The Concept of Hidden Polemic in Two Editions of Bakhtin’s Work on Dostoevsky

Campos, Maria Inês Batista

doi:10.1590/2176-457348617

Maria Inês Batista Campos

Universidade de São Paulo-USP, Faculdade de Filosofia, Letras e Ciências Humanas, Departamento de Letras Clássicas e Vernáculas, Campus Butantã, São Paulo, São Paulo, Brazil; maricamp@usp.br

http://orcid.org/0000-0003-0004-9923

Tables (11)

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1929 Edition 1963 Edition 22 Chapter 2 The Hero in Dostoevsky (14p.) Chapter 2 The Hero, and the Position of the Author with Regard to the Hero, in Dostoevsky’s Art23 (34p.) The hero from the underground listens to every word others say about him, almost as if he were looking in all the mirrors of the consciousness of others, knowing all the possible refractions of his own image in them; he also knows his own objective definition, neutral, both with respect to the consciousness of the other and with respect to his self-consciousness, taking into account the point of view of a “third” party (BACHTIN, 1997, p.138).24 The hero from the underground eavesdrops on every word someone else says about him, he looks at himself, as it were, in all the mirrors of other people's consciousnesses, he knows all the possible refractions of his image in those mirrors. And he also knows his own objective definition, neutral both to the other's consciousness and to his own self-consciousness, and he takes into account the point of view of a “third person.” (BAKHTIN, 1984, p.53 [1963]).25

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1929 Edition 1963 Edition 27 Chapter 3 The idea in Dostoevsky (15p.) Chapter 3 The idea in Dostoevsky 28 (26p.) Dostoevsky’s hero is not only a word about himself and his intimate circle, it is also a word about the world: he is not only a conscious being, he is an ideologue. The “underground man,” is already an ideologue, but the ideological creation of the characters reaches full meaning in the novels [...] This is why the word about the world fuses with the confessional word about oneself. (BACHTIN, 1997, p.149).29 Dostoevsky's hero is not only a discourse about himself and his immediate environment, but also a discourse about the world; he is not only cognizant, but an ideologist as well. The “Underground Man” is already an ideologist. But the ideological creativity of Dostoevsky's characters reaches full significance only in the novels […] Thus, discourse about the world merges with confessional discourse about oneself. (BAKHTIN, 1984, p.78 [1963])30

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1929 Edition 1963 Edition 32 Chapter 4 Function of the adventure plot in Dostoevsky’s works33 (11p.) Chapter 4 Characteristics of Genre and Plot Composition in Dostoevsky’s Works34 (91p.)

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1929 Edition 1963 Edition Chapter 1 of the second part Types of Prosaic Words. The Word in Dostoevsky (29p.) Chapter 5 Discourse in Dostoevsky Section i. Types of Prose Discourse. Discourse in Dostoevsky44 (27p.) In the hidden polemic, the authorial discourse is directed, as all other discourses, to the object itself, but in this each affirmation about the object is constructed from the way that, besides its object meaning, the others’ discourse on the same theme is attacked polemically, the other’s statement about the same object. A word directed at its object confronts, in the object itself, the other’s discourse. The other’s discourse in itself is not reproduced, it is only implied: but the internal structure of the discourse would be absolutely another, if it did not have this reaction to the other’s word that is implied [...] The polemical hue of the discourse appears in other solely language features as well: intonation and syntactic construction. (BACHTIN, 1997, pp.200-201).45 In a hidden polemic the author's discourse is directed toward its own referential object, as is any other discourse, but at the same time every statement about the object is constructed in such a way that, apart from its referential meaning, a polemical blow is struck at the other's discourse on the same theme, at the other's statement about the same object. A word, directed toward its referential object, clashes with another’s word within the very object itself. The other’s discourse is not itself reproduced, it is merely implied [...] The polemical coloration of the discourse appears in other purely language features as well: in intonation and syntactic construction (BAKHTIN, 1984, pp.195-196 [1963]).46

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41p.) Chapter 5 Discourse in Dostoevsky Section 2: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels49 (40p.) “To live more than forty years is inconvenient, vulgar, immoral! Who lives more than 40 years? Answer me that, sincerely, honestly. I’ll tell you who: imbeciles and rapscallions, none other. And I will say this to their faces, those respectable elderly gents, with their silver crowns, and all perfumed! I’ll say all of it, to the whole world’s face. I have the right to say these things, because, for my part, I shall live to be sixty. To sixty, I shall live! ... Wait! Let me catch my breath for a moment [...]’’ (BACHTIN, 1997, p.245).50 To live longer than forty years is bad manners; it is vulgar, immoral. Who does live beyond forty? Answer that, sincerely and honestly. I will tell you who: fools and worthless people do. I tell all old men that to their face, all those re- spectacle old men, all those silver-haired and reverend old men! I tell the whole world that to its face. I have a right to say so, for I'll go on living to sixty myself. I'll live till seventy! Till eighty! Wait, let me catch my breath. [SS IV, 135; “Notes,” Part One, 1] (BAKHTIN, 1984, p.228 [1963]).51

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (p.41) Chapter 5 Discourse in DostoevskY Section 2: “The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels” (p.204)52 ‘Certainly, you gentlemen, are thinking that I wanted to make you laugh, am I right? Well, even in that you are wrong. I really am not that fun type that you think me, or perhaps believe I am; and, on the other hand, if you all, annoyed as you are by all of my chattering (precisely, because, I sense you are annoyed), you had an idea to ask me who I am exactly, I then would respond that I am a college counselor. (BACHTIN, 1997, p.245).53 No doubt you think, gentlemen, that I want to amuse you. You are mistaken in that, too. I am not at all such a merry person as you imagine, or as you may imagine; however, if irritated by all this babble (and I can feel that you are irritated) you decide to ask me just who I am—then my answer is, I am a certain low-ranked civil servant. (BAKHTIN, 1984, p.229).54

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (p.41) Chapter 5 Discourse in Dostoevsky Section 2: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (p.204)55 I bet you are thinking I write all this out of flamboyance, or to be upbeat at the expense of men of actions, and that always, for love of flamboyance of bad taste, I also am clinking my sword, like that of my officer. (BACHTIN, 1997, p.246).56 I’ll bet you think I’m writing all this out of swagger, to be witty at the expense of active figures, and swagger of a bad tone besides, rattling my sabre like my officer (BAKHTIN, 1984, p.229 [1963]).57

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41p.) Chapter 5 Discourse in Dostoevsky Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (40p.) You will say that it is vulgar and low to put all of this on display [the hero’s dream, M.B.] as if I were at the open market, after all the states of drunkenness and tears to which I confessed just now. But why low, gentlemen? [...] (BACHTIN, 1997, p.247).59 You will say that it is vulgar and base to drag all this [the hero's dreaming — M. B.] into public after all the tears and raptures I have myself admitted. But why is it base? Can you imagine that I am ashamed of it all, and that it was stupider than anything in your life, gentlemen? (BAKHTIN, 1984, p.228 [1963])60

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41 p.) Chapter 5 Discourse in Dostoevsky Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels” (40p.) Yes, exactly thus, I steal your tranquility, I torment your soul, I don’t let anyone in the house sleep. And this precisely because you shouldn’t sleep, but only feel also, at every moment, that I have a toothache. Now, for you all, I am no longer that hero that I tried to seem to be before, but simply a little coward, a chenapan. So be it! I am really happy you finally understand. (BACHTIN, 1997, p.249)62 [...] It seems I am troubling you, I am lacerating your hearts, I am keeping everyone in the house awake. Well, stay awake then, you, too, feel every minute that I have a toothache. I am no longer the hero to you now that I tried to appear before, but simply a nasty person, a scoundrel. Well, let it be that way, then! I am very glad that you see through me. [...] (BAKHTIN, 1984, pp.231- 232 [1963]).63

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1929 Edition 1963 Edition Chapter 2 The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41 p.) Chapter 5 Discourse in Dostoevsky Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (40p.) [...] I triumphed over everything and everyone, obviously, they were reduced to ashes [...] Everyone cried and kissed me (or they would have been true fools), and I walked, barefoot and starving, preaching new ideas and tore down the retrograde in Austerlitz (BACHTIN, 1997, p.251).65 I, for instance, was triumphant over everyone; everyone, of course, lay in the dust and was forced to recognize my superiority [...] Everyone would weep and kiss me (what idiots they would be if they did not), while I would go barefoot and hungry preaching new ideas and fighting a victorious Austerlitz against the reactionaries. [SS IV, 181; “Notes” Part Two, ch. II] (BAKHTIN, 1984, p.233 [1963]).66

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1929 Edition 1963 Edition Part II- Chapter 4 Dialogue in Dostoevsky (2p.) Chapter 5 Section 4: Dialogue in Dostoevsky (18p.) Also, the tears now are scarce, those tears of the poor bashful woman who, before you, could not contain herself: even for her, I would never forgive you! And for what I confess to you now, I shall never forgive you!” This was how he yelled during his confession to the girl who loved him. “But do you understand or not, that now that I said these things I will hate you because you were here listening to me?” [...] (BACHTIN, 1997, p.283. Trad. SANTORO, E., 2019).69 And I will never forgive you for the tears I could not help shedding before you just now, like some silly old woman put to shame. And for what I am confessing to you now I shall never forgive you either!" he shouts, during his confession to the girl who has fallen in love with him. Do you understand how I will hate you now after saying this, for having been here and listening? [...]” (BAKHTIN, 1984, p.253 [1963]).70

1929 Edition

1963 Edition ²² 22 For reference, see footnote 5.

Chapter 2

The Hero in Dostoevsky (14p.)

Chapter 2

The Hero, and the Position of the Author with Regard to the Hero, in Dostoevsky’s Art²³ 23 For reference, see footnote 5, p.47. (34p.)

The hero from the underground listens to every word others say about him, almost as if he were looking in all the mirrors of the consciousness of others, knowing all the possible refractions of his own image in them; he also knows his own objective definition, neutral, both with respect to the consciousness of the other and with respect to his self-consciousness, taking into account the point of view of a “third” party (BACHTIN, 1997, p.138BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).²⁴ 24 In Italian: “L'eroe del sottosuolo tende l'orecchio a ogni parola altrui su se stesso, quasi si guardasse in tutti gli specchi delle coscienze altrui, conosce tutte le possibili rifrazioni in essi della propria immagine; egli conosce anche la propria definizione oggettiva, neutrale tanto rispetto a una coscienza altrui che alia propria autocoscienza, tiene conto del punto di vista di un ‘terzo’” (BACHTIN, 1997, p.138). In Portuguese: “O herói do subsolo estende o ouvido para cada palavra alheia sobre ele mesmo, quase como se se olhasse em todos os espelhos das consciências alheias, conhece todas as possíveis refrações de sua própria imagem neles; ele conhece também sua própria definição objetiva, neutra, tanto a respeito da consciência do outro quanto a respeito da sua autoconsciência, leva em conta o ponto de vista de um ‘terceiro’” (BACHTIN, 1997, p.138. Trad. SANTORO, E., 2019).

The hero from the underground eavesdrops on every word someone else says about him, he looks at himself, as it were, in all the mirrors of other people's consciousnesses, he knows all the possible refractions of his image in those mirrors. And he also knows his own objective definition, neutral both to the other's consciousness and to his own self-consciousness, and he takes into account the point of view of a “third person.” (BAKHTIN, 1984, p.53 [1963]).²⁵ 25 For reference, see footnote 5, p.53.

1929 Edition

1963 Edition ²⁷ 27 For reference, see footnote 5.

Chapter 3

The idea in Dostoevsky (15p.)

Chapter 3

The idea in Dostoevsky ²⁸ 28 For reference, see footnote 6, p.78. (26p.)

Dostoevsky’s hero is not only a word about himself and his intimate circle, it is also a word about the world: he is not only a conscious being, he is an ideologue. The “underground man,” is already an ideologue, but the ideological creation of the characters reaches full meaning in the novels [...] This is why the word about the world fuses with the confessional word about oneself. (BACHTIN, 1997, p.149BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).²⁹ 29 In Italian: “L'eroe di Dostoevskij non è solo parola su se stesso e sulla sua cerchia più intima, è anche parola sul mondo: egli non è solo cosciente, egli è un ideologo. Ideologo è già l'“uomo dal sottosuolo”, ma la creazione ideologica dei personaggi raggiunge pienezza di significato nei romanzi; l'idea qui, davvero, diviene quasi eroina dell'opera. [...] Per questo la parola sul mondo si fonde con la parola confessoria su se stessi” (BACHTIN, 1997, p.149). In Portuguese: “O herói de Dostoiévski não é apenas uma palavra sobre si mesmo e seu círculo íntimo, ele também é uma palavra sobre o mundo: ele não é apenas um ser consciente, é um ideólogo. O "homem do subsolo" já é um ideólogo, mas a criação ideológica dos personagens atinge plenitude de significado nos romances [...] É por isso que a palavra sobre o mundo se funde com a palavra confissão sobre si mesmo” (BACHTIN, 1997, p.149. Trad. SANTORO, E., 2019).

Dostoevsky's hero is not only a discourse about himself and his immediate environment, but also a discourse about the world; he is not only cognizant, but an ideologist as well. The “Underground Man” is already an ideologist. But the ideological creativity of Dostoevsky's characters reaches full significance only in the novels […] Thus, discourse about the world merges with confessional discourse about oneself. (BAKHTIN, 1984, p.78 [1963])³⁰ 30 For reference, see footnote 5, p.78

1929 Edition

1963 Edition ³² 32 For reference, see footnote 5.

Chapter 4

Function of the adventure plot in Dostoevsky’s works³³ 33 Title in Italian: Le funzioni dell’intreccio d’avventure nelle opere di Dostoevskij; Title in Portuguese: Função do enredo de aventura nas obras de Dostoiévski. (11p.)

Chapter 4

Characteristics of Genre and Plot Composition in Dostoevsky’s Works³⁴ 34 For reference, see footnote 5, p.101. (91p.)

1929 Edition

1963 Edition

Chapter 1 of the second part

Types of Prosaic Words. The Word in Dostoevsky (29p.)

Chapter 5

Discourse in Dostoevsky

Section i. Types of Prose Discourse. Discourse in Dostoevsky⁴⁴ 44 For reference, see footnote 5, p.181. (27p.)

In the hidden polemic, the authorial discourse is directed, as all other discourses, to the object itself, but in this each affirmation about the object is constructed from the way that, besides its object meaning, the others’ discourse on the same theme is attacked polemically, the other’s statement about the same object. A word directed at its object confronts, in the object itself, the other’s discourse. The other’s discourse in itself is not reproduced, it is only implied: but the internal structure of the discourse would be absolutely another, if it did not have this reaction to the other’s word that is implied [...] The polemical hue of the discourse appears in other solely language features as well: intonation and syntactic construction. (BACHTIN, 1997, pp.200-201BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁴⁵ 45 In Italian: “Nella polemica nascosta la parola autoriale è diretta, come ogni altra parola, verso il proprio oggetto, ma in ciò ogni affermazione sull'oggetto si costruisce in modo tale che oltre al suo significato oggettuale si attacchi polemicamente la parola altrui su quello stesso tema, l'affermazione altrui su quello stesso oggetto. La parola diretta sul suo oggetto si scontra nell'oggetto stesso con la parola altrui. La parola altrui in se stessa non viene riprodotta, essa è solo sottintesa [...] La tinta polemica della parola si manifesta anche in altri segni puramente linguistici: nell'intonazione e nella costruzione sintattica”. (BACHTIN, 1997, pp.200-201). In Portuguese: “Na polêmica velada, a palavra autoral é dirigida, como todas as outras palavras, ao próprio objeto, mas nisso cada afirmação sobre o objeto constrói-se de modo que, além de seu sentido objetal, se ataque polemicamente a palavra alheia sobre o mesmo tema, a afirmação alheia sobre o mesmo objeto. A palavra dirigida ao seu objeto enfrenta-se, no próprio objeto, com a palavra alheia. A palavra alheia em si mesma não é reproduzida, ela é somente subentendida: mas a estrutura inteira do discurso seria absolutamente outra, se não houvesse essa reação à palavra alheia que é subentendida. [...] A matiz polêmica da palavra manifesta-se também em outros signos puramente linguísticos: na entonação e na construção sintática” (BACHTIN, 1997, pp.200-201).

In a hidden polemic the author's discourse is directed toward its own referential object, as is any other discourse, but at the same time every statement about the object is constructed in such a way that, apart from its referential meaning, a polemical blow is struck at the other's discourse on the same theme, at the other's statement about the same object. A word, directed toward its referential object, clashes with another’s word within the very object itself. The other’s discourse is not itself reproduced, it is merely implied [...] The polemical coloration of the discourse appears in other purely language features as well: in intonation and syntactic construction (BAKHTIN, 1984, pp.195-196 [1963]).⁴⁶ 46 For reference, see footnote 5, pp.195-196.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41p.)

Chapter 5 Discourse in Dostoevsky

Section 2: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels⁴⁹ 49 For reference, see footnote 5, p.204. (40p.)

“To live more than forty years is inconvenient, vulgar, immoral! Who lives more than 40 years? Answer me that, sincerely, honestly. I’ll tell you who: imbeciles and rapscallions, none other. And I will say this to their faces, those respectable elderly gents, with their silver crowns, and all perfumed! I’ll say all of it, to the whole world’s face. I have the right to say these things, because, for my part, I shall live to be sixty. To sixty, I shall live! ... Wait! Let me catch my breath for a moment [...]’’ (BACHTIN, 1997, p.245BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁵⁰ 50 In Italian: “Vivere piú di quarant'anni è una cosa sconveniente, è volgare, itnmdrale! Chi vive piú di quarant'anni? Rispondetemi sinceramente, onestarnente. Velo dirò io chi: gli itnbecilli e i mascalzoni, nessun altro. E questa cosa io la dirò alla faccia di tutti i vecchi, alla faccia di tutti codesti rispettabili vecchi, di tutti questi vegliardi dalle chiome d'argento e profumati! Alla faccia del mondo intero la dico, questa cosa. Io ho il diritto di parlare così, perché dal canto mio camperò fino ai sessant'anni. Aspettate! Lasciatemi riprender fiato un momento [...]” (BACHTIN, 1997, p.245). In Portuguese: “Viver mais de quarenta anos é uma coisa inconveniente, é vulgar, imoral! Quem vive mais de quarenta anos? Respondam-me sinceramente, honestamente. Eu vos direi quem: os imbecis e os patifes, ninguém mais. E isso eu direi na cara de todos os velhos, na cara de todos esses velhos respeitáveis, de todos esses velhos das coroas de prata e perfumados! Eu digo tudo isso na cara do mundo inteiro. Eu tenho o direito de falar assim, porque, de minha parte, viverei até os sessenta anos. Até os sessenta anos viverei!... Esperem! Deixem-me retomar o folego um momento [...]” (BACHTIN, 1997, p.245).

To live longer than forty years is bad manners; it is vulgar, immoral. Who does live beyond forty? Answer that, sincerely and honestly. I will tell you who: fools and worthless people do. I tell all old men that to their face, all those re- spectacle old men, all those silver-haired and reverend old men! I tell the whole world that to its face. I have a right to say so, for I'll go on living to sixty myself. I'll live till seventy! Till eighty! Wait, let me catch my breath. [SS IV, 135; “Notes,” Part One, 1] (BAKHTIN, 1984, p.228 [1963]).⁵¹ 51 For reference, see footnote 5, p.228.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (p.41)

Chapter 5 Discourse in DostoevskY

Section 2: “The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels” (p.204)⁵² 52 For reference, see footnote 5, p.204.

‘Certainly, you gentlemen, are thinking that I wanted to make you laugh, am I right? Well, even in that you are wrong. I really am not that fun type that you think me, or perhaps believe I am; and, on the other hand, if you all, annoyed as you are by all of my chattering (precisely, because, I sense you are annoyed), you had an idea to ask me who I am exactly, I then would respond that I am a college counselor. (BACHTIN, 1997, p.245BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁵³ 53 In Italian: “Sicuramente voialtri starete pensando, signori, che io vi voglia far ridere, sì? Be' anche in questo vi siete sbagliati. Io non sono affatto quel tipo di buontempone che credete, o che forse credete che io sia; e d'altronde se a voi, irritati come siete da tutte queste mie chiacchiere (sì perché già lo sento, che siete irritati), dovesse venir in mente di domandarmi chi io sia precisamente, io allora vi risponderei che sono un assessore di collegio” (BACHTIN, 1997, p.245). In Portuguese: “Com certeza, vocês estarão pensando, senhores, que eu queira fazê-los rir, não? Bom, até nisso vocês erraram. Eu realmente não sou aquele tipo divertido que acreditam, ou que talvez acreditem que eu seja; e, por outro lado, se vocês, irritados como estão por todas essas minhas conversas (sim porque eu já sinto que estão irritados), tivessem a ideia de me perguntar quem eu exatamente sou, eu então responderia que sou um conselheiro de colégio.” (BACHTIN, 1997, p.245. Trad. SANTORO, E. 2019).

No doubt you think, gentlemen, that I want to amuse you. You are mistaken in that, too. I am not at all such a merry person as you imagine, or as you may imagine; however, if irritated by all this babble (and I can feel that you are irritated) you decide to ask me just who I am—then my answer is, I am a certain low-ranked civil servant. (BAKHTIN, 1984, p.229).⁵⁴ 54 For reference, see footnote 5, p.229.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (p.41)

Chapter 5 Discourse in Dostoevsky

Section 2: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (p.204)⁵⁵ 55 For reference, see footnote 5, p.204.

I bet you are thinking I write all this out of flamboyance, or to be upbeat at the expense of men of actions, and that always, for love of flamboyance of bad taste, I also am clinking my sword, like that of my officer. (BACHTIN, 1997, p.246BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁵⁶ 56 In Italian: “Scommetto che. voialtri state pensando che io scriva tutto ció per spacconaggine, tanto per fare lo spiritoso a spese degli uomini d'azione, e che sempre per amor di una spacconaggine di pessimo gusto, anch'io stia facendo tintinnare la mia sciabola, come quel mio ufficiale” (BACHTIN, 1997, p.246). In Portuguese: ‘‘Aposto que vocês estão pensando que eu escrevo tudo isso por fanfarronice, ou para fazer o espirituoso às custas dos homens de ação, e que sempre, por amor de uma fanfarronice de péssimo gosto, eu também esteja fazendo tinir minha espada, como aquele meu oficial.’’ (BACHTIN, 1997, p.246).

I’ll bet you think I’m writing all this out of swagger, to be witty at the expense of active figures, and swagger of a bad tone besides, rattling my sabre like my officer (BAKHTIN, 1984, p.229 [1963]).⁵⁷ 57 For reference, see footnote 5, p.229.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41p.)

Chapter 5 Discourse in Dostoevsky

Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (40p.)

You will say that it is vulgar and low to put all of this on display [the hero’s dream, M.B.] as if I were at the open market, after all the states of drunkenness and tears to which I confessed just now. But why low, gentlemen? [...] (BACHTIN, 1997, p.247BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁵⁹ 59 In Italian: “Voi direte che è volgare e abietto mettere in mostra tutto ció [i sogni dell'eroe, M. B.] come se fossi al mercato, dopo tutte le ebbrezze e lelacrime che ho confessato poc'anzi. Ma perché sarebbe abietto, signori miei? [...]” (BACHTIN, 1997, p.247). In Portuguese: “Vocês dirão que é vulgar e desprezível colocar à mostra tudo isso [os sonhos do herói, M.B.] como se eu estivesse na feira, depois de todos os estados de embriaguez e as lágrimas que confessei agora há pouco. Mas por que seria desprezível, meus senhores? [...]” (BACHTIN, 1997, p.247).

You will say that it is vulgar and base to drag all this [the hero's dreaming — M. B.] into public after all the tears and raptures I have myself admitted. But why is it base? Can you imagine that I am ashamed of it all, and that it was stupider than anything in your life, gentlemen? (BAKHTIN, 1984, p.228 [1963])⁶⁰ 60 For reference, see footnote 5, p.228.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41 p.)

Chapter 5 Discourse in Dostoevsky

Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels” (40p.)

Yes, exactly thus, I steal your tranquility, I torment your soul, I don’t let anyone in the house sleep. And this precisely because you shouldn’t sleep, but only feel also, at every moment, that I have a toothache. Now, for you all, I am no longer that hero that I tried to seem to be before, but simply a little coward, a chenapan. So be it! I am really happy you finally understand. (BACHTIN, 1997, p.249BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.)⁶² 62 In Italian: “Sì, proprio, io vi rubo la quiete, io vi strazio l’anima, non lascio dormir nessuno in tutta la casa. E ciò appunto perché voi non dovete dormire, ma sentire invece voi pure, in ogni momento, che a me fanno male i denti. Adesso per voi non sono piú quell'eroe che volevo sembrarvi prima, ma semplicemente un vigliaccuzzo, uno chenapan. E sia! Sono proprio contento che abbiate mangiato la foglia”. (BACHTIN, 1997, p.249). In Portuguese - “Sim, exatamente assim, eu roubo vossa tranquilidade, eu atormento vossa alma, não deixo ninguém dormir em toda a casa. E isso exatamente porque vocês não devem dormir, mas sim sentir vocês também, em cada momento, que eu estou com dor de dentes. Agora para vocês eu não sou mais aquele herói que queria parecer antes, mas simplesmente um pequeno covarde, um chenapan. Que seja! Estou realmente contente que vocês finalmente entenderam” (BACHTIN, 1997, p.249).

[...] It seems I am troubling you, I am lacerating your hearts, I am keeping everyone in the house awake. Well, stay awake then, you, too, feel every minute that I have a toothache. I am no longer the hero to you now that I tried to appear before, but simply a nasty person, a scoundrel. Well, let it be that way, then! I am very glad that you see through me. [...] (BAKHTIN, 1984, pp.231- 232 [1963]).⁶³ 63 For reference, see footnote 5, pp.231-232.

1929 Edition

1963 Edition

Chapter 2

The Monologic Discourse of the Hero and Narrational Discourse in Dostoevsky’s Shorter Fiction (41 p.)

Chapter 5 Discourse in Dostoevsky

Section ii: The Hero’s Monologic Discourse and Narrational Discourse in Dostoevsky’s Short Novels (40p.)

[...] I triumphed over everything and everyone, obviously, they were reduced to ashes [...] Everyone cried and kissed me (or they would have been true fools), and I walked, barefoot and starving, preaching new ideas and tore down the retrograde in Austerlitz (BACHTIN, 1997, p.251BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.).⁶⁵ 65 In Italian: “[...] io trionfavo su ogni cosa; e tutti, ovviamente, erano ridotti nella polvere [...]. Tutti piangevano e mi baciavano (altrimenti sarebbero stati dei veri babbei), e io andavo, scalzo e affamato, a predicare le nuove idee e sbaragliavo i retrogradi ad Austerlitz” (BACHTIN, 1997, p.251). In Portuguese: “[...] eu triunfava sobre qualquer coisa, e todos, obviamente, eram reduzidos a poeira [...] Todos choravam e me beijavam (ou teriam sido uns verdadeiros otários), e eu andava, descalço e faminto, pregando as novas ideias e derrotava os retrógrados em Austerlitz” (BACHTIN, 1997, p.251).

I, for instance, was triumphant over everyone; everyone, of course, lay in the dust and was forced to recognize my superiority [...] Everyone would weep and kiss me (what idiots they would be if they did not), while I would go barefoot and hungry preaching new ideas and fighting a victorious Austerlitz against the reactionaries. [SS IV, 181; “Notes” Part Two, ch. II] (BAKHTIN, 1984, p.233 [1963]).⁶⁶ 66 For reference, see footnote 5, p.233.

1929 Edition

1963 Edition

Part II- Chapter 4

Dialogue in Dostoevsky (2p.)

Chapter 5

Section 4: Dialogue in Dostoevsky (18p.)

Also, the tears now are scarce, those tears of the poor bashful woman who, before you, could not contain herself: even for her, I would never forgive you! And for what I confess to you now, I shall never forgive you!” This was how he yelled during his confession to the girl who loved him. “But do you understand or not, that now that I said these things I will hate you because you were here listening to me?” [...] (BACHTIN, 1997, p.283BACHTIN, M. M. Problemi dell’opera di Dostoevskij. Introduzione, Traduzione e comento di Margherita De Michiel. Prezentazione di Augusto Ponzio. Bari: Edizioni dal Sud, 1997.. Trad. SANTORO, E., 2019).⁶⁹ 69 In the Italian version: “Anche le lacrime di poco fa, quelle lacrime da donnetta vergognosa, che non sono riuscito a trattenere davanti a te: anche quelle non te le perdonerà mai! E quello che ora ti confesso, lo stesso a te non te lo perdoneró mai!”: cosi egli grida durante la sua confessione alia ragazza che lo ama. “Ma lo capisci o no che adesso che t'ho detto queste cose ti odierà perché tu stavi qua ad ascoltarmi? (BACHTIN, 1997, p.283). In the Portuguese version: Também, as lágrimas de agora há pouco, aquelas lágrimas de mulherzinha envergonhada, que, diante de você, não consegui conter: até por elas, jamais te perdoarei! E o que eu agora te confesso, o mesmo a você nunca perdoarei! assim ele grita durante sua confissão para a moça que o ama. ‘‘Mas o compreende ou não, que agora que eu te disse essas coisas te odiarei porque você estava aqui me escutando? [...]” (BACHTIN, 1997, p.283).

And I will never forgive you for the tears I could not help shedding before you just now, like some silly old woman put to shame. And for what I am confessing to you now I shall never forgive you either!" he shouts, during his confession to the girl who has fallen in love with him. Do you understand how I will hate you now after saying this, for having been here and listening? [...]” (BAKHTIN, 1984, p.253 [1963]).⁷⁰ 70 For reference, see footnote 5, p.295.

Brasil

Brasil

The Concept of Hidden Polemic in Two Editions of Bakhtin’s Work on Dostoevsky

ABSTRACT