“If someone had told him at that moment that he was in love, passionately in love, he would have rejected the notion with surprise and possibly even with indignation. And if someone had gone on to say that Aglaya's letter was a love letter, arranging a lovers' rendezvous, he would have burned with shame for such a man and, perhaps, have challenged him to a duel. All this was perfectly sincere and not once did he have any doubt or admit the slightest "double" thought about the possibility of this girl loving him, or even of him loving her. He would have been ashamed of having such an idea! The possibility of love for him, for "a man like him," he would have found monstrous. It crossed his mind that, if there was anything to it at all, it was simply a prank on her part, but he was quite unconcerned by the whole matter and found it all too natural. [...] All that concerned him was to see her again tomorrow, early in the morning, to sit beside her on the green bench, and hear her tell him how to load a pistol and to look at her. He wanted nothing more than that.”
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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.