The Reflection of Dostoevsky’s Crime and Punishment in the Novel Imaginary Magnitudes by Nikolay Narokov: Narrative and Ideological Intersections

Abstract

The article discusses the elements of continuity with Russian classics in Nikolay Narokov’s novel Imaginary Magnitudes, namely its orientation towards the work of Fyodor Dostoevsky and his novel Crime and Punishment. Parallels with Crime and Punishment in the plot, but also in the genre and ideological content, can be found in Narokov’s novel. The center of the novel is a Chekist hero obsessed with an idea, like Raskolnikov. He sees salvation in Eulalia, who represents the moral ideal, like Sonechka in Dostoevsky’s novel. Raskolnikov’s idea of people “who have the right” is brought to the limit by Narokov. Studying the psychology of Chekist Lyubkin, he tries to comprehend the tragic era of 1937, the Stalinist repressions. Two types of links with the traditions of Russian literature are found in the novel. On the one hand, there is a conscious adherence to them, a desire to maintain a connection with the native culture in the conditions of emigration. Communication with predecessors becomes an instrument for spiritual and emotional survival. On the other hand, typological connections can also be found. In a situation of loss of moral guidelines, the dark side of life is exposed and becomes evident. In the novel Imaginary Magnitudes Narokov shows the relevance of Dostoevsky’s ideas, its timeless significance, focusing on the falsity and lifelessness of ideas divorced from the enduring truth.

Keywords

• dostoevsky
• russian migration literature
• imaginary magnitudes
• narokov
• crime and punishment
• psychologism
• novel
• plot
• traditions