INTRODUCTION:

The underground man’s contempt for the understanding of science, literature, philosophy, etc. seems to sound courageous note for humanity in critical way also the inverted dialectic of his self-assertion reveals that his defiance of reality. The modern man is failed to attempt luxurious world of pleasure, and stared driving himself into further deeper underground. Though there is accepted notion of world becoming rich, there is a man dwelling in the underground complaining rational approach. Many research approaches on Dostoevsky secretly admiring for the intertwining of ethical, mystical, and autobiographic garland of threads, reverberating the common perception of Dostoevsky's original larger than life with convincing thought. Each of these threads in turn reflects a particular Dostoevskian marking as an ethical emphasis on freedom, psychology, sociology and literature of life angle metaphysics, or a sharp aloofness of the self from other in Dostoevsky's own experiments with doubles. The role of Dostoevsky’s writings opens the doors, as his retrieval is implicated not only through a specific theme or character or whole life but also through the retelling nature of a reality that embodies the unique matrix of the self.

SOCIO-PSYCHOLOGICAL REALISM:

The key to the meaning of Notes from the Underground lies in its socio-psychological realism, in the unspoken but implicit truth that with increasing force reinforces with the preferred self-analysis. The author contends that before all man must decide between dehumanizing civilization and self-affirmation, society fortifies itself by a “stone wall” made up of “the laws of nature, the mixture of, science, mathematics, per se, you have to accept it whether you like it or not. [5]

God Almighty, what do I care for the laws of nature and arithmetic lf for some reason or other I don't like those laws of twice two- four? Granted that I shall never be able to break through such a wall with my forehead, if I actually do not possess the strength to do it, but I shall not reconcile myself to it just because I have to deal with a stone wall and have not the strength to knock it down. (pp. 117-1 18; IV, 142.)

The philosophy established between the “stone wall” and the reality sharply resolves itself in the praise of inevitability. The established system does not ask for your opinion as a lion never loses sleep on the opinions of sheep.

The underground man defends himself not only (Part I) on the basis of society in general, but in view of the types of people it produces (Part 11). Reminiscing in his dark cellar about the acquaintances of his youth, he offers several specific instances to justify his isolation. At work, his “indecent” and “filthy” colleagues regard him, “I couldn't help feeling, with a sort of loathing” (p. 147; IV, 168). Material prosperity is engraved day to day with science and technology. Man is marveling at graceful lifestyles. Fast living with calculators, computers, and automobiles just instead of type machines, piano keys, and theory of evolution by Darwin. There is nothing change just increased the volume of work. There is no privacy as people are working together towards a common goal. The people are submitting to organize living with assiduous plan and action. This is advanced Crystal Palace of 1851 in London. The modern world is encouraging team work, people skills, working smart, transparent glass of repository for knowledge and brilliant work place at the same time underground man is delving into deeper ground. The underground man does not identify another underground man behaves with him as if he is modern “on ground man”. Some notes in his book underlined with tears and reads it constantly and accepts drowsy numbness pain like John Keats. His own statements in the notes are contradictory. He writes sharply without logic or reason. [1]

CRITICAL REVIEW:

The notes are a kind of confessions he pretends to accept or perhaps a set of memoirs. He does not want to explain his alienation because he likes to be alienated.

The scene affords a sudden brilliant illumination of man’s two antithetical directions. The shy and bewildered girl overcomes her humiliation in compassionate recognition of the other’s suffering. Her self-transcendence is an act both of free will and of faith which frees her from the deceiving categories of the isolated ego; and it is consummated in the warm and rapturous embrace which affirms the self. His notion of sublimity is killed by his basic human instinct which clearly shows when he sleeps with a prostitute named Liza. After having sex with her, he lectures Liza on how she really should not be a prostitute and purpose of noble life. She is the object of the Underground Man’s latest literary fantasy and power trip.[4] “And will it not be better, will it not be much better as such,” I fancied afterwards at home, giving full rein to my imagination and suppressing, by means of these fantasies, the living pain in my heart, “will it not be much better that she should now carry that insult away with her forever? An insult, but that is purification… now the insult will never die in her… now that humiliation will raise her and purify her!" And, in reality, here am I already putting the idle question to myself-which is better, a cheap happiness or exalted suffering? Well, which is better?” (p. 238; IV, 242.)

The doubt he hypothesis here expresses the indecisiveness of social and cultural myth. It is he who bears insult forever. Critics find that the protagonist of the novella is motivated by the dedication to full personal freedom, though as Marxists they denounce him as common man of bourgeois individualism, its focus seems to stem from torturing life assertion against the positive values of life. It is nihilistic way of distrust of human beings which resulted from his distant living in Siberia prison cell [2]. At the other extreme, recent existentialist writers the Notes as an unheard of songs of individuality comparable to the autobiographical works of Augustine, Pascal, and Rousseau. In this living image of solitude and despair, according to Robert Louis Jackson, Dostoevsky reaffirms the absolute value and integrity of the single, separate individual; in the pathos of suffering, doubt and despair, Dostoevsky finds the essence of man's identity. If there is any work which leaves man boundless freedom of choice, and imposes a tremendous responsibility for that choice, it is Notes from the Underground.

Lionel Trilling points to a correspondence between modern senses of self- the emergence of the concept of an individual in the modern senses- and the emergence of autobiography. George Steiner, Hedgehog, Fox in their proposition, It is as if the self could only be realized within existent literary structures. At the same time, the frequency of this mode of literary retrieval's reiteration points to the fact that autobiography itself, as a vehicle of recuperation, is somehow insufficient. In De Man's view, the “giving of a face” positing the self as object achieves not the self-suturing that was originally desired, but rather the revelation of a divided subject, threatened by his own representation. Yet, it seems that literary models may in fact be called upon to supplement this deficit. In this capacity, these writers seem to invoke inter-textuality recuperative function, approaching the dialogic word as inherently inter-subjective. According to Mikhail Bakhtin, recuperation of another’s word represents a merging of selves, as the word becomes one's own through the act of appropriation. In this utilitarian function, Dostoevsky’s image reads as a passport, the means to psychic and creative survival literature as safe passage through the anxious straights of biographic or literary disruption. It is not just record of his ‘Notes’ but stupid person for the world. I believe he might make a mistake in beginning to write them; anyway he has to feel ashamed all the time he started telling this story.

Dostoevsky is the creator of the social realistic novel. He created a fundamentally new novelistic genre. Therefore his work does not fit any of the preconceived frameworks or historic-literary schemes that we usually apply to various species of the European novel. In his works a hero appears whose voice is constructed exactly like the voice of the author himself in a novel of the usual type. From Dostoevsky’s viewpoint monographic visualization and understanding of the represented world, from other elite section of Romanticism canon for the proper construction of novels, Dostoevsky's world is chaotic, and the theme of his novels are a sort of conglomerate of disparate materials an incompatible principles for shaping them. Only in the light of Dostoevsky’s prolific artistic task, which we will formulate here, can one begin to understand the profound organic cohesion, consistency and holistic nature of Dostoevsky's writings on life. Socio-psychological approach instills philosophizing with the characters of Dostoevsky’s prolific works and a passionate psychological analysis of them as stories of human life are equally capable of penetrating the special artistic electrochemical neurons on us. The enthusiasm of the one is incapable of visualizing, in an objective and authentically realistic way, a world of other people’s consciousnesses is the realism of the other to breathe in volcano, as it is quite obvious that artistic problems as such are either avoided entirely, or are treated superficially, almost by incidentally [7]. The protagonist’s ideas lying at the base in the novel are as much the subject of representation of life at large, as much ideal hero, in its way he becomes important representation of the construction for the entire novel as a whole. That is how, the author himself as the artist, if that were the case we would have an ordinary philosophical or psychological novel of the theme. The hierarchical emphasis is given to some of these ideas transform the Dostoevskian novel into an extraordinary novella.

CONCLUSION:

All of Dostoevsky’s novels is there any evolution of a unified spirit is highlighted, in fact there is no round characters, no growth in general, precisely to the degree that there is none in tragedy. The novella Notes from the underground presents an equivalence rational justice to absurd reality of life. Dostoevsky’s extraordinary artistic capacity for seeing everything in coexistence in time and space is his greatest strength to note it as classic. There are no more barriers to cross. All he has in common with the uncontrollable and in fate, the vicious and the evil, all the mayhem in life has caused, and his utter indifference toward it.

REFERENCES:

1. 1 Berthoff, Werner. (1965) The Ferment of Realism: American Literature, 1884-1919. New York: Free Press

2. De Man, Paul. “Autobiography as De-faceement.” MLN, Vol.94. Baltimore: Johns Hopkins University Press:1922

3. Fanger, Donald (1998) Dostoevsky and Romantic Realism: A Study of Dostoevsky in relation to Balzac, Dickens, and Gogol. Evanston, Illinois: Northwestern University Press

4. Kumar, Chinta Praveen. "Notes from the Underground: A Psycho Analytical Criticism with Reflection on Today's Man." Research Journal of Humanities and Social Sciences Rese Jour Human. and Soci. Scien. 7.1 (2016): 6. Web. ISSN 2321-5828

5. Chinta Praveen Kumar, “Reality of Sisyphus” International Multidisciplinary Research Journal Golden Research Thoughts Vol. III Issue VII Jan 2014 ISSN No.2231-5063

6. Chinta Praveen Kumar, “Guilty Pleasures” The Criterion-an International Journal in English Vol-5, Issue-1, February 2014 ISSN 0976-8165

7. Lawall, Sarah. Ed. “Fyodor Dostoevsky.” The Norton Anthology of world Literature Vol. E. New York: Norton: 1301-1306.

Received on 06.08.2016 Modified on 26.08.2016

Int. J. Ad. Social Sciences 4(3): July- Sept., 2016; Page 161-163.