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44 pages 1 hour read

Fyodor Dostoevsky

The Double

Fiction | Novella | Adult | Published in 1846

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Symbols & Motifs

Saint Petersburg

The Double is set in Saint Petersburg. At the time of the novel, Saint Petersburg was the capital city of Russia and the home to the country’s cultural elite. Saint Petersburg functions as the epicenter of the Russian world in a cultural and political sense. The elite social class of Saint Petersburg is the elite of Russian society. Golyadkin is from another province of the country, making him an outsider in Saint Petersburg, someone who has struggled to acclimatize to the social mentality of the capital city. This relationship is echoed in the double’s life story: He is also from a more provincial part of the country. While he inherited a considerable sum of money from his aunt, it did not last long after arriving in the capital. These outsider relationships with the cultural capital of 19th-century Russia bond Golyadkin and his double; in his double’s sad story, he finds a hitherto unknown capacity for sympathy. To Golyadkin, Saint Petersburg represents a form of cultural elitism that is both enviable and unknowable. He wishes to enter this society, but he remains an outsider, even being forcefully removed and taken to a psychiatric hospital at the novel’s close.

Within the city itself, the weather is in a constant state of aggression. The other characters are unmoved by the rain, sleet, and snow of Saint Petersburg; Golyadkin alone is affected by the adverse weather. He feels the cold more, and he sees his coat splashed with mud while other people’s clothes are pristine. The weather in the city is an example of pathetic fallacy, a literary device in which a character’s environment begins to reflect their emotional state. The inclement weather of Saint Petersburg is reflective of Golyadkin’s mood, while the way it targets Golyadkin is symbolic of his separation from the other characters. While they are well-adjusted to society, he feels as though he is operating in a hostile climate. The bad weather reflects his bad mental state, while the cheeriness and indifference of other people reflect their sense of belonging in Saint Petersburg.

Golyadkin’s relationship to the physical infrastructure of Saint Petersburg is also symbolic. He often finds himself outside buildings, waiting to sneak inside uninvited. He seeks access to the lavish buildings and apartments of the Saint Petersburg elite, but he is denied access to their physical spaces just as he is denied access to their social spaces. At the climax of the novel, Golyadkin waits outside in the cold. His double comes to him, and Golyadkin is ushered inside amid a sympathetic silence from the social elite. Soon, he is bundled into a carriage with his doctor and physically removed from the city. His forcible removal from Saint Petersburg is a symbol of his rejection by its society. His emotional and mental alienation is made manifest, as he is proven unwanted by the social elite. They send him to a psychiatric hospital, not only removing him from the city but also questioning his mental health in believing that he belonged among them.

Masks

Throughout The Double, Golyadkin develops an obsession with masks. He cites masks, and the falling away or removal of masks, during his incoherent rants to his colleagues and associates. For Golyadkin, masks are the perfect symbol of the superficiality of the society he inhabits. To Golyadkin, every person that he encounters seems to project a false version of themselves into the world. They are pretending to be well-adjusted, sociable people, but they are hiding their anxiety-riddled strangeness or their immorality from the world. Golyadkin is certain that this duplicity is immoral, and he is certain that it will be punished soon. He needs this reckoning, as he is desperately invested in a vision of society in which his anxiety and immorality are not unique. Golyadkin rants about masks not because he has some special insight into the world around him, but because he is urging the world to reveal its true self to him. He does not know what lies behind these masks, only that the masks exist. His hyper fixation on masks as a blight on society illustrates his fundamental inability to comprehend the world around him or the people with whom he associates, therefore functioning as a symbol of his alienation.

However, Golyadkin is guilty of the same duplicity he sees in others and expresses through his comments about masks. Golyadkin wears the mask of a typical member of society. His mask is carefully designed to make him appear more like a successful and well-adjusted member of society. He pretends to be rich while living in a small apartment, and he hopes that people will not see this true version of himself. Golyadkin is a hypocrite, and his desire to see the masks of others fall away speaks to his intense fear that his true self will be revealed. His hypocritical fixation with masks illustrates his innate belief that, deep down, everyone is as alienated and as paranoid as him.

Enemies

Golyadkin makes frequent references to his enemies. These offhanded comments are typically unspecific and vague: He describes his actions as being designed to thwart his enemies, even though the identity or the intentions of the enemies are never stated. These unspecified enemies can be assumed as any obstacle to the realization of Golyadkin’s ambitions. Any hindrance or impediment to his goals is evidence of the existence of his enemies, as no reasonable person would want to deny him his dreams. As such, these enemies symbolize Golyadkin’s paranoia. They represent his ability to see conspiracies all around him and to attribute malice to any action or event that hinders him in any fashion. The enemies perform an important mental function for Golyadkin, as they allow him to feel as though his life is being manipulated by powerful but unseen forces. This belief in a hidden conspiracy of unspecified enemies indulges his continued abdication of responsibility. He surrenders his agency to the unseen enemies, who are so powerful that he cannot be held responsible for his failure when such domineering foes are out to get him.

Throughout the novel, however, Golyadkin is presented with a series of people who could actually be considered his enemies: the double, his colleagues, and even Petrushka grow hostile toward him. Eventually, Golyadkin’s paranoid concerns about enemies are validated. By this time, however, he is so gripped by anxiety and fear that he cannot recognize that the once-imaginary enemies have now become real. His inability to recognize the enemies when they spring into existence symbolizes Golyadkin’s growing alienation from reality.

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