Sigmund Freud in his essay on Dostoevsky and patricide written in 1927, analyzes the character of Fyodor Dostoevsky, through his works that he could give vent to his troubled mental life.
For Freud, Dostoevsky is a writer who is neurotic, the moralist and the sinner, one might suppose that the most 'be attacked' is ethical because it lacks the essential element of morality: the waiver. "Morale is already reacting to the temptation to those who felt inwardly, and it does not give" [1] , because "he ends up landing in a retrograde position: it is time to submit as much to the spiritual worship for the Tsar, but also the Christian God, cultivating a more Jet nationalism "(ibid., pag.521). The fundamental characteristics that define a criminal (a person without morals) are unlimited selfishness and strong destructive tendency, combined with the lack of love. This description comes in contrast to what was the Russian writer, but "the contradiction is resolved to realize that the very strong destructive instinct of Dostoevsky, who could easily make a criminal, is directed mainly against his life in the same person (she turns that is, within rather than outside), thus expressing the form of masochism and guilt "(ibid., pag.522). Freud's essay arguing continues
as Dostoevsky was suffering from neurosis and that her seizures were affective in nature (not organic), in this respect also states that "the most likely hypothesis is that the access date back to childhood by Dostoevsky, which are manifested initially by means of less pronounced symptoms, and assuming the epileptic form until after the terrible experience he had at eighteen: his father murdered when he died "(ibid., pag.525). Freud psychoanalytically consider this event more intense the trauma, the pivot of Dostoevsky's neurosis continues his argument by taking into account the fact that "since the early years Fedor was in the habit before falling asleep, to leave the ticket on which was written that he was afraid of falling prey during the night of this death-like sleep, and I pray to let go five days before burying " [2] . This means that Dostoevsky was identified with a person who wanted to die, and this person is considered the father of psychoanalysis and "the attack - called hysterical - is therefore un'autopunizione for the death wish against the father hated. The patricide is, according to a known concept, the principal and primal crime of humanity is that the individual "(Freud, 1927, pag.527). In addition to patricide
there is another source that contributes to a sense of guilt: bisexuality. This provision takes over when the child reacts to the threat of his masculinity, represented dall'evirazione, putting themselves in the position of mother and assuming its role as a love object in the eyes of his father. "A provision markedly bisexual becomes an element that makes possible and enhances the neurosis" (pag.528). Freud suggests this predisposition in the case of Dostoevsky's view of the importance of male friendships in his life and the sweetness of his behavior toward rivals in love.
Identification with the father is part of inside the 'I, "has become a sadistic superego, the ego becomes masochistic, that is basically passive female" (pag.529). In this perspective, the "hits like death" are ego-identification with the father who is "allowed by a punitive superego" (pag.529). Fedor years kept his hatred towards his father, as maintained his desire for death to this bad parent, which over time got worse rather than better temperamentally. If these wishes come true removed, inevitably the fantasy becomes reality, and consequently all the defensive measures are being reinforced. "At this point access to Dostoevsky assume epileptic character, yet the mean punitive identification with his father but became terrible, terrible as was the awful death of the father "(pag.530). The intention parricide constituted a real burden of conscience, which the Russian writer was unable to establish within his lifetime, which is why his attitude toward the government authority and to faith in God, in which two spheres the comparison of the father is crucial, he was influenced. After comparing the different dynamics of patricide in the three literary masterpieces of all time (Oedipus the King by Sophocles, Shakespeare's Hamlet and Dostoevsky's Brothers Karamazov), Freud concludes the first part of the essay as Dostoevsky noting the criminal is a man who had the great honor to take upon himself the guilt of a crime so atrocious crime that otherwise would inevitably put in place by others, "Killing is no longer necessary after that he has already committed the crime, but we must be grateful, because otherwise we would have to kill ourselves "(pag.534).
In the second and final part of the essay, Freud examines the passion for the game by the Russian writer. The game was for him a way to punish himself, once he had lost everything might be despised and humiliated; the fact that you would use this risky method to earn income for amounts more than enough money to live, it was only a pretext, because "he knew that the essential thing was the game in and of itself, le jeu par le jeu" (pag.534), as he wrote in one of his letters . His wife followed him in these cycles of poverty and greater financial security, because he understood that the situation of poverty was an optimum condition for the literature of Dostoevsky, "was always at the table until he had lost everything, until it was completely annihilated. Only when the disaster had been accomplished entirely abandoned his soul to the devil and gave place to the creative genius "(Eckstein, Miller, 1925). Freud concludes
this paper considering the novel "Twenty-four hours after a woman's life" by Stefan Zweig, which is the subject of the compulsion to repeat the game. "If the passion of the game, with its struggles in vain and inglorious for the habit and offering opportunities for self-punishment, coercion onanistic repeats, no surprise that this passion has earned a place so important in the life of Dostoevsky "(Freud, 1927, pag.537).
[1] S. Freud (1927) Dostoevsky and patricide, in Standard Edition, vol. 10, pag.521.
[2] F. Eckstein, René Fülöp-Miller (eds.), Dostoyevsky am roulette [Dostoevsky roulette], (Monaco 1925).
For Freud, Dostoevsky is a writer who is neurotic, the moralist and the sinner, one might suppose that the most 'be attacked' is ethical because it lacks the essential element of morality: the waiver. "Morale is already reacting to the temptation to those who felt inwardly, and it does not give" [1] , because "he ends up landing in a retrograde position: it is time to submit as much to the spiritual worship for the Tsar, but also the Christian God, cultivating a more Jet nationalism "(ibid., pag.521). The fundamental characteristics that define a criminal (a person without morals) are unlimited selfishness and strong destructive tendency, combined with the lack of love. This description comes in contrast to what was the Russian writer, but "the contradiction is resolved to realize that the very strong destructive instinct of Dostoevsky, who could easily make a criminal, is directed mainly against his life in the same person (she turns that is, within rather than outside), thus expressing the form of masochism and guilt "(ibid., pag.522). Freud's essay arguing continues
as Dostoevsky was suffering from neurosis and that her seizures were affective in nature (not organic), in this respect also states that "the most likely hypothesis is that the access date back to childhood by Dostoevsky, which are manifested initially by means of less pronounced symptoms, and assuming the epileptic form until after the terrible experience he had at eighteen: his father murdered when he died "(ibid., pag.525). Freud psychoanalytically consider this event more intense the trauma, the pivot of Dostoevsky's neurosis continues his argument by taking into account the fact that "since the early years Fedor was in the habit before falling asleep, to leave the ticket on which was written that he was afraid of falling prey during the night of this death-like sleep, and I pray to let go five days before burying " [2] . This means that Dostoevsky was identified with a person who wanted to die, and this person is considered the father of psychoanalysis and "the attack - called hysterical - is therefore un'autopunizione for the death wish against the father hated. The patricide is, according to a known concept, the principal and primal crime of humanity is that the individual "(Freud, 1927, pag.527). In addition to patricide
there is another source that contributes to a sense of guilt: bisexuality. This provision takes over when the child reacts to the threat of his masculinity, represented dall'evirazione, putting themselves in the position of mother and assuming its role as a love object in the eyes of his father. "A provision markedly bisexual becomes an element that makes possible and enhances the neurosis" (pag.528). Freud suggests this predisposition in the case of Dostoevsky's view of the importance of male friendships in his life and the sweetness of his behavior toward rivals in love.
Identification with the father is part of inside the 'I, "has become a sadistic superego, the ego becomes masochistic, that is basically passive female" (pag.529). In this perspective, the "hits like death" are ego-identification with the father who is "allowed by a punitive superego" (pag.529). Fedor years kept his hatred towards his father, as maintained his desire for death to this bad parent, which over time got worse rather than better temperamentally. If these wishes come true removed, inevitably the fantasy becomes reality, and consequently all the defensive measures are being reinforced. "At this point access to Dostoevsky assume epileptic character, yet the mean punitive identification with his father but became terrible, terrible as was the awful death of the father "(pag.530). The intention parricide constituted a real burden of conscience, which the Russian writer was unable to establish within his lifetime, which is why his attitude toward the government authority and to faith in God, in which two spheres the comparison of the father is crucial, he was influenced. After comparing the different dynamics of patricide in the three literary masterpieces of all time (Oedipus the King by Sophocles, Shakespeare's Hamlet and Dostoevsky's Brothers Karamazov), Freud concludes the first part of the essay as Dostoevsky noting the criminal is a man who had the great honor to take upon himself the guilt of a crime so atrocious crime that otherwise would inevitably put in place by others, "Killing is no longer necessary after that he has already committed the crime, but we must be grateful, because otherwise we would have to kill ourselves "(pag.534).
In the second and final part of the essay, Freud examines the passion for the game by the Russian writer. The game was for him a way to punish himself, once he had lost everything might be despised and humiliated; the fact that you would use this risky method to earn income for amounts more than enough money to live, it was only a pretext, because "he knew that the essential thing was the game in and of itself, le jeu par le jeu" (pag.534), as he wrote in one of his letters . His wife followed him in these cycles of poverty and greater financial security, because he understood that the situation of poverty was an optimum condition for the literature of Dostoevsky, "was always at the table until he had lost everything, until it was completely annihilated. Only when the disaster had been accomplished entirely abandoned his soul to the devil and gave place to the creative genius "(Eckstein, Miller, 1925). Freud concludes
this paper considering the novel "Twenty-four hours after a woman's life" by Stefan Zweig, which is the subject of the compulsion to repeat the game. "If the passion of the game, with its struggles in vain and inglorious for the habit and offering opportunities for self-punishment, coercion onanistic repeats, no surprise that this passion has earned a place so important in the life of Dostoevsky "(Freud, 1927, pag.537).
[1] S. Freud (1927) Dostoevsky and patricide, in Standard Edition, vol. 10, pag.521.
[2] F. Eckstein, René Fülöp-Miller (eds.), Dostoyevsky am roulette [Dostoevsky roulette], (Monaco 1925).
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