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But here the confrontation is more elaborately and mysteriously delayed, being more exclusively the subject of the story.
Formally, The Eternal Husband is the most classically proportioned and perfectly constructed of Dostoevsky’s works. There are no digressions, no subplots, no secondary characters, no personified narrator, no accompanying commentary or analysis. With an extreme economy of means, Dostoevsky is able to portray people acting in ways they themselves do not understand, so that we see both their acts and their own incomprehension, and glimpse through their partial explanations the puzzle of their true motives. The question of who knows what and how much remains open almost to the end of the story. But behind that obvious question is a vanishing sequence of others. Narrative omniscience is limited to Velchaninov, a sort of underground Pralinsky (he twice uses the term “underground” himself, once referring to Pavel Pa
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