71 pages • 2 hours read
Fyodor DostoevskyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Eight days later, rumors have already spread through the town. Lebyadkin and his sister leave town, Shatov shuts himself away, and people speculate whether Stavrogin is employed in “special business” (221) for the government. Peter Stepanovich quickly becomes acquainted with everyone in the town, including Yulia Mikhailovna, the wife of the new governor. At the same time, rumors persist that Peter is a “former revolutionary” (223) who has been acquitted of his crimes, possibly because he gave information to the authorities about his fellow protestors. Peter visits his father twice and Stepan is left distraught and emotional. Having seemingly recovered from her poor health, Liza becomes engaged to Maurice Nikolaevich. Stepan is interested to learn that Captain Lebyadkin and his sister have moved across the river to the other side of the city. The narrator states that a “new episode” (228) is about to begin.
After shutting himself away to recover from Shatov’s attack, Stavrogin begins taking visitors again. Peter visits Varvara and she takes him to Stavrogin’s room. Stavrogin is irritable in the presence of the chatty Peter, resenting that Peter has presented him as some kind of leader to their group of “hotheaded” (235) political activists. Stavrogin has promised his mother that he will propose soon to Liza; Peter assures him that, on hearing this alternative proposal, Liza will abandon Maurice Nikolaevich for Stavrogin. Peter also mentions his escapades around the town; he has spent time with soldiers and factory workers, reflecting on their resentment toward society and the government.
After Peter leaves, Stavrogin sleeps “for a long time“ (242), and then leaves the house in the evening through a back door. He goes to Shatov’s house and then, passing by Shatov without a word, enters Kirillov’s annex. Sitting at Kirillov’s table, he reveals that he has received an insulting letter. Years before, Stavrogin publicly humiliated an elderly landowner in the town named Gaganov. The insulting letter is from Gaganov’s son and now, Stavrogin believes that he may need to challenge Gaganov’s son to a duel. He wants Kirillov to be his “second” in the duel, meaning that he will handle negotiations between the two parties and make arrangements for the duel itself. Stavrogin is surprised that the apparently impoverished Kirillov owns a “very expensive” (247) set of dueling pistols. They discuss philosophy and Kirillov’s longstanding plan to die by suicide.
After, Stavrogin visits Shatov. During the course of their conversation, Stavrogin admits that Marya is his “lawful wife” (253). Shatov punched Stavrogin because, in the past, Stavrogin was an inspirational figure in his life and now he has fallen from grace. Stavrogin warns Shatov that his life may be in danger. He reveals that he—like Shatov—is associated with “the society” (254), the members of which are convinced that Shatov is a spy “who knows too much and could inform on them” (255). Stavrogin says that he plans to make his marriage to Marya public in the coming days but insists that she is “still a virgin” (259), so could not have had a child. In a delirious frenzy, Shatov begs Stavrogin to forgive him for the punch and to understand his own inspirational power.
They discuss Stavrogin’s previous philosophical thoughts, such as the notion that atheism and Russian identity are incompatible. Socialism, Shatov believes, is the only viable political movement for the future because socialism can construct a society on a foundation of “reason and science” (264) for the first time in human history. Shatov believes that he is “a man without talent and can only offer [his] blood and nothing more” (267), whereas Stavrogin has the potential to bring about real change in society. He claims that Stavrogin married Marya “out of a passion for martyrdom” (268). Before he leaves, Stavrogin asks Shatov “not to abandon Marya Timofeevna in the future” (270). In turn, Shatov advises Stavorgin to visit a retired bishop named Tikhon.
As he walks home, Stavrogin meets an escaped convict named Fedka. Peter mentioned that Fedka was in the city and that he has a previous association with him; Stavrogin accuses Fedka of waiting for him on Peter’s orders and tells the convict to stay away from him. After Fedka leaves, Stavrogin arrives at a house at the “very edge of town” (275). Captain Lebyadkin welcomes him inside, explaining that he is now sober. The captain is “far from serene” (279), however, and he complains about the way Peter has been treating him. He reacts badly when Stavrogin reveals his plan to make his marriage to Marya public. Stavrogin is worried that Lebyadkin may have sent “some stupid letter” (284) to the authorities, informing against political activists in the hope of receiving beneficial treatment for himself. In financial desperation, he agreed to distribute political pamphlets containing revolutionary ideas that he did not really understand. When Stavrogin goes to see Marya, the captain is preoccupied with paranoid thoughts.
Stavrogin finds Marya asleep. She wakes from her “bad dreams” (289) and seems initially frightened by his presence. When he suggests that they leave Russia and live together in Switzerland, Marya’s condition seems to worsen. She accuses him of being an “imposter” (294) and loudly proclaims that he plans to threaten her with a knife. He pushes her backward into a sofa, and she says a curse on his name. Stavrogin leaves the apartment as Lebyadkin must hold his sister back. In the street, Fedka approaches Stavrogin. He asks for money again. Though he initially considers taking Fedka to the police, Stavrogin asks him about his recent crimes. Fedka happily confesses to a litany of sins. When he repeats his request for money, Stavrogin laughs and throws the contents of his wallet in the gutter for the man to grab.
The next day, the duel between Stavrogin and Gaganov takes place. Gaganov considers Stavrogin to be a “shameless coward” (298) and takes every small detail of the event as an even greater insult. Maurice Nikolaevich acts as Gaganov’s second. Since the men agree that the duel will continue for three rounds of fire, the men face each other down three times. Each time, Gaganov misses Stavrogin. Each time, Stavrogin fires his gun into the air on purpose. Gaganov can only slightly wound Stavrogin’s finger but he is incensed by Stavrogin’s refusal to shoot him. Stavrogin explains that he does not “want to kill anyone else” (303). When all three shots are fired, the duel is over and Gaganov is “crushed” (305). He leaves with Maurice Nikolaevich. After, Kirillov says that Stavrogin should have killed Gaganov.
Stavrogin returns home. He tells the servants that he will only see his mother when he sees fit. Dasha is sick. She talks to Stavrogin and they agree to “break it off” (308) with regard to their relationship. He complains that he is a “vile and contemptible” (308) person but promises to be with Dasha in her final moments. She plays the role of his confidant, referring to herself as his nurse. Stavrogin confesses to her that he gave 50 rubles to Fedka. He is concerned that this might be considered “an advance” (309) for the murder of his wife, Marya. He confesses that he has been entertaining the idea and hopes that Dasha could still be with him if he paid a man to kill Marya. Horrified, Dasha leaves without a word.
The story of the duel quickly spreads through the town. Most people declare themselves “unequivocally” (311) on the side of Stavrogin. As people discuss the matter, a general consensus is reached in which Stavrogin had no choice but to act as he did. Stories of Stavrogin’s “mysterious adventures in Switzerland” (315) fade away. While Varvara begins to see Stepan as a lazy man who has relied on her generosity for too long, Yulia Mikhailovna, the wife of the new governor, begins to form a new friendship with Stepan’s son, Peter Verkhovensky. Yulia decides to organize a “literary gathering” (317) in the town. She enlists Peter’s help and plans to have Peter and Karmazinov both give readings, alongside Stepan.
Cracks begin to form in the relationship between Peter and Stavrogin; Peter criticizes Stavrogin’s recent behavior. Peter also visits his father to talk about the upcoming literary festival. He does not respect his father, nor his father’s work, and insists on previewing any material that might be read so that Stepan is not “too boring” (321). He mocks his father for his failed attempts to enter into a romantic relationship with Varvara. The narrator believes that Peter intends to embarrass and shame his father “for some distant, extraneous reason of his own” (324) and promises to explain this reason in detail later in the story.
Instead, he turns his attention to the new governor, Andrei Antonovich von Lembke. Von Lembke is a self-made man who rose up through the military ranks, particularly when he married his ambitious and aristocratic wife. He enjoys making cardboard dioramas, though his model of a church embarrasses his wife. Rather than build these models, he agrees to write a book to satisfy his creative interests. However, he is not allowed to talk about it. When he shows his writing to Peter, he is insulted that Peter pretends not to have read the book and then claims to have lost the only copy on the streets of the town. Von Lembke dislikes his wife’s growing affinity for Peter, particularly as she always seems to side with the young new radical with his “flagrant lack of respect” (329). Von Lembke and Peter disagree on many political topics, specifically with regard to the implementation of radical, though perhaps necessary, new ideas.
Preparations are made for Yulia’s literary festival. Young people—including Peter and Liputin—meet regularly in Yulia’s house and “play various pranks, sometimes rather unruly ones” (337). The narrator gives examples of these “scandalous escapades” (339). Fedka robbed several items from a local church and the incident is incorrectly attributed to the group of “mockers.” A live mouse was placed behind the broken glass where an icon once was. After the incident, Liza donated her diamond earrings to the church as “an adornment for the setting” (343).
Two days after the donation of the earrings to the church, the narrator joins Liza, Stavrogin, Peter, and a group of people on a “rather eccentric exhibition” (344). They visit Semyon Yakovleivich, a ”holy fool” who entertains many people. During the journey, they pass a hotel where a man has “shot himself” (345) and they each stop to look at the body. Their stunned silence soon turns to merriment, however, and they are told to leave by the police chief.
The group arrives at the house of Semyon Yakovleivich, where tea is being served to certain visitors depending on the monk’s volatile moods. Liza asks her fiancé Maurice Nikolaevich to embarrass himself by bowing before the monk. He obeys, appearing “tall, ungainly, ridiculous” (353). In the confusing aftermath of the scene, Liza may have slapped Stavrogin across the face. The narrator confesses that he “saw nothing” (354), but the other members of the party insist that something may have happened.
Varvara plans to host her own literary event in Skvoreshniki after Yulia’s event is over, so that everyone in town can “see which house [is] better” (354). Amid her preparations, Varvara invites Stepan to meet her. She informs him that she will provide him with funds to live anywhere else, just “not here” (356). She criticizes his patronizing attitude and his refusal to educate her; she is now interested in radical new political ideas that make Stepan’s views seem outdated. In a demonstration of his love for her, Stepan insists that he does not want her money and that he plans to “make things right” (262). Varvara dismisses his proclamations.
After every notable incident in Devils, the town is beset by rumors. Gossip spreads from person to person, swapped mostly by people who were not present to witness the events in question. Whether discussing Marya or the moment when Stavrogin was punched in the face, the people of the town swap stories and try to come to some communal agreement on what actually happened. Since only a few people were present, the communally-accepted version of events often differs greatly from the actual version of events. The townspeople’s inherent biases and prejudices take over, meaning that they are more willing to criticize a socially ostracized person, such as Marya, while they are more likely to forgive a wealthy and privileged man like Stavrogin. Rather than question why Shatov might have hit Stavrogin, they congratulate the notoriously uncontrollable Stavrogin for not reacting. The rumor turns into yet another way to praise Stavrogin, massaging his reputation while refusing to criticize or scrutinize him in any way.
The way in which rumor and gossip shape the town’s understanding of the world is echoed by the role of the narrator. Frequently, the narrator confesses that he was not present at the scenes that he presents to the audience. Rather, he is assembling some version of events based on rumor and conjecture. The town’s version of events is built on the same fundamentally unreliable subjective perspective as the narrator of the novel. This places the audience in the position of being forced to trust a self-confessed unreliable narrator. Since the audience has already witnessed the way in which rumor and gossip can manipulate the understanding of events, the entire narrative itself is called into question. Devils is a story built on the fundamentally unknowable nature of reality, but one which addresses the human need to form some kind of acceptable, cohesive narrative from whatever facts are available.
While Devils deals mostly with members of the Russian middle class, Fedka stands out for being different. He is not only a member of the working class, but a convicted criminal who has abandoned any pretense of morality. In this respect, Fedka is the most honest man in the novel. While the pretentious middle-class characters are forced to adhere to social expectations and etiquette, Fedka is freed from the constraints that limit the behavior of the other characters. He does whatever he pleases, satisfying his physical and psychological urges in a way that other characters covet. At the same time, Fedka is keenly aware of his status in society. In a moral sense, he has been condemned to serve time for the crimes he has committed. In a social sense, he is condemned to being a member of the working class. In such a rigid social hierarchy, the chances of Fedka being elevated to the middle class are practically nonexistent. Given that he has this social limitation pressed upon him by the wealthy and powerful, he has decided to reject the rules of their society: He robs, kills, and threatens with impunity because he cannot be relegated even lower in society. For a man like Fedka, society has nothing to offer, so he sees no reason why he should obey society’s rules. While men like Peter dress their radicalism in intellectual justifications, Fedka’s radical rejection of society is rooted in his social marginalization.
The duel between Stavrogin and Gaganov is a key moment in the development of Stavrogin’s character. As a naturally self-destructive figure, the opportunity to be annihilated by a morally-righteous opponent should appeal to Stavrogin. Death at the hand of Gaganov would provide him with the judgment that he craves. However, Stavrogin refuses to engage. Gaganov is infuriated when Stavrogin fires into the air rather than try to take part in the duel in good faith. Stavrogin’s refusal to take part turns the duel into a farce, mocking Gaganov and his desire for revenge. Gaganov is infuriated because he is made to look ridiculous. Meanwhile, Stavrogin does not respect Gaganov, so he rejects any kind of judgment or retribution that Gaganov might have to offer.
Stavrogin’s craving for judgment is nuanced. He is desperate for someone to judge him but the person who passes down the judgment must be someone he respects. Given Stavrogin’s lack of respect for so many people in the town, his quest for judgment has become a great deal more complicated. He is willing to turn the entire town into a pantomime rather than endure judgment from a “pathetic” figure like Gaganov.
By Fyodor Dostoevsky
Allegories of Modern Life
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Class
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Class
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Family
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Good & Evil
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Philosophy, Logic, & Ethics
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Politics & Government
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Psychological Fiction
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Satire
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Sexual Harassment & Violence
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