo róu zào zuò de shuō huà gài shì yóu guàn jīng cháng jiǔ guǎn xíng xíng xiāng shí de rén tán huàzhè zhǒng guàn duì yòu xiē jiǔ guǐ jīng biàn chéng liǎo zhǒng yàozhù yào shì men dāng zhōng xiē zài jiā yán shòu guǎn shùjīng cháng shòu dào zhì de rényīn men zài tóng yàng shì jiǔ mìng de zhè huǒ rén zhōng jiāncái zǒng shì wéi biǎo báifǎng shì shè gěi biàn jiě guǒ néng de huàshèn zhì shì bié rén de zūn jìng
  “ dòu de jiā huǒ!” lǎo bǎn gāo shēng shuō。“ gànmá gōng zuògànmá bàn gōng rán shì guān yuán?”
  “ wèishénme bàn gōng xiān shēng,” 'ěr méi duō jiē zhù huà chá shuōzhè huà shì dān duì zhe shuō defǎng zhè shì xiàng chū liǎo zhè wèn 。“ wèishénme bàn gōng nán dào qīng jiàn rán jiàng de shēn fèn jué xīn tòng yuè qiándāng liè bié jiǎ xiān shēng dòng shǒu de shí hòu zuì xūn xūn tǎng zài chuáng shàngnán dào gǎn dào tòng duì nián qīng rénnín shì shì yòu guò…… ǹg hēng…… suī rán míng zhī háo wàng hái shì kāi kǒu xiàng rén jiè qián?”
  “ yòu guò…… háo wàng shì shénme ?”
  “ jiù shì wán quán méi yòu wàngshì xiān jiù zhī dào zhè jué huì yòu shénme jiēguǒnuò shuō nín zǎo jiù zhī dàoér qiě yòu chōng fēn gēn zhī dào zhè rénzhè xīn zuì shàn liángduì shè huì zuì yòu de gōng mín lùn huì qián jiè gěi nínyīn wéiqǐng wèn wèishénme yào gěi shì míng míng zhī dàozhè huì hái gěi chū tóng qíng xīn shì liè bié jiǎ xiān shēngzhè jīng cháng liú xīn zhǒng xīn xiǎng de rén jiǔ qián jiě shì shuōzài men zhè shí dàijiù lián xué yǔn yòu tóng qíng xīnzài yòu liǎo jīng xué de yīng guó jiù shì zhè yàngqǐng wèn wèishénme yào gěi qián qiáonín shì xiān jiù zhī dào jué huì jiè gěi nín nín hái shì liǎo……”
  “ wèishénme yào ?” zhuī wèn
  “ guǒ méi yòu bié rén zhǎo guǒ zài chù shì ràng měi rén zhì shǎo yòu shénme de fāng 'āyīn wéi cháng cháng yòu zhè yàng de shí hòu dìng zhì shǎo yòu de fāng de shēng 'ér tóu shēng de shí hòu liǎo……( yīn wéi 'ér kào huáng zhí zhàoshēng huó……)” dài jiā shàng liǎo tóng shí yòu diǎn 'ér shén 'ān kàn liǎo kàn qīng nián rén。“ méi shí mexiān shēngméi shí me!” guì tái hòu miàn de liǎng nán hái chī shēng xiào liǎo chū láilǎo bǎn wēi wēi xiàozhè shí cōng cōng máng máng shuōkàn lái shén qíng shì 'ān xiáng de。“ méi shí mezhè xiē rén yáo tóu huì gǎn dào hǎo yīn wéi zhè qiē jiādōu jīng zhī dào liǎo qiē gōng kāi liǎoér qiě shì miè shì de tài ér shì huái zhe gōng shùn de xīn qíng lái duì dài zhè qiē deyóu ràng men xiào men kàn zhè rén duì nián qīng rénnín néng néng…… shìyòng zhǒng gèng jiā yòu gèng yòu biǎo xiàn de fāng shìshuō gèng qīng chǔ xiēnín néng néngnín gǎn gǎn xiàn zài kàn zhe kěn dìng shuō,“ shì zhū luó?”
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  ① zhǐ yīng guó zhé xué jiājīng xué jiā yuē · · liù héng héng sāndejīng xué yuán ), gāi shū de 'é běn shì liù nián chū bǎn de rèn wéirén de xíng wéiyuàn wàng nǎi zhì nán dōushì yóu men de jīng wèi shì xiān jué dìng detuó tuǒ tóng zhè zhǒng guān diǎn
  ② zhǐ zuò 'é shí yào zài lǐng huáng zhí zhào
  ③ yǐn xīn yuē quán shū · yuē hàn yīn shí jiǔ zhāng jié:“ chū láidài zhe jīng guān miǎnchuānzhuó páo duō duì men shuō men kàn zhè rén。”
   nián qīng rén shénme méi yòu huí
  “ ǹg,” děng dào suí zhī 'ér lái de chī chī de xiào shēng tíng xià lái hòuzhè wèi yǎn shuō jiā yòu zhuāng zhòng zhè huí shèn zhì shì gèng jiā zūn yán jiē zhe shuō:“ ǹgjiù suàn shì zhū luó shì wèi tài tài de xíng xiàng xiàng chù shēngér jié lín · wàn nuò de shì shòu guò jiào de rénshì wèi xiào jūn guān de 'érjiù suànjiù suàn shì xià liú què yòu gāo shàng de xīnshòu guò jiào mǎn huái chóng gāo de gǎn qíngrán 'ér,…… ō guǒ lián mǐn de huàxiān shēngxiān shēngyào zhī dào ràng měi rén zhì shǎo yòu néng lián mǐn de fāng 'āér jié lín · wàn nuò suī rán shì wèi kuān hóng liàng de tài tài shì gōng zhèng…… suī rán zhī dào jiū tóu de shí hòuzhǐ guò shì chū de lián mǐn xīnyīn wéi fǎn shuō jiū de tóu bìng gǎn dào nán wéi qíngnián qīng rén,” yòu tīng jiàn zhèn chī chī de xiào shēnghuái zhe jiā bèi de zūn chéng rèn dào,“ guòtiān guǒ shì jǐn jǐn yòu …… shìzhè qiēdōu shì rán deméi shí me hǎo shuō deméi shí me hǎo shuō de liǎo!…… yīn wéi suǒ wàng de jīng zhǐ chéng wéi xiàn shí jīng zhǐ lián mǐn guò liǎo shì……
   jiù shì zhè me xìng shì tiān shēng de chù shēng!”
  “ shì!” lǎo bǎn dǎzháo qiàn shuō
   'ěr méi duō jiān jué yòng quán tóu chuí liǎo chuí zhuō
  “ jiù shì zhè me xìngnín zhī dào xiān shēng lián de cháng mài diào guāng liǎo shì xié yīn wéi zhè zhì shǎo hái duō shǎo qíng shì cháng de cháng mài diào guāng liǎo de tiáo shān yáng máo tóu jīn ràng mài diào guāng liǎoshì rén jiā cóng qián sòng gěi deshì deér shì de men zhù zài bàn jiān hán lěng de fáng zhè dōng tiān zhe liǎo liáng sòu lái jīng xuè liǎo men yòu sān xiǎo hái jié lín · wàn nuò cóng zǎo dào wǎn máng tíng 'ā 'āgěi hái men zǎoyīn wéi cóng xiǎo jiù 'ài gān jìng de xiōng jiàn kānghěn néng hài liǎo láo bìngzhè gǎn jué dào liǎonán dào gǎn jué dào jiǔ yuè duōyuè gǎn jué chū láijiù shì wèicǐ cái jiǔ dexiǎng zài jiǔ zhōng xún zhǎo tóng qíng 'ài qíng…… jiǔshì yīn wéi xiǎng dào jiā bèi de tòng !” shuō zhe fǎng jué wàng cháo zhuō chuí xià liǎo tóu
  “ nián qīng rén,” yòu tǐng zhí liǎo yāojiē zhe shuō,“ cóng nín liǎn shàng kàn chūnín hǎo xiàng yòu shénme xìng de shì qíngnín jìn lái jiù kàn chū lái liǎosuǒ jiù gēn nín jiāo tán láiyīn wéi de shēng huó shì gào nínbìng shì xiǎng zài zhè xiē yóu shǒu hǎo xián de jiā huǒ miàn qián zuò jiàn zhè qiē shuō men yědōu zhī dào shuō zhè xiēshì wéi liǎo xún zhǎo yòu tóng qíng xīn shòu guò jiào de rénnín tīng shuō de zài shěng suǒ guì gāo děng xué xiào shòu guò jiào de shí hòushěng cháng shè huì míng liú dōuzài zuò tiào liǎo jīn ①, wèicǐ liǎo méi jīn zhì jiǎng zhāng zhāng jiǎng zhuàngjiǎng zhāng …… jiǎng zhāng ràng mài diào huàn jiǔ guāng liǎo…… jīng hěn jiǔ liǎo…… ǹg,…… jiǎng zhuàng dào xiàn zài hái fàng zài de xiāng jiǔ qián hái gěi fáng dōng kàn guòsuī rán gēn fáng dōng jīng cháng duàn zhēng chǎo guò hái shì xiǎng zài rén qián kuā yào fān guò de xìng gào rén jiā guǎn shì shénme réndōu xíng bìng zhǐ bìng bèi yīn wéi zhè shì shèng xià de zuì hòu diǎn 'ān wèi de quándōu yān xiāo yún sàn liǎoshì 'āshì 'āshì wèi xìng qíng zàogāo 'ào 'ér yòu juéjiàng de tài tài bǎnkěn hēi miàn bāo shì jué ràng rén zūn zhòng zhèng shì yīn kěn yuán liàng liè bié jiǎ xiān shēng de xíng wéiliè bié jiǎ xiān shēng wéi zhè liǎo hòu tǎng dǎo zài chuáng shàngzhè shuō shì yīn wéi 'āi liǎo dǎo shuō shì yīn wéi shāng liǎo de xīn de shí hòu jīng shì guǎ dài zhe sān hái xiǎo jià de zhàng shì bīng jūn guān 'ài gēn jiā bēn liǎo bié duō 'ài de zhàng liǎo shì wán shàng liǎo páiluò chū tíng shòu shěnjiù zhè me liǎozuì hòu hái suī rán yuán liàng zhè què shí zhī dàoér qiě yòu kào de zhèng dàn shì zhí dào xiàn zài hái jīng cháng yǎn lèi wāng wāng xiǎng láiyòng lái jiào xùn ér què gǎn dào gāo xīng suǒ gāo xīngshì yīn wéizhì shǎo zài xiǎng xiàng zhōng rèn wéi yòu shí shì xìng de…… liǎo hòu sān nián líng hěn xiǎo de hái liú zài piān yuǎn de xiàn chéng dāng shí zhèng hǎo zài 'ér shēng huó duān pín kùnjīhū xiàn jué jìngsuī shuō jiàn guò duō duō shì yàng tóng xún cháng de shì qíng jiù lián miáo huì de chǔjìngqīn dōubù rèn liǎoér qiě gāo 'ào hěngāo 'ào tài guò fēn liǎo…… ér shí hòuxiān shēng shí hòu chéng liǎo guān yòu qián liú xià de shí suì de 'ér shì xiàng qiú hūn liǎoyīn wéi rěn xīn kàn dào shòu zhè yàng de shòu guò jiào yòu yòu jiào yǎngchū shēn míng mén de rénjìng tóng xià jià gěi dān píng zhè diǎn nín jiù xiǎng jiàn de nán jīng dào liǎo shénme shì jià gěi liǎo tòng liú bēi tòng juéhéng héng shì jià gěi liǎo yīn wéi zǒu tóu 'ānín míng báinín míng báixiān shēngdāng rén jīng zǒu tóu de shí hòu wèi zhe shénme zhè diǎn nín hái míng bái…… zhěng zhěng nián qián chéngyán xíng de cóng wèi pèng guò zhè wán 'ér shēn chū zhǐ shǒu zhǐ pèng liǎo pèng néng zhuāng bàn shí tuō de jiǔ ), yīn wéi yòu gǎn qíng guò jiù shì zhè yàng méi néng yíng de huān xīnér zhè shí hòu shī liǎo shì yīn wéi yòu shénme guò cuòér shì yīn wéi rén shì biàn dòng shì jiǔ lái!…… nián bàn qiánjīng guò cháng shè shù jìn de zāinàn zhī hòu men zhōng lái dào liǎo zhè hóng wěi zhuàng yòng shù niàn bēi zhuāng shì lái de shǒu zài zhè 'ér yòu zhǎo dào liǎo gōng zuò…… zhǎo dào liǎoyòu diū diào liǎonín míng bái zhè shì yóu de guò cuòdiū diào liǎo chāishiyīn wéi de liè gēn xìng bào liǎo…… qián men zhù zài bàn jiān fáng zhù zài fáng dōngē · fèi duō luó · pèi wéi 'ěr 'ér men kào shénme guò huó shénme fáng zhī dào 'ér zhù zhe hěn duō rénchú liǎo men…… jiǎn zhí shì suǒ duō ③, hùn luàn liǎo…… ǹg…… shì de…… jiù zài zhè shí hòu qián shēng de 'ér zhǎngdà liǎo 'érzài zhǎngdà chéng rén de zhè duàn shí jiān shòu guò duō shǎozhè jiù shuō liǎoyīn wéi jié lín · wàn nuò suī rán kuān hóng liàngquè shì wèi xìng qíng zàohěn róng shēng de tài tàiér qiě ràng bié rén shuō huà…… shì 'āāizhè xiē dōuméi shí me hǎo huí desuǒ méi shòu guò jiào zhè nín xiǎng xiàng chū lái nián qián céng cháng shì jiào shì jiè tōng shǐ guò dǒng de duōér qiě méi yòu shìdàng de jiào shūyīn wéi jǐn yòu de xiē shū …… ǹg!…… āizhè xiē shū xiàn zài jīng méi yòu liǎosuǒ quán jiào jiù zhè yàng jié shù liǎo men zhǐ dào liǎo de shì hòu lái jīng chéng nián hòukàn guò běn 'ài qíng xiǎo shuō jiǔ qiántōng guò liè bié jiǎ xiān shēnghái kàn guò běn liú shì deshēng xuéhéng héng nín zhī dào zhè běn shū héng héng huái zhe hěn de xīng kàn wán liǎoshèn zhì hái gěi men niàn guò zhōng de piàn duànzhè jiù shì suǒ shòu de quán jiào xiàn zài wèn nín de xiān shēng de míng xiàng nín chū fēi zhèng shì de wèn zhào nín kàn pín qióngrán 'ér qīng bái xiá de niànkào chéng shí de láo dòng néng zhèng dào hěn duō qián ?…… xiān shēng guǒ qīng qīng bái báiyòu méi yòu shū cái néng shǐ shuāng shǒu tíng gànhuó tiān zhèng dào shí ér qiě děng wén guān luò shí tuō wàn · wàn nuò wéi héng héng zhè rén nín tīng shuō guò héng héng jiè kǒu zuò de chèn lǐng chǐ cùn duìér qiě féng wāi liǎo jǐn bàn lán chèn de gōng qián dào xiàn zài hái méi gěishèn zhì zhàng shì rénduǒ duǒ jiǎoyòng hěn nán tīng de huà kǒu gǎn liǎo chū lái shì zhè shí hòu hái dōuzài 'ái’è…… zhè shí hòu jié lín · wàn nuò tòng cuō zhuóshǒuzài zǒu lái zǒu liǎn shàng fàn chū hóng yùnhéng héng hài zhè zhǒng bìng de rén zǒng shì zhè yàng:‘ zhè hàochī lǎn zuò de jiā huǒ,’ shuō,‘ zhù zài men zhè 'éryòu chīyòu hái yào nuǎn,’ zhè 'ér yòu shénme hàohēhǎochīde rán hái men jīng sān tiān méi jiàn dào miàn liǎodāng shí zhèng tǎng zhe…… āiyòu shénme hǎo shuō de zuì xūn xūn tǎng zhetīng dào de suǒ shuō xìng qíng wēn shuō huà de shēng yīn shì me róu …… tóu dàn huáng de tóu xiǎo liǎn dàn 'ér cāng báixiāo shòu), shuō,‘ zěn me jié lín · wàn nuò nán dào fēi gān zhè zhǒng shì qíng ?’ ér · lán zuǒ zhè xīn liáng de rén duì shú hěn jīng tōng guò fáng dōng lái guò sān liǎo。‘ yòu shénme ?’。 jié lín · wàn nuò cháo xiào huí ,‘ ài zhēn jié gànshénmehēizhè zhēn shì bǎo bèi 'ā!’ guò qǐng bié bèi qǐng bié bèi xiān shēngqǐng bié bèi shuō zhè huà shì zài shī xìng de shí hòujīng shén jīng zhèng cháng liǎoshì zài gǎn qíng dòng 'ér qiě yòu bìng de qíng kuàng xiàshì zài tīng dào 'ái’è de hái shēng de shí hòuér qiě shuō zhè huà shuō shì zhēn yòu zhè shuō shì wèile …… yīn wéi jié lín · wàn nuò jiù shì zhè yàng de xìng zhǐ yào hái men shì yīn wéi 'è huāng dòng shǒu men kàn dào yuē diǎn duō zhōng de shí hòusuǒ niè láibāo shàng tóu jīn shàng dǒu péngcóng zǒu liǎo chū dào diǎn duō zhōng huí lái liǎo huí láijìng zhí zǒu dào jié lín · wàn nuò gēn qián shēng xiǎng sān shí bǎi dào miàn qián de zhuō shàngzhè me zuò de shí hòu huà méi yòu shuō kàn yǎn hǎo lián kàn méi kànzhǐ shì liǎo men kuài de tóu jīn men yòu zhè me kuài gōng yòng de tóu jīnshì de), yòng tóu liǎn quándōu méng láitǎng dào chuáng shàngliǎn chòngzhe qiángzhǐ kàn jiàn shòu xiǎo de jiān bǎng quán shēn jìn 'ér dǒu tíng…… ér hái shì xiàng jiǔ qián yàng tǎng zhe…… dāng shí kàn dàonián qīng rén kàn jiànzài zhè hòu jié lín · wàn nuò shì yàng yán zǒu dào suǒ niè chuáng qiánzài jiǎo biān guì liǎo zhěng zhěng wěn de jiǎo xiǎng láihòu lái liǎ bào zài jiù zhè yàng shuì zhe liǎo……
   liǎng rén dào…… liǎng rén dào…… ér …… què zuì xūn xūn tǎng zhe。”
  --------
  ① zài wǎn huì shàng tiào jīn shì chéng yōu de shēng de quán
  ② róng liàng dān wèi shí tuō yuē děng · èr gōng shēng
  ③ jiànjiù yuē · chuàng shì shí jiǔ zhāng 'èr shí jiésuǒ duō 'é liǎng chéng yīn zuì niè shēn zhòng bèi huá yòng liú huáng huǒ shāo huǐ
  ④ shìqián héng héng qián 'èr jiǔ nián de guó wáng
  ⑤ zhǐ yīng guó shí zhèng zhù zhé xué jiā shēng xué jiā qiáo zhì · liú shì héng héng de cháng shēng huó de shēng xué》, shí jiǔ shì liù shí nián dàizài yòu wéi zhù guān diǎn de qīng nián rén zhōngzhè běn shū hěn shòu huān yíng
   'ěr méi duō chén liǎofǎng de shēng yīn rán duàn liǎosuí hòu rán cōng cōng zhēn liǎo bēi jiǔ kǒu gānqīng liǎo qīng sǎng
  “ cóng shí hòu de xiān shēng,” chén liǎo huì 'ér hòu jiē zhe shuō,“ yóu shēng liǎo jiàn xìng de shì yóu yòu xiē xīn liáng de rén gào héng héng bié shì · lán zuǒ liǎo dìng zuò yòngfǎng shì wèile méi duì biǎo shì yīngyǒu de zūn jìnghéng héng cóng shí hòu de 'érsuǒ fěi · xiè miáo nuò jiù lǐng liǎo huáng zhí zhàoyīn néng men zhù zài liǎoyīn wéi men de fáng dōngē · fèi duō luó yuàn ràng zhù zài zhè shì qián dǎo bāng guò · lán zuǒ de máng), zài shuō liè bié jiǎ xiān shēng…… ǹg…… zhèng shì wèile suǒ jié lín · wàn nuò zhī jiān cái shēng liǎo jiàn kuài de shì chū shì yào gēn suǒ lái wǎngzhè shí què rán biàn gāo 'ào liǎo:‘ zěn me,’ shuō,‘ zhè me yòu wén huà de rénjìng yào gēn zhè yàng rén zhù zài yīzhuàng fáng ?’ jié lín · wàn nuò wéi biàn jiě…… shì jiù chǎo liǎo lái…… xiàn zài suǒ niè duō bàn shì zài huáng hūn lái men zhè gěi jié lín · wàn nuò bāng bāng máng suǒ néng gěi sòng diǎn 'ér qián lái…… zhù zài cái féng pèi 'ěr de fáng xiàng men liǎo jiān zhù fáng pèi 'ěr shì shuō huà yīn qīng chǔ jiā rén shuō huà yědōu kǒu chǐ qīnglián lǎo shuō huà yīn qīng chǔ…… mendōu zhù zài jiān de suǒ lìng yòu jiān shì yòng bǎn kāi de…… ǹgshì 'ā…… shì xiē zuì qióng de qióng rénhuà dōushuō qīng chǔ…… shì 'ā…… guò tiān qīng zǎo lái liǎochuān shàng de làn shān shuāng shǒu xiàng shàng tiān dǎorán hòu jiàn wàn · ā fán wéi rénqǐng wèn nín rèn shí wàn · ā fán wéi rén ?…… rèn shízhè yàng wèi dào gāo shàng de rénnín jìng huì rèn shíxīn cháng xiàng yàng ruǎn…… shàng miàn qián de huì xiàng yàng róng huà!…… tīng wán de huà shèn zhì diào xià lèi lái。‘ āi,’ shuō,‘ 'ěr méi duō yòu jīng liǎo de wàng…… jiù zài rèn yòng zhè wán quán yóu rén ,’ zhè me shuō,‘ yào zhù,’ shuō,‘ huí !’ wěn liǎo wěn jiǎo shàng de huī chén guò shì zài xiǎng xiàng zhī zhōngyīn wéi shēn wéi xiǎn guìyòu zhì guó de xīn xiǎngxīn wén huàshì yǔn dàngzhēn zhè me zuò de huí dào jiā gāng shuō chū yòu bèi yòngyòu huì lǐng dào xīn fèng liǎotiān shí hòu jiā gāo xīng jìn 'ér 'ā……”


  Raskolnikov was not used to crowds, and, as we said before, he avoided society of every sort, more especially of late. But now all at once he felt a desire to be with other people. Something new seemed to be taking place within him, and with it he felt a sort of thirst for company. He was so weary after a whole month of concentrated wretchedness and gloomy excitement that he longed to rest, if only for a moment, in some other world, whatever it might be; and, in spite of the filthiness of the surroundings, he was glad now to stay in the tavern.
   The master of the establishment was in another room, but he frequently came down some steps into the main room, his jaunty, tarred boots with red turn-over tops coming into view each time before the rest of his person. He wore a full coat and a horribly greasy black satin waistcoat, with no cravat, and his whole face seemed smeared with oil like an iron lock. At the counter stood a boy of about fourteen, and there was another boy somewhat younger who handed whatever was wanted. On the counter lay some sliced cucumber, some pieces of dried black bread, and some fish, chopped up small, all smelling very bad. It was insufferably close, and so heavy with the fumes of spirits that five minutes in such an atmosphere might well make a man drunk.
   There are chance meetings with strangers that interest us from the first moment, before a word is spoken. Such was the impression made on Raskolnikov by the person sitting a little distance from him, who looked like a retired clerk. The young man often recalled this impression afterwards, and even ascribed it to presentiment. He looked repeatedly at the clerk, partly no doubt because the latter was staring persistently at him, obviously anxious to enter into conversation. At the other persons in the room, including the tavern- keeper, the clerk looked as though he were used to their company, and weary of it, showing a shade of condescending contempt for them as persons of station and culture inferior to his own, with whom it would be useless for him to converse. He was a man over fifty, bald and grizzled, of medium height, and stoutly built. His face, bloated from continual drinking, was of a yellow, even greenish, tinge, with swollen eyelids out of which keen reddish eyes gleamed like little chinks. But there was something very strange in him; there was a light in his eyes as though of intense feeling--perhaps there were even thought and intelligence, but at the same time there was a gleam of something like madness. He was wearing an old and hopelessly ragged black dress coat, with all its buttons missing except one, and that one he had buttoned, evidently clinging to this last trace of respectability. A crumpled shirt front, covered with spots and stains, protruded from his canvas waistcoat. Like a clerk, he wore no beard, nor moustache, but had been so long unshaven that his chin looked like a stiff greyish brush. And there was something respectable and like an official about his manner too. But he was restless; he ruffled up his hair and from time to time let his head drop into his hands dejectedly resting his ragged elbows on the stained and sticky table. At last he looked straight at Raskolnikov, and said loudly and resolutely:
   "May I venture, honoured sir, to engage you in polite conversation? Forasmuch as, though your exterior would not command respect, my experience admonishes me that you are a man of education and not accustomed to drinking. I have always respected education when in conjunction with genuine sentiments, and I am besides a titular counsellor in rank. Marmeladov--such is my name; titular counsellor. I make bold to inquire--have you been in the service?"
   "No, I am studying," answered the young man, somewhat surprised at the grandiloquent style of the speaker and also at being so directly addressed. In spite of the momentary desire he had just been feeling for company of any sort, on being actually spoken to he felt immediately his habitual irritable and uneasy aversion for any stranger who approached or attempted to approach him.
   "A student then, or formerly a student," cried the clerk. "Just what I thought! I'm a man of experience, immense experience, sir," and he tapped his forehead with his fingers in self-approval. "You've been a student or have attended some learned institution! . . . But allow me. . . ." He got up, staggered, took up his jug and glass, and sat down beside the young man, facing him a little sideways. He was drunk, but spoke fluently and boldly, only occasionally losing the thread of his sentences and drawling his words. He pounced upon Raskolnikov as greedily as though he too had not spoken to a soul for a month.
   "Honoured sir," he began almost with solemnity, "poverty is not a vice, that's a true saying. Yet I know too that drunkenness is not a virtue, and that that's even truer. But beggary, honoured sir, beggary is a vice. In poverty you may still retain your innate nobility of soul, but in beggary--never--no one. For beggary a man is not chased out of human society with a stick, he is swept out with a broom, so as to make it as humiliating as possible; and quite right, too, forasmuch as in beggary I am ready to be the first to humiliate myself. Hence the pot-house! Honoured sir, a month ago Mr. Lebeziatnikov gave my wife a beating, and my wife is a very different matter from me! Do you understand? Allow me to ask you another question out of simple curiosity: have you ever spent a night on a hay barge, on the Neva?"
   "No, I have not happened to," answered Raskolnikov. "What do you mean?"
   "Well, I've just come from one and it's the fifth night I've slept so. . . ." He filled his glass, emptied it and paused. Bits of hay were in fact clinging to his clothes and sticking to his hair. It seemed quite probable that he had not undressed or washed for the last five days. His hands, particularly, were filthy. They were fat and red, with black nails.
   His conversation seemed to excite a general though languid interest. The boys at the counter fell to sniggering. The innkeeper came down from the upper room, apparently on purpose to listen to the "funny fellow" and sat down at a little distance, yawning lazily, but with dignity. Evidently Marmeladov was a familiar figure here, and he had most likely acquired his weakness for high-flown speeches from the habit of frequently entering into conversation with strangers of all sorts in the tavern. This habit develops into a necessity in some drunkards, and especially in those who are looked after sharply and kept in order at home. Hence in the company of other drinkers they try to justify themselves and even if possible obtain consideration.
   "Funny fellow!" pronounced the innkeeper. "And why don't you work, why aren't you at your duty, if you are in the service?"
   "Why am I not at my duty, honoured sir," Marmeladov went on, addressing himself exclusively to Raskolnikov, as though it had been he who put that question to him. "Why am I not at my duty? Does not my heart ache to think what a useless worm I am? A month ago when Mr. Lebeziatnikov beat my wife with his own hands, and I lay drunk, didn't I suffer? Excuse me, young man, has it ever happened to you . . . hm . . . well, to petition hopelessly for a loan?"
   "Yes, it has. But what do you mean by hopelessly?"
   "Hopelessly in the fullest sense, when you know beforehand that you will get nothing by it. You know, for instance, beforehand with positive certainty that this man, this most reputable and exemplary citizen, will on no consideration give you money; and indeed I ask you why should he? For he knows of course that I shan't pay it back. From compassion? But Mr. Lebeziatnikov who keeps up with modern ideas explained the other day that compassion is forbidden nowadays by science itself, and that that's what is done now in England, where there is political economy. Why, I ask you, should he give it to me? And yet though I know beforehand that he won't, I set off to him and . . ."
   "Why do you go?" put in Raskolnikov.
   "Well, when one has no one, nowhere else one can go! For every man must have somewhere to go. Since there are times when one absolutely must go somewhere! When my own daughter first went out with a yellow ticket, then I had to go . . . (for my daughter has a yellow passport)," he added in parenthesis, looking with a certain uneasiness at the young man. "No matter, sir, no matter!" he went on hurriedly and with apparent composure when both the boys at the counter guffawed and even the innkeeper smiled--"No matter, I am not confounded by the wagging of their heads; for everyone knows everything about it already, and all that is secret is made open. And I accept it all, not with contempt, but with humility. So be it! So be it! 'Behold the man!' Excuse me, young man, can you. . . . No, to put it more strongly and more distinctly; not /can/ you but /dare/ you, looking upon me, assert that I am not a pig?"
   The young man did not answer a word.
   "Well," the orator began again stolidly and with even increased dignity, after waiting for the laughter in the room to subside. "Well, so be it, I am a pig, but she is a lady! I have the semblance of a beast, but Katerina Ivanovna, my spouse, is a person of education and an officer's daughter. Granted, granted, I am a scoundrel, but she is a woman of a noble heart, full of sentiments, refined by education. And yet . . . oh, if only she felt for me! Honoured sir, honoured sir, you know every man ought to have at least one place where people feel for him! But Katerina Ivanovna, though she is magnanimous, she is unjust. . . . And yet, although I realise that when she pulls my hair she only does it out of pity--for I repeat without being ashamed, she pulls my hair, young man," he declared with redoubled dignity, hearing the sniggering again--"but, my God, if she would but once. . . . But no, no! It's all in vain and it's no use talking! No use talking! For more than once, my wish did come true and more than once she has felt for me but . . . such is my fate and I am a beast by nature!"
   "Rather!" assented the innkeeper yawning. Marmeladov struck his fist resolutely on the table.
   "Such is my fate! Do you know, sir, do you know, I have sold her very stockings for drink? Not her shoes--that would be more or less in the order of things, but her stockings, her stockings I have sold for drink! Her mohair shawl I sold for drink, a present to her long ago, her own property, not mine; and we live in a cold room and she caught cold this winter and has begun coughing and spitting blood too. We have three little children and Katerina Ivanovna is at work from morning till night; she is scrubbing and cleaning and washing the children, for she's been used to cleanliness from a child. But her chest is weak and she has a tendency to consumption and I feel it! Do you suppose I don't feel it? And the more I drink the more I feel it. That's why I drink too. I try to find sympathy and feeling in drink. . . . I drink so that I may suffer twice as much!" And as though in despair he laid his head down on the table.
   "Young man," he went on, raising his head again, "in your face I seem to read some trouble of mind. When you came in I read it, and that was why I addressed you at once. For in unfolding to you the story of my life, I do not wish to make myself a laughing-stock before these idle listeners, who indeed know all about it already, but I am looking for a man of feeling and education. Know then that my wife was educated in a high-class school for the daughters of noblemen, and on leaving she danced the shawl dance before the governor and other personages for which she was presented with a gold medal and a certificate of merit. The medal . . . well, the medal of course was sold--long ago, hm . . . but the certificate of merit is in her trunk still and not long ago she showed it to our landlady. And although she is most continually on bad terms with the landlady, yet she wanted to tell someone or other of her past honours and of the happy days that are gone. I don't condemn her for it, I don't blame her, for the one thing left her is recollection of the past, and all the rest is dust and ashes. Yes, yes, she is a lady of spirit, proud and determined. She scrubs the floors herself and has nothing but black bread to eat, but won't allow herself to be treated with disrespect. That's why she would not overlook Mr. Lebeziatnikov's rudeness to her, and so when he gave her a beating for it, she took to her bed more from the hurt to her feelings than from the blows. She was a widow when I married her, with three children, one smaller than the other. She married her first husband, an infantry officer, for love, and ran away with him from her father's house. She was exceedingly fond of her husband; but he gave way to cards, got into trouble and with that he died. He used to beat her at the end: and although she paid him back, of which I have authentic documentary evidence, to this day she speaks of him with tears and she throws him up to me; and I am glad, I am glad that, though only in imagination, she should think of herself as having once been happy. . . . And she was left at his death with three children in a wild and remote district where I happened to be at the time; and she was left in such hopeless poverty that, although I have seen many ups and downs of all sort, I don't feel equal to describing it even. Her relations had all thrown her off. And she was proud, too, excessively proud. . . . And then, honoured sir, and then, I, being at the time a widower, with a daughter of fourteen left me by my first wife, offered her my hand, for I could not bear the sight of such suffering. You can judge the extremity of her calamities, that she, a woman of education and culture and distinguished family, should have consented to be my wife. But she did! Weeping and sobbing and wringing her hands, she married me! For she had nowhere to turn! Do you understand, sir, do you understand what it means when you have absolutely nowhere to turn? No, that you don't understand yet. . . . And for a whole year, I performed my duties conscientiously and faithfully, and did not touch this" (he tapped the jug with his finger), "for I have feelings. But even so, I could not please her; and then I lost my place too, and that through no fault of mine but through changes in the office; and then I did touch it! . . . It will be a year and a half ago soon since we found ourselves at last after many wanderings and numerous calamities in this magnificent capital, adorned with innumerable monuments. Here I obtained a situation. . . . I obtained it and I lost it again. Do you understand? This time it was through my own fault I lost it: for my weakness had come out. . . . We have now part of a room at Amalia Fyodorovna Lippevechsel's; and what we live upon and what we pay our rent with, I could not say. There are a lot of people living there besides ourselves. Dirt and disorder, a perfect Bedlam . . . hm . . . yes . . . And meanwhile my daughter by my first wife has grown up; and what my daughter has had to put up with from her step-mother whilst she was growing up, I won't speak of. For, though Katerina Ivanovna is full of generous feelings, she is a spirited lady, irritable and short--tempered. . . . Yes. But it's no use going over that! Sonia, as you may well fancy, has had no education. I did make an effort four years ago to give her a course of geography and universal history, but as I was not very well up in those subjects myself and we had no suitable books, and what books we had . . . hm, anyway we have not even those now, so all our instruction came to an end. We stopped at Cyrus of Persia. Since she has attained years of maturity, she has read other books of romantic tendency and of late she had read with great interest a book she got through Mr. Lebeziatnikov, Lewes' Physiology--do you know it?--and even recounted extracts from it to us: and that's the whole of her education. And now may I venture to address you, honoured sir, on my own account with a private question. Do you suppose that a respectable poor girl can earn much by honest work? Not fifteen farthings a day can she earn, if she is respectable and has no special talent and that without putting her work down for an instant! And what's more, Ivan Ivanitch Klopstock the civil counsellor--have you heard of him?--has not to this day paid her for the half-dozen linen shirts she made him and drove her roughly away, stamping and reviling her, on the pretext that the shirt collars were not made like the pattern and were put in askew. And there are the little ones hungry. . . . And Katerina Ivanovna walking up and down and wringing her hands, her cheeks flushed red, as they always are in that disease: 'Here you live with us,' says she, 'you eat and drink and are kept warm and you do nothing to help.' And much she gets to eat and drink when there is not a crust for the little ones for three days! I was lying at the time . . . well, what of it! I was lying drunk and I heard my Sonia speaking (she is a gentle creature with a soft little voice . . . fair hair and such a pale, thin little face). She said: 'Katerina Ivanovna, am I really to do a thing like that?' And Darya Frantsovna, a woman of evil character and very well known to the police, had two or three times tried to get at her through the landlady. 'And why not?' said Katerina Ivanovna with a jeer, 'you are something mighty precious to be so careful of!' But don't blame her, don't blame her, honoured sir, don't blame her! She was not herself when she spoke, but driven to distraction by her illness and the crying of the hungry children; and it was said more to wound her than anything else. . . . For that's Katerina Ivanovna's character, and when children cry, even from hunger, she falls to beating them at once. At six o'clock I saw Sonia get up, put on her kerchief and her cape, and go out of the room and about nine o'clock she came back. She walked straight up to Katerina Ivanovna and she laid thirty roubles on the table before her in silence. She did not utter a word, she did not even look at her, she simply picked up our big green /drap de dames/ shawl (we have a shawl, made of /drap de dames/), put it over her head and face and lay down on the bed with her face to the wall; only her little shoulders and her body kept shuddering. . . . And I went on lying there, just as before. . . . And then I saw, young man, I saw Katerina Ivanovna, in the same silence go up to Sonia's little bed; she was on her knees all the evening kissing Sonia's feet, and would not get up, and then they both fell asleep in each other's arms . . . together, together . . . yes . . . and I . . . lay drunk."
   Marmeladov stopped short, as though his voice had failed him. Then he hurriedly filled his glass, drank, and cleared his throat.
   "Since then, sir," he went on after a brief pause--"Since then, owing to an unfortunate occurrence and through information given by evil- intentioned persons--in all which Darya Frantsovna took a leading part on the pretext that she had been treated with want of respect--since then my daughter Sofya Semyonovna has been forced to take a yellow ticket, and owing to that she is unable to go on living with us. For our landlady, Amalia Fyodorovna would not hear of it (though she had backed up Darya Frantsovna before) and Mr. Lebeziatnikov too . . . hm. . . . All the trouble between him and Katerina Ivanovna was on Sonia's account. At first he was for making up to Sonia himself and then all of a sudden he stood on his dignity: 'how,' said he, 'can a highly educated man like me live in the same rooms with a girl like that?' And Katerina Ivanovna would not let it pass, she stood up for her . . . and so that's how it happened. And Sonia comes to us now, mostly after dark; she comforts Katerina Ivanovna and gives her all she can. . . . She has a room at the Kapernaumovs' the tailors, she lodges with them; Kapernaumov is a lame man with a cleft palate and all of his numerous family have cleft palates too. And his wife, too, has a cleft palate. They all live in one room, but Sonia has her own, partitioned off. . . . Hm . . . yes . . . very poor people and all with cleft palates . . . yes. Then I got up in the morning, and put on my rags, lifted up my hands to heaven and set off to his excellency Ivan Afanasyvitch. His excellency Ivan Afanasyvitch, do you know him? No? Well, then, it's a man of God you don't know. He is wax . . . wax before the face of the Lord; even as wax melteth! . . . His eyes were dim when he heard my story. 'Marmeladov, once already you have deceived my expectations . . . I'll take you once more on my own responsibility'--that's what he said, 'remember,' he said, 'and now you can go.' I kissed the dust at his feet--in thought only, for in reality he would not have allowed me to do it, being a statesman and a man of modern political and enlightened ideas. I returned home, and when I announced that I'd been taken back into the service and should receive a salary, heavens, what a to-do there was . . .!"
shǒuyè>> >> 心理学小说>> Fyodor Mikhailovich Dostoevsky   Russia   俄罗斯帝国   (November 11, 1821 ADFebruary 9, 1881 AD)