Under Western Eyes [with Biographical Introduction]

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Unguarded expressions, little facts in themselves innocent would be counted for crimes Razumov saw himself shut up in a fortress, worried, badgered, perhaps ill-used. He saw himself-at best-leading a miserable existence under police supervision Haldin doesn't get help. The revolution goes on and on. People keep hating each other.

Oh, and Razumov doesn't get a silver medal. Jan 30, J. That propensity of lifting every problem from the plane of the understandable by means of some sort of mystic expression is very Russian. It almost seems that Conrad needs the fecundity of the South Seas, or of the African Interior, to counterbalance his methods, his approach. Here in the awfully civilized central European capitals we may find him unusually soap-operatic and slightly overdone.

Or maybe it is so close to home for the writer, Polish and born in the Ukraine, that every last semi-l That propensity of lifting every problem from the plane of the understandable by means of some sort of mystic expression is very Russian. Or maybe it is so close to home for the writer, Polish and born in the Ukraine, that every last semi-loyalty must be analyzed and parsed into oblivion. It is fairly safe to say at this point that Conrad was looking to present his view of the opposite of pan-Russianism, whether red or white, or at least to point to the cracks in the foundation.

In Russia and adjacent Europe were so wracked by revolutionary fervor and anarchist violence that the rather conservative author may have wanted to counter the onrush of history as he saw it. That the orphaned Conrad's father was a patriotic Pole who flaunted the authority of Russian hegemony, that it was an era when the world was on the brink, would both have been influential. There is so much here to have loved that it's hard to call it what it seems, though. It does miss, though, and there is some evidence that Conrad was looking to settle certain scores with his novel that set the whole project into the 'contrivance' category.

But not right away. As often with Conrad, locale, character and exposition on-the-fly are frontloaded and forced into the narrative mix quite early in the story; much as a modern film will mesh those elements directly into the first few shots, rather than languish in establishing shots or chit-chat from minor characters to set the stage. We're in the midst of it, right away, rather than waiting for a staged introduction.

And even the 'Narrator' here is something of a ploy, as he too will come to be a major player, very early in the second act. Speech has been given to us for the purpose of concealing our thoughts My impression is that it is part of the plan that some details will get lost in the rush, perhaps just mislaid, and some uncertainties will continue further into the mix, as we reach the inner frames of the story. All the better to play when required, on inner storylines when and where the emphasis is needed, rather than as mere introduction.

Often this works as a stunning reverberation in a Conrad novel, but sometimes not, as in Under Western Eyes. The risk is a bit like telling a restrained and methodical story of a woman eating an apple, and then reframing it by saying she is in the garden of eden, and named Eve.

Under Western Eyes

Even in ranting against the rebels, the author is bloodthirsty in his condemnation the empire. Even in looking to upset the mystic, pan-Slavic logic of revolution, Conrad wants to indict not the ideals but the weaknesses of the personality types to whom a broad revolution will appeal. And he has no shortage of strange characters to present. As usual with Conrad, we are immersed here within multiple frames of a narrative plan that rearranges, slightly, the stream of events we are to witness. Frames of various perspectives overlay the minimal action, while the emphasis is left to fall on the viewpoint, the spin, at any given point.

And here as with Henry James, often enough the broth is beautiful but the soup is overcooked. Having said that, there are interesting resonances at hand, in Conrad's tale of a self-doubting and panicky student fallen into the embrace of international intrigue. An excruciating sequence of agonized reversals draws our anti-hero along the path: One of the scores Conrad wants to settle is surely with the ghost of Dostoevsky. Protagonist and unwilling co-collaborator Razumov is well beyond his depth by the first page of the book, and once led to the circle of spies in Geneva he becomes the plaything of the era's worst influences, the fool of history.

The operatic character-types of the spies of Geneva are straight out of Maltese Falcon or, perhaps, Dante. Dark gargoyles look down over all of the proceedings, but even more diabolical ones lie in wait, behind the locked doors of the conspirators. Sep 06, Xan Shadowflutter rated it liked it Shelves: I'm of two minds of this book. I've read this is Conrad's response to Dostoevsky's Crime and Punishment , and perhaps in someway it is, but I think this is first and foremost about destiny and how forces beyond your control can converge to take control of your life.

Someone commits a crime of great consequence and implicates you through association. You understand the danger. You make decisions you feel forced to make yet still regret. Now the decisions you make have great consequence I'm of two minds of this book. Now the decisions you make have great consequence for yourself and others. You are becoming someone you don't want to be.

Yet no matter what you do, no matter which way you squirm, you are implicated and therefore involved. Soon your entire life has changed, kidnapped by fate. Destiny plays with you as it will. The question is what can you do, if anything, to retake control of your life. That is what is good about this book. What is not good about this book is the narrator. He represents Europe, I'm quite sure, but the reason why is never explained. Nor do I understand what Conrad is saying about Europe, except possibly that it is old and musty.

And the narrator's also unreliable, or at least he's trying his best to convince us he is. He tells us as much, anyway. So now we are seeing everything unfold through the eyes of a false witness. Are we forced us to question everything? To what purpose is this done? And why does the narrator take up so much space?

What's the deeper meaning I'm missing? If you figure it out, please let me know. You Have Either to Rot or to Burn. In short, it is probably worse to be made to burn than to burn. Razumov, the illegitimate son of a Russian nobleman, uses the scarce means provided for him in order to study philosophy, hoping to qualify for an appointment as a civil servant in tsarist Russia, thereby attaining the ultimate position this autocratic system would hold in store for him.

He is well under way making his mark as an excellent student, but one night, fate crushes all his careful plans in the person of Victor Haldin, a fellow student of his and, as it soon turns out, the man who assassinated a high tsarist functionary some hours ago. However, once his name becomes known to the authorities in connection with the revolution, he cannot go back into his old life. Under Western Eyes is the dark psychological tale of a young man who is neither void of egoism nor completely base and unfeeling.

In fact, Conrad took great pains to retain a sense of moral ambiguity, avoiding taking sides for or against Razumov. Nevertheless, although the novel certainly presents Haldin in rather positive a light — there is an abundance of religious allusions —, it still points out that the bomb thrown by Haldin also killed innocent bystanders.

Conrad makes it quite clear, and he seems to be right in this, as is shown by a look at present-day Russia and the continuance of disregarding human rights, that autocracy is something inveterately Russian and that it is only by taking example from the West and its political culture that Russia can overcome the curse of oppression and iniquity.

Significantly, the narrator of the story, an English teacher, who spent his childhood in Russia, is regularly at a loss when it comes to understanding the thoughts and values of the Russian exiles in Geneva, and he points out that no one who has grown up in England can really measure the deforming effects of autocracy on the human mind and soul. Conrad not only criticizes the amount of ideological exorbitance on the part of the autocrats, who even need no ideology in order to support their claim to power, but rely on the normative force of the factual.

Aug 13, David rated it it was amazing Recommended to David by: Reading Lolita in Tehran. That's on the first page! I knew at that moment that I had chosen the right book. They turned to autocracy for the peace of their patriotic conscience as a weary unbeliever, touched by grace, turn to the faith of his fathers for the blessings of spiritual rest.

A violent revolution falls into the hands of narrow-minded fanatics and of tyrannical hypocrites at first. Afterwards, comes the turn of all the pretentious intellectual failures of the time. Such are the chiefs and the leaders. You will notice that I have left out the mere rogues. The scrupulous and the just, the noble, humane, and devoted natures; the unselfish and the intelligent may begin a movement -- but it passes away from them.

They are its victims: Hopes grotesquely betrayed, ideals caricatured -- that is the definition of revolutionary success. If you like these, you'll love this book. The first 50 pages are gripping, the middle sags a tiny bit, the end is great. Complex but worth the effort Very much in the style of Dostoevsky not my favorite Russian author but intriguing look at a young man caught between revolutionaries and self-interest.

The double meanings of much of the text are marvelously done. This Conrad novel, from , is quite different from his most famous "Heart of Darkness". Jul 23, Michael Cayley rated it it was amazing Shelves: One of Conrad's masterpieces. Its main characters are involved to greater or lesser extent in Russian revolutionary politics of the later 19th century. Victor Haldin, having assassinated a Russian government minister, takes refuge in the rooms of a student, Razumov, whom he believes will be sympathetic and assist his escape.

After agonising for a while,Razumov betrays One of Conrad's masterpieces. After agonising for a while,Razumov betrays him, leading to his death, only to fall under suspicion himself. Razumov agrees to spy on revolutionaries plotting in exile in Geneva, where Haldin's sister and mother are living. Some of the revolutionaries are grotesque; most are cold-blooded in their willingness to pursue violence to achieve their goals; and they fear Razumov himself is tortured by guilt and by the double life he is leading, and is at times near total mental breakdown.

In the end in an attempt at redemption he is driven to confess his role in Haldin's death, and retribution follows. Like several of Conrad's major works, the novel has a narrative frame: The teacher has been given a detailed diary kept by Razumov, and this is the basis of most of the narrative and the portrayal of Razumov's inner thoughts.

His perception of the events described emphasises the - to an Englishman - strangeness of the Russian revolutionary society and of Razumov's own psychology: Conrad's fiction often focuses on encounters with what, from a conventional English viewpoint of the late 19th century and the early s, is an exotic, sometimes savage world, and in this novel it is Russian culture and politics of the period that is the exotic.

In the background, but not overly emphasised this is a novel, not a political tract , is the theme of what means should be used to pursue greater freedom and justice in an autocratic country with extremes of power, wealth and poverty. This is the most Dostoyevskyan of Conrad's novels, especially in its portrayal of guilt-racked Razumov. There are also anticipations of the atmosphere of Kafka's novels, especially in the world of suspicious officialdom in which Razumov finds himself because of his involvement with Haldin. The betrayal of Haldin, and Razumov's attempt to redeem himself at the risk of death through his final confession, are treated in a manner which foreshadows the several-decades-later fiction of French existentialists.

May 19, Paola rated it liked it Shelves: For me this was a book of two halves - as much as I enjoyed the first two parts, I found myself plodding through the second two. Perhaps it is just that this novel has not aged well: In addition, many of the sex stereotypes, though well meant, sound quite tired. The third part, in which Razumov For me this was a book of two halves - as much as I enjoyed the first two parts, I found myself plodding through the second two. The third part, in which Razumov is employed as double agent in Geneva and crumbles under the pressure of Miss Haldin's trustful eyes, was the less palatable, the characters too grotesque, the dialogues too disjointed to draw me into the novel.

Razumov himself, however, is a great character, and Conrad's instrument to argue for the pros and mostly the cons of upheavals and revolutions, of the naivete of those who are its instruments and end up crushed by the unstoppable wave they've helped push forward. I wish Conrad had stopped at Razumov's exit followed by NN and his henchmen, leaving a doubt as to his end, too forced and symbolic for my taste. Overall, an interesting read. Jul 11, Peter rated it really liked it Shelves: I'll start with 2 questions; Why, I wonder, isn't this novel better known or more widely acclaimed?

It shows moments of insight into the beginnings of World War I as well as the nature and outcome of the 2nd, and successful, Russian revolution. All the more remarkable then, is that being published in , it pre-dates both of those two momentous events. Secondly, how to write a review that shows the novels worth without giving it away so as to spoil it for others? Well, for starters if you like D I'll start with 2 questions; Why, I wonder, isn't this novel better known or more widely acclaimed?

Well, for starters if you like Dostoevsky or Tolstoy, or already like Josef Conrad's other novels then there's a good chance that you are going to like this. Using the socio political climate of early C20th Russia as a background context obviously lends a flavour to this novel similar to some of those by Dostoevsky or Tolstoy; they are literary kin. This novel IS complex. In the first instance, precisely because of the differing expressions of it's characters; the central triad being the most humane and well created.

They are bought into focus by the vaguely nightmarish or etiolated caricatures that surround them, both in Russia and in exile. These secondary characters reminded me quite strongly of those in G. Chesterton's spiritual conspiracy fantasy 'The Man Who was Thursday'. Conrad also conjures similar atmospheres to Dostoevski; inner mental tension, social squalor and a sense of human suffering and so forth, unlike Dostoevski, any questions that this poses are asked as an outsider looking in, namely 'The Westerner' grappling with the eastern European mindset, whilst simultaneously and more akin to Tolstoi or Dostoevski, I'm thinking of 'Notes from Underground' or Levin in 'Anna Kerinina' there is also the 'Russian' outsider coming to terms with his own historical legacy.

Any conclusions reached are therefore bound, to some degree, to be a little wide of the mark since all interpretations written within the text are by definition only incomplete There is a kind of post modern inner dialogue throughout in which the narrator questions and discusses his own validity in such a role, and Razumov likewise doubts and questions pretty much everything. Nathalia Haldin is the one exception of the the central three, in that her estrangement from events is attributed to innocence, inexperience and purity; a kind of mythical Russian womanhood.

Conrad's writing is at times a little cumbersome and verbose in comparison to the two great Russians. Lastly, the use of a non linear four part plot chronology adds to the aforementioned complexity by inviting or even purposefully allowing a certain interpretation before decisive and relevant information is made known. As to the cast, the story is framed by the narration of an Englishman, whom I believe voices the opinions of the author: A "teacher of languages"; the first of three main characters and the 'western eyes' under which the novel's story unfolds.

The novel's second central figure, an anti hero, is Kyrilo Sidorovitch Razumov, a gifted student, an angst ridden, existential outsider in the spirit of Camus or Kafka. He is a strong and yet simultaneously fragile character, easily knocked out of equilibrium by social events and many of his interactions.

He is tortured by his own thoughts and emotions as he finds himself unwillingly 'chosen', drawn into a conspiratorial revolutionary underground that accentuates his standing as 'an outsider' and yet also at times centre's itself around and confirms him. We are invited to see him as victim but of what? His lack of love and family? His themes are loneliness, redemption, displacement, estrangement, angst, anger and the struggle to be genuine and free. If that all sounds a little post modern remember! As the central young man of the novel, he is, at one point attributed the protest that he is 'not a young man in a novel'!

The third central character is Nathalia Haldin,a young woman with 'the most trustful eyes in the world', a Russian in exile related to Razumov by circumstance and events, as what exactly? The main plot revolves around this triad. These three are caught up in circumstances not entirely of their making, but to which they willing contribute. In the midst of this, whilst 'The Russian', his political ways and his history are examined or rather defamed by Conrad the themes of belonging, redemption, fate, conscience and 'the efficacy of remorse' are explored.

I'l be thinking and ruminating on this novel for a while and I'll certainly mark it it as one to re read. I loved the tension in this!!! The story follows Russian university student Razumov after he gets approached by a classmate who just assassinated a minister in the government. The narrator is an old Englishman living in Geneva who seems to be just a lowly language teacher. He tracks Razumov's movements and has translated Raz's diary for the reader, which makes up the book.

Due to this, the reader is left constantly wondering who to trust, why we are getting some information and not other, and h I loved the tension in this!!! Due to this, the reader is left constantly wondering who to trust, why we are getting some information and not other, and how much we can believe. It is a really riveting ride!

Personal Conflict

I felt very connected to Razumov's character, his solitary temperament, and love of writing. Other memorable characters appear, such as Sophia Antonova, Natalia, Madcap Kostia, and--of course-- the infamous Haldin. I would recommend this book highly to anyone interested in Russian history, government intrigues, and novels which explore questions of morality and justice. Will definitely be reading that soon! Sep 03, Felice Picano rated it it was amazing. Geneva, Switzerland, in There, Russian conspirators and Russian secret agents are all gathered to either infiltrate and bring down the repressive Tsarist government or infiltrate and bring to grief the conspirators movement.

It's one of the ongoing great stupidities of how literature is taught in American universities that people will graduate with honors having read two of Conrad's dopiest and least characteristic stories: Petersburg in the early s. Razumov never knew his parents and has no family ties. He is trusted by his fellow students, many of whom hold revolutionary views, but Razumov takes no clear position on any of the great questions of his time because he considers all of Russia his family. A better view, perhaps, would be to say that Razumov has no family to fall back on, feels isolated from his contemporaries, takes no interest in the "great issues" of the day, and merely seeks a middle-class secure position within the Czarist system — thus, very ironically, he sees "all Russia" as his "family.

Razumov enters his rooms to find Victor Haldin, a fellow student. Haldin tells Razumov that he was the one who murdered Mr. He requests Razumov's help because he trusts him, even though he realises that they do not quite belong in the same camp.

Under Western Eyes by Conrad: Summary & Overview

Razumov agrees to help, if only to get Haldin out of his flat. Haldin tasks him with finding Ziemianitch, who was supposed to help Haldin escape. Haldin's request launches Razumov into a deep identity crisis. He feels that his life will be destroyed by the authorities simply because of his association with Haldin.

Consequently he becomes intensely aware of his social isolation and lack of family ties. Harbouring no sympathy for Haldin's actions or his ideals, Razumov is brought closer to conservatism out of the simple fear to survive. He seeks out Ziemianitch and, when he finds him, drunk and incapacitated, beats him.

Afterwards he makes up his mind to betray Haldin to save his own life and turns to his university sponsor, Prince K. They go to the chief of police, General T—. Then a trap is laid for Haldin. Razumov returns to his apartment and attempts to explain his predicament to Haldin while concealing the fact that he has just betrayed him. Haldin leaves and, later that night, is caught. Razumov is distressed for days after Haldin's capture. Finally, he receives a summons to the police headquarters and meets Privy Councillor Mikulin.

In a scene reminiscent of Crime and Punishment , Razumov is highly paranoid that Mikulin suspects him of being a revolutionary. Mikulin reveals that Haldin was interrogated, sentenced and hanged the same day without implicating Razumov. Mikulin also reveals that he supervised a search of Razumov's quarters and is interested in Razumov's future plans. The narrative shifts to Haldin's sister, Natalia, and their mother, Mrs Haldin, who live in Switzerland after Haldin persuaded them to sell their house in Russia and move.

Having lived in Zurich for a while, they then settle in Geneva, which has a vibrant Russian community. There, they wait for Haldin.

See a Problem?

Natalia has been friendly with the narrator for some time from whom she receives English lessons. One day, the narrator chances upon the news of Haldin's arrest and execution in an English newspaper, and tells Natalia and her mother. Natalia takes the news stoically but her mother is deeply distressed.

Peter Ivanovitch, a leader in the revolutionary movement, having learnt of Haldin's execution, meets with Natalia and attempts to recruit her, but Natalia is sceptical and noncommittal. He also tells her that Razumov is about to arrive in Geneva, which excites Natalia, as Haldin had described him in glowing terms in his letters. Natalia is invited to the Chateau Borel, a big, neglected house that Madame de S— rents from the widow of an Italian banker, and meets Tekla, the abused companion of Madame de S— and secretary to Peter Ivanovitch.

Tekla recounts her life story. Afterwards, they come upon Peter Ivanovitch and Razumov. Peter Ivanovitch leaves and Natalia introduces herself to Razumov, who feel compassion for her. Tekla, like most of the characters whom Razumov encounters, misinterprets his taciturn cynicism — which is in fact motivated by his hatred for the entire situation he has fallen into — as the expression of a true revolutionist, and pledges her help to him, even to the point of leaving Madame de S- and Peter Ivanovitch.

The narrative shifts back to a few weeks earlier and describes how Razumov arrived in Geneva, having first stayed in Zurich for three days with Sophia Antonovna, the right hand of Peter Ivanovitch. Razumov did not further seek Peter Ivanovitch after their first meeting but instead took long walks with Natalia, where she took him into her confidence and asked about her brother's last hours, to which Razumov gave no definite answer.

Razumov is abrasive towards the narrator, who detects a deep distress under Razumov's exterior. Razumov is severely beaten, and as he leaves, he is hit and maimed by a tramcar. Razumov lives out the remainder of his days under the care of Tekla, who found him in a secluded part of Russia. After receiving and giving Razumov's confession to the narrator, Natalia also moves back to Russia where she does charity work. Petersburg, betrays one of his fellow students, Haldin, who is responsible for an assassination.

Because Razumov has no family, he is easily recruited to work as a spy for the Russian government. His betrayal becomes an overwhelming personal struggle, however, when Razumov falls in love with Natalia, Haldin's sister, the classmate Razumov betrayed. Instead of obtaining information from Ivanovich, the man Razumov has been sent to spy on, he spends his time pursuing Natalia.

Razumov fully confesses his betrayal and mails it to Natalia. He then finds a group of revolutionaries and confesses to them that he is the one who betrayed Haldin. Razumov is subsequently attacked. Then, to further Razumov's downfall, he is hit and severely injured by a tramcar.

Razumov carries out the rest of his life alone, crippled, and ashamed. To unlock this lesson you must be a Study. Login here for access. Did you know… We have over college courses that prepare you to earn credit by exam that is accepted by over 1, colleges and universities. You can test out of the first two years of college and save thousands off your degree. Anyone can earn credit-by-exam regardless of age or education level.

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Add to Add to Add to. Want to watch this again later? The novel depicts the brutal downfall of a Russian university student who acts as a spy for the Russian government. Personal Conflict The story begins with a political assassination. Increased Turmoil In Geneva, Haldin's sister Natalia who is being tutored by the narrator, a professor of languages, learns of her brother's execution. Try it risk-free No obligation, cancel anytime. Want to learn more? Select a subject to preview related courses: Confessions Because of his love for Natalia, Razumov is overwhelmed by how he betrayed Haldin.

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