“How many times had he told himself that her love was happiness; and here she loved him as only a woman can for whom love outweighs all that is good in life - yet he was much further from happiness than when he had followed her from Moscow. Then he had considered himself unhappy, but happiness was ahead of him; while now he felt that the best happiness was already behind. She was not at all as he had seen her in the beginning. Both morally and physically she had changed for the worse. She had broadened out, and her face, when she spoke of the actress, was distorted by a spiteful expression. He looked at her as a man looks at a faded flower he has plucked, in which he can barely recognize the beauty that had made him pluck and destroy it. And, despite that, he felt that when his love was stronger, he might have torn that love from his heart, had he strongly wished to do so, but now, when it seemed to him, as it did at that moment, that he felt no love for her, he knew that his bond with her could not be broken.”
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Fyodor Mikhaylovich Dostoyevsky was a Russian writer, essayist and philosopher, perhaps most recognized today for his novels Crime and Punishment and The Brothers Karamazov.
Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th-century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written."
His tombstone reads "Verily, Verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit." from John 12:24, which is also the epigraph of his final novel, The Brothers Karamazov.