Quote Atlassourced quotes & context
Author & topic collection

Deep Quotes by Fyodor Dostoevsky

Browse 7 quotations connecting Fyodor Dostoevsky with Deep, with meanings, source notes and related themes.

Sources

Where these deep quotations appear

Sources represented here include Notes from Underground, The Brothers Karamazov, Crime and Punishment.

7 shown
Quotations

7 matching quotations with meanings and source context

Source identified1
Taking a new step, uttering a new word is what they fear most.

“Taking a new step, uttering a new word is what they fear most.”

Voice: Fictional character · Raskolnikov

The thought notices how novelty can feel more threatening than familiar difficulty, but in the novel it belongs to Raskolnikov while he is approaching a contemplated crime, so it is not presented as generic motivational advice.

Source details

Crime and Punishment, Part I, Chapter I, printed page 2 / Wikisource scan leaf 34, Constance Garnett translation in the scan-backed 1917 Harvard Classics Shelf of Fiction / P. F. Collier & Son edition, cross-checked against Project Gutenberg #2554. Raskolnikov thinks “Taking a new step, uttering a new word is what they fear most” while walking toward the pawnbroker during his contemplated “rehearsal”; the line remains morally compromised fictional interior monologue rather than generic motivational advice.

Source identified2
Suffering is the sole origin of consciousness.

“Suffering is the sole origin of consciousness.”

Voice: Fictional narrator · Underground Man

The narrator makes an extreme claim that awareness grows from doubt, friction, and pain, consistent with his attack on effortless rational utopias.

Source details

Notes from Underground, Part I, Chapter IX, Constance Garnett translation. The Underground Man claims that suffering is the sole origin of consciousness while attacking the imagined rational “Palace of Crystal.” Verified against Project Gutenberg #600 and the 1918 Heinemann White Nights and Other Stories Wikisource text; this remains the fictional narrator’s extreme proposition, not current psychological evidence.

Source identified3
Twice two makes five is sometimes a very charming thing too.

“Twice two makes five is sometimes a very charming thing too.”

Voice: Fictional narrator · Underground Man

The absurd equation represents the human impulse to resist perfect rational calculation simply to preserve a sense of independent choice.

Source details

Notes from Underground, Part I, Chapter IX, Constance Garnett translation. The “twice two makes five” line immediately follows the narrator’s complaint about mathematical certainty. Verified against Project Gutenberg #600 and the 1918 Heinemann White Nights and Other Stories Wikisource text.

Source identified4
Twice two makes four seems to me simply a piece of insolence.

“Twice two makes four seems to me simply a piece of insolence.”

Voice: Fictional narrator · Underground Man

The narrator rebels against a model of human life reduced to rational certainty, using arithmetic as a symbol for systems that leave no room for will.

Source details

Notes from Underground, Part I, Chapter IX, Constance Garnett translation. The Underground Man rebels against mathematical certainty and calls “twice two makes four” a piece of insolence. Verified against Project Gutenberg #600 and the 1918 Heinemann White Nights and Other Stories Wikisource text.

Source identified5
To be too conscious is an illness—a real thorough-going illness.

“To be too conscious is an illness—a real thorough-going illness.”

Voice: Fictional narrator · Underground Man

The Underground Man treats excessive self-consciousness as paralyzing because reflection can multiply doubt until decisive action becomes difficult.

Source details

Notes from Underground, Part I, Chapter II, Constance Garnett translation. The Underground Man calls excessive consciousness “an illness—a real thorough-going illness.” Verified against Project Gutenberg #600 and the 1918 Heinemann White Nights and Other Stories Wikisource text; this is fictional first-person polemic, not a clinical diagnosis.

Source identified6
Above all, don’t lie to yourself.

“Above all, don’t lie to yourself.”

Voice: Fictional character · Father Zossima

Self-deception is presented as especially damaging because it corrupts the person’s ability to recognize truth both inwardly and around them.

Source details

The Brothers Karamazov, Book II, Chapter 4, “A Lady of Little Faith,” Constance Garnett translation, verified against Project Gutenberg #28054 and Wikisource. Father Zossima tells the visitor, “Above all, don’t lie to yourself,” and develops the warning into an argument about self-deception, respect and love; this is fictional character counsel inside the novel.

Source identified7
What is hell? I maintain that it is the suffering of being unable to love.

“What is hell? I maintain that it is the suffering of being unable to love.”

Voice: Fictional character · Father Zossima

Hell is defined psychologically and spiritually as incapacity for love, making isolation from loving action itself a form of suffering.

Source details

The Brothers Karamazov, Book VI, Chapter 3, Constance Garnett translation, verified against Project Gutenberg #28054 and Wikisource. In Father Zossima’s final conversations and exhortations, he defines hell as the suffering of being unable to love; this is explicitly Christian theological character speech inside the novel.

More from this author

Other topic collections for Fyodor Dostoevsky