The cover page is adapted from Portrait of Jacques Fabrice Herman Perk, a painting completed in 1882 by Johan Heinrich Neuman. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. www.theleagueofmoveabletype.com/
The Idiot
章节(50)
- Part I: I 0:00
- II 27:54
- III 54:30
- IV 1:28:14
- V 2:04:07
- VI 2:46:08
- VII 3:12:16
- VIII 3:45:28
- IX 4:19:37
- X 4:40:30
- XI 4:57:56
- XII 5:16:43
- XIII 5:44:22
- XIV 6:08:42
- XV 6:34:24
- XVI 6:59:19
- Part II: I 7:31:11
- II 7:55:47
- III 8:33:31
- IV 9:11:49
- V 9:26:05
- VI 9:58:14
- VII 10:33:54
- VIII 10:57:11
- IX 11:43:32
- X 12:17:29
- XI 12:53:48
- XII 13:30:28
- Part III: I 13:47:15
- II 14:27:42
- III 15:02:17
- IV 15:44:11
- V 16:25:05
- VI 17:02:02
- VII 17:46:25
- VIII 18:24:23
- IX 19:01:37
- X 19:38:26
- Part IV: I 19:56:24
- II 20:28:37
- III 20:51:35
- IV 21:21:32
- V 21:55:08
- VI 22:45:37
- VII 23:25:54
- VIII 24:14:21
- IX 25:06:15
- X 25:39:16
- XI 26:13:50
- XII 26:49:46
Acclaimed by the 20th-century Russian critic Mikhail Bakhtin for its “polyphony” (a literary concept introduced by Bakhtin to describe a plurality of voices within a narrative), The Idiot is regarded by modern critics as one of Dostoevsky’s most experimental and artistically uneven novels.
The novel follows the entrance of the epileptic Prince Muishkin—a character Dostoevsky meant to represent a “positively good and beautiful man”—into a circle of Russian high society characterized by vanity, greed, and social ambition. Thanks to his epileptic condition and his simplicity, earnestness, and kindness of heart, Muishkin is frequently branded by his newfound social circle as the titular “idiot”; but in reality, he’s a man of extraordinary sensitivity and insight. His arrival in society sets off a series of dramatic events and interpersonal strife centered around himself and his distant relations.
The Idiot drew upon many of Dostoevsky’s significant personal experiences, such as his Russian Orthodox faith, his experience of nearly being executed in 1849, and his own struggle with epilepsy, all of which inform his depiction of Prince Muishkin’s distinctive psychology.