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The possessed: or, The devils

by Fyodor Dostoyevsky

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Set in a provincial Russian town during the 1860s, Fyodor Dostoyevsky’s novel examines the social and political upheavals caused by revolutionary ideologies. The narrative focuses on a group of conspirators led by Pyotr Verkhovensky, who aim to incite political change through revolutionary action, creating chaos within the community. Central to the story is Nikolai Stavrogin, an aristocrat whose enigmatic personality and influence over others serve as a catalyst for the unfolding events. The work combines elements of political satire and psychological characterisation, reflecting the turbulent atmosphere of Russia at the time and exploring the destructive potential of nihilism.

The novel is notable for its complex character development and its portrayal of ideological fanaticism. It scrutinises how radical ideas can corrupt individuals and destabilise societal structures, ultimately leading to violence and social disintegration. Published in 1871–72, the work is regarded as a significant social critique and a reflection of contemporary Russian political tensions.

From the opening pages

mountain; and they besought him that he would suffer them to enter into them. And he suffered them. “Then went the devils out of the man and entered into the swine; and the herd ran violently down a steep place into the lake and were choked. “When they that fed them saw what was done, they fled, and went and told it in the city and in the country. “Then they went out to see what was done; and came to Jesus and found the man, out of whom the devils were departed, sitting at the feet of Jesus, clothed and in his right mind; and they were afraid.” Luke, ch. viii. 32-37. SOME DETAILS OF THE BIOGRAPHY OF THAT HIGHLY RESPECTED GENTLEMAN STEPAN TROFIMOVITCH VERHOVENSKY. I IN UNDERTAKING to describe the recent and strange incidents in our town, till lately wrapped in uneventful obscurity, I find myself forced in absence of literary skill to begin my story rather far back, that is to say, with certain biographical details concerning that talented and highly-esteemed gentleman, Stepan Trofimovitch Verhovensky. I trust that these details may at least serve as an introduction, while my projected story itself will come later. I will say at once that Stepan Trofimovitch had always filled a particular rôle among us, that of the progressive patriot, so to say, and he was passionately fond of playing the part—so much so that I really believe he could not have existed without it. Not that I would put him on a level with an actor at a theatre, God forbid, for I really have a respect for him. This may all have been the effect of habit, or rather, more exactly of a generous propensity he had from his earliest years for indulging in an agreeable day-dream in which he figured as a picturesque public character. He fondly loved, for instance, his position as a “persecuted” man and, so to speak, an “exile.” There is a sort of traditional glamour about those two little words that fascinated him once for all and, exalting him gradually in his own opinion, raised him in the course of years to a lofty pedestal very gratifying to vanity. In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant

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