Demons Part I
Introduced as the aging liberal intellectual and former tutor, living under the patronage of Varvara Petrovna.
I: Introductory
Central figure in the chapter; his intellectual posturing, fears about the emancipation, and debates with others reveal his character.
I
The central figure of the chapter, described as a talented and gifted man who passionately plays the role of a progressive patriot and persecuted exile, though it is later revealed he was never actually exiled.
II
The chapter focuses on his background, marriages, and his role as a tutor and friend to Varvara Petrovna.
III
Described as an innocent fifty-year-old infant prone to hysterical outbreaks, writing passionate letters and sobbing on the narrator's shoulder.
IV
Misreads Varvara Petrovna's mourning as a sign she expects a proposal; later embarrasses himself with an over-enthusiastic 'Hurrah!' during the baron's visit.
V
Dismissive of the new ideas, he feels forgotten and useless, but perks up when his name is mentioned in periodicals. He accompanies Varvara Petrovna to Petersburg.
VI
Initially celebrated at literary gatherings but later hissed and ridiculed for defending art and patriotism; he is taken home in despair.
VII
Travels to Berlin, writes sentimental and boastful letters, returns after four months, and confesses his dependent status.
VIII
Central figure of the circle; enjoys a comfortable life under Varvara Petrovna's patronage, hosting gatherings twice a week.
IX
Central figure of the circle; delivers monologues on liberalism, nationalism, and the peasantry; expresses fear of peasant unrest and mocks the 'dawn' of public opinion.
II: Prince Harry. Matchmaking
Tutor to young Stavrogin; now deteriorated, slovenly, and tearful, struggling with Varvara Petrovna's reproaches and his own insecurities.
I
Tutor to young Nikolay; childlike and emotionally dependent on his pupil; later kept at a distance by Varvara Petrovna.
II
Varvara Petrovna consults him about her son's behavior; he is absent from Liputin's party due to illness.
IV
Feels dejected during Varvara Petrovna's absence; is elated by her return but criticized for his decline and associations.
V
Shows marked deterioration: slovenly, tearful, nervous, impressionable, unable to endure solitude, full of forebodings, and obsessed with his reflection and his waning appeal to Varvara Petrovna.
VII
Is informed by Varvara Petrovna of his impending marriage to Darya Pavlovna; he is flattered yet hesitant, but ultimately consents.
VIII
Anxious about his son's arrival and the sale of the estate, he feels guilty over his mismanagement and contemplates a noble gesture. He is also bewildered by Varvara Petrovna's marriage proposal and her insistence on secrecy.
III: The Sins of Others
Deeply agitated about Liputin's knowledge, expresses despair over his impending marriage and confesses his love for Varvara Petrovna.
I
Tormented by shame and anxiety over his secret; avoids society and confides in the narrator.
II
Mentioned as the narrator's afflicted friend and former friend of Karmazinov; the narrator intends to share the encounter with him.
III
In a frenzy over Varvara Petrovna's notes about Karmazinov, he changes his tie, declares his freedom, and demands a meeting with Darya Pavlovna.
IV
Nervous and alarmed by Liputin's arrival; speaks fondly of his son Petrusha's childhood habits.
V
Agitated and paranoid, he forces Liputin to reveal gossip about Lebyadkin and his sister.
Chapter VI
Listens in bewilderment to the dispute between Liputin and Kirillov, and defends Nikolay Stavrogin against slander.
VII
Despondent and ashamed, he believes the rumor about covering sins, but is momentarily comforted by Liza's reunion.
Chapter X
Returns from the Drozdovs in a hysterical state, feeling used and isolated. He confesses his dread of the upcoming marriage to Darya Pavlovna and his long-standing love for Varvara Petrovna.
Chapter III
Liza sends greetings to him and asks the narrator to persuade him to visit her.
VII
Arrives at Varvara Petrovna's in a state of extreme agitation, dressed with unusual elegance, but is crushed to find her not yet home.
V: The Subtle Serpent
Publicly humiliated and banished by Varvara Petrovna; he maintains dignity despite deep grief.
Chapter I
Flustered and guilty, attempts to interject in French but is silenced by Varvara Petrovna.
II
Present in the drawing-room, sinks helplessly into an armchair and looks to the narrator in despair.
III
Rushes to Varvara Petrovna when she turns pale and announces Darya Pavlovna's entrance.
IV
Present in the drawing-room, rings for the servant at Varvara Petrovna's request, and is visibly agitated by Lebyadkin's behavior.
V
Overjoyed to see his son Petrusha after ten years, embracing him tearfully.
Chapter VI
Present but largely silent, muttering 'Sublime' in support of Varvara Petrovna's speech and trying to catch the narrator's eye.
VII
Bows with dignity after being denounced by Varvara Petrovna and accused by his son; deeply wounded by Pyotr's treatment.
I: Night
Remains calm and taciturn after the scandal; settles property affairs through Varvara Petrovna; lies on sofa with vinegar-soaked handkerchief after son's visits.
I
Shuts himself up with the narrator, dismayed by Pyotr's success and the spreading rumors.
II
Becomes taciturn and calm after his son's visits, lying on the sofa with a vinegar-soaked handkerchief; he argues with Pyotr about nihilism and Russian identity, and hints at a decisive idea.
IV: All in Expectation
Remains at home, unaware of the plans, and is being considered for a reading at the matinée.
Chapter I
Mentioned as potentially useful for the literary matinée; Varvara Petrovna is put out with him.
II
Sits reading 'What's to Be Done?' and is deeply shaken by his son's insults and the revelation that his private letters have been shown to Varvara Petrovna.
III
Stepan Trofimovitch is mentioned as a target of Pyotr Stepanovitch's manipulative plans.
On the Eve of the Fête
Declares his intention to leave and end his life as a tutor or in a ditch, accusing Varvara Petrovna of despising him.
III
Confronts Varvara Petrovna, rejects her pension, and declares he will leave on a new path, faithful to his ideals.
IV
Target of Blum's suspicion as a keeper of forbidden literature, though not present in the scene.
IX: A Raid at Stepan Trofimovitch’s
Upset but triumphant after the raid; he hides money, lights a lamp, and insists on going out despite the narrator's advice.
X: Filibusters. A Fatal Morning
Engages in a witty exchange with Karmazinov and is later arrested and searched, but enjoys the attention from the ladies.
II
Confronts Lembke about the search of his home, demands his rights, and ultimately shows magnanimity when Lembke breaks down.
III
Arrives at Yulia Mihailovna's after his arrest; is flattered and embarrassed by the attention, especially from Karmazinov.
The Fête—First Part
Delivers a passionate, incoherent speech about beauty and the young generation, is heckled by a divinity student, and ultimately curses the audience before fleeing.
II
Preparing to read after Karmazinov, consulting notes and trying on smiles.
Chapter III
He is thrust into the incipient chaos after Karmazinov's reading, foreshadowing his own difficult turn.
IV
Delivers a speech on the stupidity of manifestoes, is publicly accused of selling Fedka as a recruit, and curses the audience before fleeing.
II: The End of the Fête
Refuses to open his door; the narrator later bangs on it and shouts at him.
I
Shut himself up, writing letters, refuses to see the narrator, delivers a farewell speech.
Chapter IV
Quoted as having remarked on the fascination of watching a fire.
III
Stepan Trofimovitch is fleeing in a feverish state, dressed in traveling clothes, and meets Liza in the fields, speaking of forgiveness and freedom.
VII: Stepan Trofimovitch’s Last Wandering
Flees Skvoreshniki on foot, driven by pride and a desperate need to embrace a 'great idea.' He is terrified yet exhilarated, and later falls ill while traveling with Sofya Matveyevna.
I
Flees on foot, terrified yet proud, rejecting Varvara Petrovna's charity; later accepts a ride and enjoys pancakes and vodka.
II
Delirious and ecstatic, he interprets the Gospel allegory of the swine as a symbol for Russia's ills, confesses his lifelong dishonesty, and clings to Sofya Matveyevna.
III
Lies ill in the cottage, having confessed and taken the sacrament; he expresses a poetic faith in God and love, and longs to live again.
