Notes from Underground Summary

 

Notes from Underground is a philosophical novella written by Fyodor Dostoevsky in 1864 in St. Petersburg and published the same year. While it belongs to the Realist literary period, many of its features anticipate modernism and existentialism. Set in St. Petersburg, Russia, the novella presents a fragmented and introspective narrative rather than a conventional plot with a clear climax. However, several minor climaxes occur, such as when the underground man finally collides with the officer in part one, embarrasses himself at Zverkov’s party, and unsuccessfully tries to give money to Liza toward the end. The primary antagonist in the underground man’s life is mainstream society, represented by figures like the officer, Simonov, and Zverkov. However, he also struggles against himself, his own contradictory nature, and his excessively self-conscious mind.

Summary

A note from the author introduces a fictional character called the underground man. The author says that this character represents people from the current generation and that his scattered notes make up the story that follows. The underground man begins by telling the reader that he is sick, spiteful, and unattractive. He does not know what illness he has but refuses to see a doctor out of spite. He has been living underground for twenty years, but before that, he worked in the civil service, where he was rude to people who came to his desk. He says he is neither a good nor bad person, neither a hero nor a worthless insect. He believes that in the 19th century, no intelligent person can be a man of action or have strong character.

The underground man claims he is not to blame for being unpleasant. He says that his "overly sharp awareness" stops him from taking action. According to him, being too aware is like a sickness. He wishes someone would slap him in the face but says he would neither forgive them nor seek revenge. He explains that unlike less intelligent people who act without thinking, an overly aware person hesitates because of too many doubts. He compares himself to a mouse that runs away into its hole. He criticizes people who accept facts, like those who believe "two times two makes four." Unlike them, he dislikes such unquestionable truths. He even finds pleasure in suffering, comparing it to someone enjoying their own loud groans during a toothache, even if it annoys others. He asks whether someone who is fully aware of themselves can ever truly respect themselves.

He then says he is incapable of apologizing. As a child, when he did something wrong, he would cry and regret it, but he later realized his feelings were fake. He admits that he often gets into trouble out of boredom, which comes from his excessive thinking. He argues that people who take action do so only because they are foolish. They believe they have found a reason for their actions, but a truly intelligent person questions everything and never acts unless it is out of spite.

The underground man talks about people who believe humans only do bad things because they do not know their true interests. Some think that if people knew what was best for them, they would always act rationally. He disagrees, saying that sometimes people want things that harm them. He mentions wars like the Napoleonic Wars and the American Civil War to argue that civilization has made people crueler. Some believe that as science advances, society will become more perfect, like a "crystal palace," but he finds this idea boring. He says people prefer to follow their own foolish will rather than reason. Sometimes, people want to do things that go against their own interests just to prove they have free will. He argues that human history is irrational and that irrationality is the only way to rebel against strict logic. He says that "two times two makes four" is not life, and that "two times two makes five" is better.

Continuing his argument, the underground man says that suffering can be enjoyable and that humans sometimes love suffering. He believes the idea of a perfect utopian society is false and says he would reject it because he would not be allowed to act rudely out of spite. He tells the reader not to believe a word of what he has written. He claims he has no intention of publishing his notes and is only writing to cure his boredom. He then says that it is snowing outside, which reminds him of a story. In part two of the novella, he will tell "a tale about wet snow."

The underground man’s story takes place when he was 24 and still working in the civil service but living a lonely life. Sometimes he wanted to be friends with his coworkers, but other times he hated them. He criticizes himself for being too much of a Romantic and talks about Romanticism. He says that French and German Romantics are foolishly idealistic, while Russian Romantics are more practical. He spent most of his time reading but also fell into dark and shameful habits due to depression and his love of contradictions. He says he is not trying to justify his actions, but then changes his mind and says he is.

One night, he sees a man get thrown out of a bar for fighting. He goes inside, hoping to start a fight himself. He intentionally stands in the way of an officer, but the officer simply moves him aside without saying a word, treating him like an insect. The underground man considers challenging him to a duel but realizes people would laugh at him. He starts following the officer around St. Petersburg and writes him a letter but never sends it. He sees the officer often and usually steps aside when they cross paths. He decides to stop moving aside and instead bump into the officer out of spite. He borrows money to buy nice clothes for the occasion. At first, he keeps stepping out of the way at the last second, but finally, he succeeds in bumping into the officer. However, the officer acts like nothing happened. The underground man believes the officer is pretending and feels "avenged for everything."

This feeling soon fades, and he seeks comfort in his dreams of being heroic and admired like a character from a Lord Byron novel. For three months, he imagines himself as a great man whom everyone loves. Eventually, he gets tired of dreaming and wants to interact with people. He visits an old schoolmate, Simonov, whom he has not seen in a year. He finds two other former classmates there, none of whom seem to notice him much. They are planning a farewell dinner for a friend named Zverkov, whom the underground man remembers as an arrogant and handsome person he always hated. He invites himself to the dinner, and they reluctantly agree.

After leaving Simonov’s apartment, he berates himself for inviting himself and wonders if he should go. But he knows he will go, even though he has no money. He recalls being a lonely student who was more intelligent than his classmates but had no real friends. He sometimes tried to befriend people, but only to control them.

The next day, he prepares for the dinner, worrying that it will be awkward. He arrives early and waits alone while the waiter sets the table. When the others arrive, they laugh at him for coming too soon. They ignore him during the conversation, making him feel humiliated. As he gets drunk, he tries to join in but only makes things worse. Finally, he gives a toast insulting Zverkov. Ferfichkin, one of the guests, threatens to hit him, and the underground man challenges him to a duel, but everyone just laughs. The others leave for a brothel, and the underground man follows them, hoping to either win them over or slap Zverkov.

On the way, he decides he will definitely slap Zverkov, but once he arrives, he cannot find him. Instead, he spends the night with a young prostitute named Liza. The next morning, feeling miserable, he tells Liza about the terrible fate of prostitutes. He talks about marriage and urges her to leave her life behind. Liza cries, and he gives her his address.

The underground man later writes a letter apologizing to Simonov for his behavior. He worries that Liza will visit and see how pathetic he truly is. Days pass, and he feels relieved she has not come. He describes his rude and stubborn servant, Apollon. One day, he tries to make Apollon beg for his wages, but Apollon simply stares him down until he gives in. Just then, Liza arrives. Ashamed, the underground man cries and tells her he does not pity her and wants her to leave. She embraces him, but he feels nothing in return. When she finally leaves, he gives her money out of spite. She refuses it and walks out. He considers running after her, begging for forgiveness, but stops himself. He never sees her again.

He ends his notes feeling ashamed. He angrily says that all humans are "cripples," disconnected from real life. He claims he is just an extreme version of what others secretly are. He says he will stop writing. An author's note concludes the novella, stating that the underground man wrote more, but this is a good place to stop.

1. The Underground Man as an Antihero

The Underground Man embodies a deeply contradictory, self-destructive, and alienated figure. He is not a traditional hero or villain but an extreme representation of the modern, introspective, and excessively rational individual. His "overly sharp awareness" prevents him from taking action, as he constantly questions himself and others. He resents society but is also obsessed with how others perceive him. His contradictions reveal a fragmented identity—he is both desperate for connection and determined to sabotage it.

2. The Crisis of Rationalism and Free Will

One of the novel’s central arguments is against the 19th-century belief in rationalism and progress. The Underground Man rejects the idea that humans will act rationally if they understand their best interests. He argues that people often act against reason out of spite, desire, or sheer will to prove their independence. His reference to "two times two makes five" symbolizes this rebellion against absolute rationality, opposing the deterministic logic that governs scientific and social progress.

This critique foreshadows existentialist themes, particularly in thinkers like Jean-Paul Sartre, who later explored the absurdity of human existence and the struggle for authenticity.

3. Pleasure in Suffering and Self-Destruction

A paradox at the heart of the Underground Man’s character is his masochistic enjoyment of suffering. He describes the satisfaction of listening to one’s own groans during a toothache, a metaphor for his deeper pleasure in self-inflicted misery. His suffering gives him a sense of identity and superiority, as he sees himself as more "aware" than those who live unreflectively.

This aligns with Dostoevsky’s broader themes of suffering as a form of existential awareness. Unlike in Crime and Punishment, where suffering leads to redemption, in Notes from Underground, suffering is an end in itself—an exercise in proving the futility of rationality and morality.

4. Social Alienation and Inability to Connect

The Underground Man’s interactions with others, from his colleagues to the officer he obsesses over, highlight his social alienation. He simultaneously desires recognition and actively ensures he remains an outcast. His awkward interactions at the dinner party demonstrate his deep insecurity—he wants to assert superiority but ends up humiliating himself.

His relationship with Liza is perhaps the most tragic instance of this alienation. He initially presents himself as a savior, convincing her that she deserves a better life. However, when she later reaches out to him, his fear of vulnerability leads him to reject her cruelly. This moment encapsulates his existential crisis: he wants love and connection but cannot accept them without feeling diminished.

5. Romanticism vs. Realism

The Underground Man criticizes Romanticism, noting that French and German Romantics are unrealistic dreamers, while Russian Romantics are more practical. Yet, he himself is a failed Romantic—he dreams of grandeur and admiration but is trapped in a mundane, humiliating reality. His imagined revenge against the officer and his fantasy of being a Byronic hero contrast sharply with his actual cowardice and social awkwardness. This conflict reflects Dostoevsky’s critique of Romantic ideals, which often clash with the harsh realities of human nature.

6. The “Underground” as a Metaphor

The Underground Man’s retreat into isolation symbolizes his rejection of social norms and his descent into self-destructive introspection. His "underground" existence represents intellectual and emotional exile, where he overanalyzes every action to the point of paralysis. This aligns with later existentialist themes of alienation, particularly in figures like Sartre’s Roquentin (Nausea) and Camus’s Meursault (The Stranger).

7. Narrative Structure and Unreliability

The novel’s fragmented structure—shifting between philosophical monologues and personal anecdotes—mirrors the Underground Man’s unstable psyche. He frequently contradicts himself, admits he is lying, and mocks his own arguments. His unreliability forces the reader to question the validity of his statements, making Notes from Underground an early example of modern psychological realism.

Dostoevsky’s Existential Masterpiece

Notes from Underground is not just a critique of rationalism and utopianism but also an exploration of human contradictions. The Underground Man is a prototype of the modern existentialist antihero—alienated, self-destructive, and trapped in his own mind. Dostoevsky anticipates 20th-century existentialism by demonstrating that excessive introspection and hyper-rationality can lead to paralysis rather than enlightenment.