The Little Demon — Themes and Context

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Sologub, Fyodor, 1863-1927, Aldington, Richard, 1892-1962 [Translator], Cournos, John, 1881-1966 [Translator] Project Gutenberg 2015 Not confirmed
Teachers -- Fiction; Russia -- Fiction; Mental illness -- Fiction; Russian fiction -- Translations into English Readers of public-domain and historical texts
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Words 102,953
Reading time 448 min
Text sections 12

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This editorial note examines the shifting narrative voice and pacing in Sologub's novel, focusing on how the translation by Aldington and Cournos renders Peredonov's subjective reality, the contrasting idyllic episodes, and the use of sensory details to modulate tension.
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Cournos was translating my novel,_ "_The Little Demon," into English I experienced not a little apprehension. In days of Anglo-Russian rapprochement, in days of great stress, when a common danger unites the two great nations, it seemed to me perhaps unseasonable to acquaint England with this sombre picture. It occurred to me that there was a danger of my new readers accepting this novel as a precise and characteristic portrayal of Russian life. But my friends told me that Mr. John Cournos was fulfilling his task with great love and care_, _and this gives me the hope that the true meaning of my work will be also understood in the translation, reproducing so accurately the original._

_In any case, I should like to warn my readers against the temptation of seeing only Russian traits in this novel. The portrait of Peredonov is an expression of the all-human inclination towards evil, of the almost disinterested tendency of a perverse human soul to depart from the common course of universal life directed by one omnipotent Will; and, taking vengeance upon the world for its own grievous loneliness, to bring into the world evil and abomination, to mutilate the given reality and to defile the beautiful dreams of humanity._

_This inclination towards evil, raging in the hearts of mankind in all latitudes and longitudes, invests itself only outwardly with an appearance of selfish expedience. A soul marred by this tragic affliction, that of a morose separation from the world, is borne along by a sovereign justice, which rules worlds and hearts, upon disastrous paths, towards madness and towards death._

_The afflicted soul does not rejoice at its gains, to such a degree visionary, to such a degree worthless. A foreboding of ultimate destruction torments it with a gnawing sadness._

_Where then, in what blessed land, is not man tormented with this agonising sadness, these true tokens of the same morose and sombre affliction? The Russian "khandra" and the English spleen are the expression of one and the same malady of the spirit. Even in more noble souls, these harsh visitors, so familiar to both Englishmen and Russians, have been created by the omnipotent Will not without a beneficent design. They incessantly remind the soul, succumbing in the life struggle, that the enemy is near, cunning and strong._

_I would be glad if my new readers should appraise not only the detestable sinfulness and perversity of a soul warped by the force of evil, but also the great yearning of this soul--the evil evil atones to a certain degree in this truly human feeling; and in this feeling the afflicted man also communes with each one of us._

_This novel will not be accepted by you in condemnation of my country--my country has not a few enchantments, which make her beloved not only by her own, but also by the observant stranger. Perhaps the attentive reader will find even in this sombre novel certain reflections of enchanting Russian nature, and of the live Russian soul._

After Mass the members of the congregation scattered to their homes. A few stopped to talk under the old maples and lindens near the white stone walls, within the enclosure. All were in holiday dress and looked at one another cheerily. It appeared as if the inhabitants of this town lived peacefully and amicably--even happily. But it was only in appearance.

Peredonov, a schoolmaster in the _gymnasia_, stood among his friends, and as he looked at them gravely out of his small, stealthy eyes, across the golden rims of his spectacles, he remarked:

"Princess Volchanskaya herself made the promise to Vara. 'As soon,' she said, 'as you marry him, I'll hunt up an inspector's job for him.'"

"But how can you think of marrying Varvara Dmitrievna?" asked the red-faced Falastov. "She's your first cousin."

Everyone laughed. Peredonov's usually rosy, unconcerned, somnolent face showed anger.

"Second cousin," he said gruffly, as he looked angrily past his companions.

"Did the Princess give you the promise herself?" asked Routilov, a tall, pale, smartly dressed man.

"She didn't give it to me, but to Vara," answered Peredonov.

"Of course, you are ready to believe all she tells you," said Routilov with animation. "It's easy enough to make up a tale. Why didn't you see the Princess herself?"

"This is how it was: I went with Vara, but we didn't find her in, missed her by just five minutes," explained Peredonov. "She had gone to the country, and wouldn't be back for three weeks or so. I couldn't wait for her, because I had to be back here for the exams."

"It sounds suspicious," laughed Routilov, showing his yellow teeth.

Peredonov grew thoughtful. His companions left him; Routilov alone remained.

The translation of The Little Demon by Richard Aldington and John Cournos presents a narrative that oscillates between the claustrophobic interiority of its protagonist, Peredonov, and moments of lighter, almost theatrical dialogue. The translators' preface notes the novel's merging of comedy with tragedy, a fusion evident in the pacing: long, tense passages of Peredonov's paranoid reflections are punctuated by brisk, playful exchanges among other characters. This rhythm creates a disorienting effect, drawing the reader into Peredonov's skewed perception while offering brief respites that underscore the pettiness of his world.

Subjective Reality Through Peredonov's Eyes

The narrative frequently filters the world through Peredonov's consciousness, distorting objects and people into symbols of his inner turmoil. In one passage, he reflects on the name "Liutiki," noting its root meaning "cruel, ferocious, violent"—a detail that reveals his tendency to project menace onto innocuous things. This subjective treatment is not consistent; the novel shifts to a more detached, observational tone when depicting other characters, such as the playful banter between Nadezhda and Misha. The contrast highlights Peredonov's isolation: while others engage in lighthearted rituals, his mind turns everything into a threat. The translators preserve this oscillation by alternating between dense, interior prose and crisp dialogue, mirroring the protagonist's erratic mental state.

Pacing and the Idyllic Interlude

The Sasha-Liudmilla episode, described in the preface as "a dab of vermilion relieves grey," introduces a marked shift in pace. Liudmilla's preparations—dressing gaily, scenting herself with syringa perfume, and carrying a bottle of scent to mask the boy's "detestable Latin, ink and boyishness"—unfold in leisurely, sensory detail. The narrative lingers on her actions, creating a pause from Peredonov's frantic suspicions. However, this idyll is undercut by the awareness that it occurs within the same oppressive atmosphere. The translators maintain this tension by using longer, flowing sentences for Liudmilla's scenes, contrasting with the staccato rhythms of Peredonov's sections. The effect is a deliberate unevenness that prevents the reader from settling into a single mood.

Voice and the Translators' Choices

The translators' preface explicitly compares the novel to Gogol's Dead Souls, and the translation echoes Gogol's blend of satire and sympathy. The dialogue, particularly among the younger characters, carries a colloquial energy—Misha's exclamation "Pavloushka's bride!" and the siblings' teasing retain a naturalistic cadence. In contrast, Peredonov's internal monologues are rendered in a more formal, almost stilted English, emphasizing his alienation. The translators also preserve cultural specifics, such as the reference to "birching," without explanatory gloss, trusting the reader to infer the social context. These choices create a layered voice: the novel speaks in multiple registers, from the mundane to the grotesque, without flattening the original's tonal complexity.

Readers attentive to shifts in tempo will find that the novel's power lies in its unevenness—the way it lurches from Peredonov's obsessive spirals to the brittle gaiety of provincial life. The translation by Aldington and Cournos captures this disquieting rhythm, making the work as much a study in narrative pacing as in character. Approach the text with an ear for its changes in speed and tone; they are as telling as any explicit plot development.

Some afternoons, I think of Peredonov’s trembling unease, how Sologub’s pacing lets that dread breathe, and then my gaze drifts to Zola—that humming, bright department store where crowds blur into a different kind of fever. Both novels share a quiet kinship of consuming interiors, though one whispers madness and the other, appetite. It’s a strange companionship, but familiar. The Ladies' Paradise: A Realistic Novel — Context and Discussion rests beside such memories like an old friend.

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