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- The Brothers Karamazov, the final novel by Fyodor Dostoyevsky, first published as Bratya Karamazovy in 1879–80 and generally considered to be his masterpiece. It is the story of Fyodor Karamazov and his sons Alyosha, Dmitry, and Ivan.
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The Brothers Karamazov (Russian: Бра́тья Карама́зовы, Brát'ya Karamázovy, pronounced [ˈbratʲjə kərɐˈmazəvɨ]), also translated as The Karamazov Brothers, is the last novel by Russian author Fyodor Dostoevsky.
A list of important facts about Fyodor Dostoevsky's The Brothers Karamazov, including setting, climax, protagonists, and antagonists.
5 days ago · The Brothers Karamazov, the final novel by Fyodor Dostoyevsky, first published as Bratya Karamazovy in 1879–80 and generally considered to be his masterpiece. It is the story of Fyodor Karamazov and his sons Alyosha, Dmitry, and Ivan.
- The Editors of Encyclopaedia Britannica
Dec 23, 2023 · The Brothers Karamazov Summary and Key Themes. Described as a theological drama and talking about acts of God, free will and morality, The Brothers Karamozov, originally published in Russian was Fyodor Dostoevsky’s last novel before his death just four months later.
- Overview
- The Brothers Karamazov
Dostoyevsky’s last and probably greatest novel, Bratya Karamazovy (1879–80; The Brothers Karamazov), focuses on his favourite theological and philosophical themes: the origin of evil, the nature of freedom, and the craving for faith. A profligate and vicious father, Fyodor Pavlovich Karamazov, mocks everything noble and engages in unseemly buffoonery at every opportunity. When his sons were infants, he neglected them not out of malice but simply because he “forgot” them. The eldest, Dmitry, a passionate man capable of sincerely loving both “Sodom” and “the Madonna” at the same time, wrangles with his father over money and competes with him for the favours of a “demonic” woman, Grushenka. When the old man is murdered, circumstantial evidence leads to Dmitry’s arrest for the crime, which actually has been committed by the fourth, and illegitimate, son, the malicious epileptic Smerdyakov.
The youngest legitimate son, Alyosha, is another of Dostoyevsky’s attempts to create a realistic Christ figure. Following the wise monk Zosima, Alyosha tries to put Christian love into practice. The narrator proclaims him the work’s real hero, but readers are usually most interested in the middle brother, the intellectual Ivan.
Like Raskolnikov, Ivan argues that, if there is no God and no immortality, then “all is permitted.” And, even if all is not permitted, he tells Alyosha, one is responsible only for one’s actions but not for one’s wishes. Of course, the Sermon on the Mount says one is responsible for one’s wishes, and, when old Karamazov is murdered, Ivan, in spite of all his theories, comes to feel guilty for having desired his father’s death. In tracing the dynamics of Ivan’s guilt, Dostoyevsky in effect provides a psychological justification for Christian teaching. Evil happens not just because of a few criminals but because of a moral climate in which all people participate by harbouring evil wishes. Therefore, as Father Zosima teaches, “everyone is responsible for everyone and for everything.”
The novel is most famous for three chapters that may be ranked among the greatest pages of Western literature. In “Rebellion,” Ivan indicts God the Father for creating a world in which children suffer. Ivan has also written a “poem,” “The Grand Inquisitor,” which represents his response to God the Son. It tells the story of Christ’s brief return to earth during the Spanish Inquisition. Recognizing him, the Inquisitor arrests him as “the worst of heretics” because, the Inquisitor explains, the church has rejected Christ. For Christ came to make people free, but, the Inquisitor insists, people do not want to be free, no matter what they say. They want security and certainty rather than free choice, which leads them to error and guilt. And so, to ensure happiness, the church has created a society based on “miracle, mystery, and authority.” The Inquisitor is evidently meant to stand not only for medieval Roman Catholicism but also for contemporary socialism. “Rebellion” and “The Grand Inquisitor” contain what many have considered the strongest arguments ever formulated against God, which Dostoyevsky includes so that, in refuting them, he can truly defend Christianity. It is one of the greatest paradoxes of Dostoyevsky’s work that his deeply Christian novel more than gives the Devil his due.
In the work’s other most famous chapter, Ivan, now going mad, is visited by the Devil, who talks philosophy with him. Quite strikingly, this Devil is neither grand nor satanic but petty and vulgar, as if to symbolize the ordinariness and banality of evil. He also keeps up with all the latest beliefs of the intelligentsia on earth, which leads, in remarkably humorous passages, to the Devil’s defense of materialism and agnosticism. The image of the “petty demon” has had immense influence on 20th-century thought and literature.
In 1880 Dostoyevsky delivered an electrifying speech about the poet Aleksandr Pushkin, which he published in a separate issue of The Diary of a Writer (August 1880). After finishing Karamazov, he resumed the monthly Diary but lived to publish only a single issue (January 1881) before dying of a hemorrhage on January 28 in St. Petersburg.
Dostoyevsky’s last and probably greatest novel, Bratya Karamazovy (1879–80; The Brothers Karamazov), focuses on his favourite theological and philosophical themes: the origin of evil, the nature of freedom, and the craving for faith. A profligate and vicious father, Fyodor Pavlovich Karamazov, mocks everything noble and engages in unseemly buffoonery at every opportunity. When his sons were infants, he neglected them not out of malice but simply because he “forgot” them. The eldest, Dmitry, a passionate man capable of sincerely loving both “Sodom” and “the Madonna” at the same time, wrangles with his father over money and competes with him for the favours of a “demonic” woman, Grushenka. When the old man is murdered, circumstantial evidence leads to Dmitry’s arrest for the crime, which actually has been committed by the fourth, and illegitimate, son, the malicious epileptic Smerdyakov.
The youngest legitimate son, Alyosha, is another of Dostoyevsky’s attempts to create a realistic Christ figure. Following the wise monk Zosima, Alyosha tries to put Christian love into practice. The narrator proclaims him the work’s real hero, but readers are usually most interested in the middle brother, the intellectual Ivan.
Like Raskolnikov, Ivan argues that, if there is no God and no immortality, then “all is permitted.” And, even if all is not permitted, he tells Alyosha, one is responsible only for one’s actions but not for one’s wishes. Of course, the Sermon on the Mount says one is responsible for one’s wishes, and, when old Karamazov is murdered, Ivan, in spite of all his theories, comes to feel guilty for having desired his father’s death. In tracing the dynamics of Ivan’s guilt, Dostoyevsky in effect provides a psychological justification for Christian teaching. Evil happens not just because of a few criminals but because of a moral climate in which all people participate by harbouring evil wishes. Therefore, as Father Zosima teaches, “everyone is responsible for everyone and for everything.”
The novel is most famous for three chapters that may be ranked among the greatest pages of Western literature. In “Rebellion,” Ivan indicts God the Father for creating a world in which children suffer. Ivan has also written a “poem,” “The Grand Inquisitor,” which represents his response to God the Son. It tells the story of Christ’s brief return to earth during the Spanish Inquisition. Recognizing him, the Inquisitor arrests him as “the worst of heretics” because, the Inquisitor explains, the church has rejected Christ. For Christ came to make people free, but, the Inquisitor insists, people do not want to be free, no matter what they say. They want security and certainty rather than free choice, which leads them to error and guilt. And so, to ensure happiness, the church has created a society based on “miracle, mystery, and authority.” The Inquisitor is evidently meant to stand not only for medieval Roman Catholicism but also for contemporary socialism. “Rebellion” and “The Grand Inquisitor” contain what many have considered the strongest arguments ever formulated against God, which Dostoyevsky includes so that, in refuting them, he can truly defend Christianity. It is one of the greatest paradoxes of Dostoyevsky’s work that his deeply Christian novel more than gives the Devil his due.
In the work’s other most famous chapter, Ivan, now going mad, is visited by the Devil, who talks philosophy with him. Quite strikingly, this Devil is neither grand nor satanic but petty and vulgar, as if to symbolize the ordinariness and banality of evil. He also keeps up with all the latest beliefs of the intelligentsia on earth, which leads, in remarkably humorous passages, to the Devil’s defense of materialism and agnosticism. The image of the “petty demon” has had immense influence on 20th-century thought and literature.
In 1880 Dostoyevsky delivered an electrifying speech about the poet Aleksandr Pushkin, which he published in a separate issue of The Diary of a Writer (August 1880). After finishing Karamazov, he resumed the monthly Diary but lived to publish only a single issue (January 1881) before dying of a hemorrhage on January 28 in St. Petersburg.
- Gary Saul Morson
The best study guide to The Brothers Karamazov on the planet, from the creators of SparkNotes. Get the summaries, analysis, and quotes you need.
Jul 24, 2023 · “The Brothers Karamazov” is the last in Dostoyevsky’s tetralogy of so-called murder novels, following “Crime and Punishment,” “The Idiot,” and “The Possessed.”
