Fyodor Pavlovitch Karamazov (FYOH-dohr PAHV-loh-vihch kah-rah-MAH-zof) is a quintessentially debauched patriarch, embodying the hedonistic spirit that taints his progeny. As an aging libertine, Fyodor competes with his sons over women, wealth, and power, driven by a relentless will to control his life and destiny. Known for his extreme behavior, Fyodor's debauchery persists unabated even in his declining years. His craftiness and greed are marked by a malignant sense of humor and a superficial magnificence now dimmed by time. Modeled after Dostoevsky's own father, Fyodor epitomizes "Karamazovism," characterized by indulgence in debauchery, blasphemy, and excess. His nihilistic and narcissistic tendencies manifest in his misanthropic nature, particularly in his scheme to marry Grushenka using his considerable fortune. Fyodor's lifestyle starkly contrasts reformative characters like Peter Miusov, highlighting broader societal conflicts within the novel. According to Kirillovitch, Fyodor stands against the enlightening and reformative aspirations represented by characters such as Miusov, emblematic of an unrefined yet vital element of Russian society.

If Dostoevsky's novel is viewed as a novel of ideas, then Ivan, the middle brother, is the hero. He is a "morose and reserved" young man who recently graduated from the university. Besides the narrator's voice, his voice is the most frequent. Ivan, however, uses other narrative voices to express his thoughts--a devil, an Inquisitor, or a dry recitation of facts.

Ivan gets so caught up in polemics that he ends up in critical condition with a "brain fever." His apparent possession by a demonic being sheds light on the primitive state of neurology just prior to the revolutionary ideas of Sigmund Freud.

Like his father, Ivan prefers logic and facts; they prevent him from falling into a despair brought on by trying to make sense of a world full of absurdities. Therefore he collects facts in a notebook. In this, some critics and biographers assert that he resembles Dostoevsky.

Ivan is responsible for the most famous aspect of the novel, "The Grand Inquisitor." This "poem" is an internal monologue. As Ivan's mental suffering increases, he withdraws from society. He eventually suffers a mental breakdown.

First son of Fyodor, Dmitri is raised by Gregory, the family servant. As a boy, Peter Miusov decides to give him the best education. When he loses interest, Dmitri is passed off on relatives. Having no other prospects, he pursues a military career.

Over the years, his father gives him money, yet never informs him of his net worth. Eventually, he discovers that he has spent all of his inheritance—according to Fyodor. Dmitri's inability to sort out his financial situation and stand up to his father eventually leads to his downfall.

Dmitri's voice can be funny or poetic, swaggering or humiliated. Psychologically, he is a man of passion and the senses, of the earth (Dmitri is from Demeter, goddess of earth, fertility and grain).

The lesson Dmitri learns is that only by the awakening of men like himself to Christian duty, can those in poverty and oppression (as seen in his vision) have a bright, fulfilled life.

Alyosha (ah-LYOH-shuh), also known as Alexey, is the spiritual linchpin of the Karamazov family. At nineteen, Alyosha is depicted as a healthy, bright, and personable young man, embodying the role of peacemaker among his tumultuous kin. Despite his father's indulgent nature, Alyosha forms bonds with his family through genuine love and compassion. His devotion to Father Zossima and his internal struggle between worldliness and spirituality present him as a figure of natural goodness and human empathy.

Alyosha's relationship with Ivan reveals the depth of his character, as he attempts to guide his brother through moral and spiritual turmoil. Dostoevsky...

Grushenka (GREW-shehn-kuh), or Agrafena Svyetlov, captivates both father and son with her earthy charm and candid independence. A temptress by nature, she embodies a complex blend of loyalty, devotion, and maternal warmth, transcending her initial portrayal as a mere "hussy." Despite her relationships with both Fyodor and Dmitri, Grushenka's actions reveal deep-seated affection and a resilient spirit. Her rivalry with Katerina evolves into mutual understanding, as the women unite in their desire to "save" Dmitri.

Grushenka's journey illustrates her resilience and independence, as she defies societal expectations and pursues genuine love over material gain. Her interactions with Alyosha showcase her complexity, as she oscillates between playful flirtation and sincere respect. Grushenka's evolution from a figure of scorn to one of admiration underscores the novel's exploration of redemption and personal growth.

Katerina Ivanovna (kah-tehr-IHN-uh ih-VAH-nohv-nuh) embodies the conflict between pride and self-sacrifice. Initially engaged to Dmitri, yet loved by Ivan, Katerina's aristocratic demeanor conceals fierce loyalty and emotional vulnerability. Her complex relationship with Dmitri, initially rooted in gratitude for financial aid, evolves into a web of love, jealousy, and forgiveness. Katerina's fierce pride and longing for revenge lead her to betray Dmitri at his trial, only to seek reconciliation later. Her interactions with Grushenka highlight the nuanced dynamics of love and rivalry, culminating in her promise to aid Dmitri's escape. Katerina's journey is one of self-discovery and redemption as she reconciles her contradictory emotions and finds peace. Ivan describes her as epitomizing the "lacerated person," defined by an inability to move beyond past humiliations.

Smerdyakov (smehr-DYAH-kof), potentially Fyodor's illegitimate son, embodies bitterness and cunning. As a half-witted servant, he harbors resentment towards Fyodor and Dmitri. Despite sadistic tendencies, Smerdyakov seeks equality and understanding through Ivan, even as he descends into murder. As Fyodor's murderer, Smerdyakov's actions stem from guilt, manipulation, and unmet desires. His suicide underscores his tragic character, more victim than antagonist, driven by internal conflict and societal neglect. His relationship with Ivan is pivotal, revealing a desire for recognition and equality. Given different circumstances, Smerdyakov might have matched Ivan's intellect, but his thirst for knowledge remained unfulfilled.

Father Zossima (ZOH-seh-mah), Alyosha's mentor, is a revered religious figure whose guidance shapes Alyosha's spiritual journey. Despite his awareness of the Karamazovs' sensual nature, Zossima advises Alyosha to engage with the world, rather than retreat from it. His unexpected posthumous decay challenges his followers' faith, yet his teachings endure through Alyosha's actions and aspirations.

Zossima's life, marked by penitence and humility, serves as a model of spiritual resilience and compassion, offering a counterpoint to the chaos and debauchery surrounding the Karamazovs.

Marfa (MAHR-fuh), Smerdyakov’s foster mother and a servant in the Karamazov household, demonstrates intelligence and resourcefulness. Her herbal remedies and care for Gregory underscore her practical nature and loyalty to the household, even amidst the turmoil of Fyodor's murder. She is a strong presence, exhibiting dedication to her duties and people she cares for, such as Gregory, her husband.

Grigory (grih-GOH-ree), Marfa’s husband and a former serf, remains with Fyodor out of a sense of duty, despite personal disdain. As Dmitri's surrogate father, Grigory embodies loyalty and moral grounding within the chaotic Karamazov household. He is a religious old man, committed to his obligations despite his master’s vices, believing it is his fate to remain bound to Fyodor.

Lizaveta (lyee-zah-VEH-tuh), known as "Stinking Lizaveta," is Smerdyakov's mother, whose tragic life casts a shadow over her son's existence. A mentally disabled orphan likely raped by Fyodor, her life reflects themes of exploitation and victimization. Her death during childbirth in a bathhouse marks a poignant moment of suffering and highlights the cycle of abuse perpetuated by Fyodor's actions.