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The Little Demon · Chapter

Author's Preface to the Second Russian Edition, 1908 explained

Sologub introduces his novel The Little Demon, explaining its composition history from 1892 to 1902 and its publication in 1905 and 1907.

What happens

Sologub introduces his novel The Little Demon, explaining its composition history from 1892 to 1902 and its publication in 1905 and 1907. He addresses two critical responses: one claiming the novel is a self-portrait of the author as a wicked man, and another viewing Peredonovshchina as a widespread phenomenon. Sologub endorses the latter, asserting that the novel is a mirror of his contemporaries, reflecting both monstrous and beautiful aspects with precision.

Themes in this chapter

  • Universality of Human Flaw

    Sologub argues that Peredonovshchina is a widespread phenomenon and that readers may recognize traits of Peredonov in themselves.

  • Hypocrisy and Social Facade

    The author criticizes the public's desire to see nobility even in villains, rejecting the comforting illusion that the novel's dark portrayal does not apply to them.

Characters to notice

  • Peredonov

    Mentioned as the central figure of the novel, with critics suggesting the author portrayed himself through this character.

  • Varvara

    Listed among the characters depicted in the novel.

  • Pavel Volodin

    Listed among the characters depicted in the novel.

  • Darya

    Listed among the characters depicted in the novel.

  • Liudmilla

    Listed among the characters depicted in the novel.

  • Valeria Routilov

    Listed among the characters depicted in the novel.

  • Sasha Pilnikov

    Listed among the characters depicted in the novel as Aleksandr Pilnikov.

Key passages

  • There are some who think that the author, being a very wicked man, wished to draw his own portrait, and has represented himself in the person of the instructor Peredonov.

    Some critics believe Sologub intentionally painted himself as the villainous Peredonov.

    Sologub dismisses this interpretation as a misunderstanding of his intentions.

  • No, my dear contemporaries, it is of you that I have written my novel, about the Little Demon and his dreadful Nedotikomka, about Ardalyon and Varvara Peredonov, Pavel Volodin, Darya, Liudmilla, and Valeria Routilov, Aleksandr Pilnikov and the others. About you.

    Sologub directly addresses his readers, insisting that the novel reflects their own flaws and society.

    This is the author's central claim that the novel is a mirror of contemporary society.

  • This novel is a mirror—very skilfully made. I have spent a long time in polishing it, I have laboured over it zealously. The surface of my mirror is pure. It has been remeasured again and again, and most carefully verified; it has not a single blemish. The monstrous and the beautiful are reflected in it with equal precision.

    Sologub describes his novel as a meticulously crafted mirror that accurately reflects both good and evil.

    He emphasizes the precision and impartiality of his artistic creation.