The story marked the first appearance of the Inquisitor and the Valeyard , two characters who would appear throughout the season, along with Sabalom Glitz , who would appear again later in the season and also in Season With this chapter, the series returned to half-hour episodes. Also beginning with this story, the series was now completely produced on videotape with the exception, in this story, of a brief special effects sequence in Episode 1. With this episode, Peter Howell 's rendition of the Doctor Who theme was exchanged for a mysterious and surreal arrangement of the theme tune composed by Dominic Glynn.
It would remain in use solely for season 23 and close out Colin Baker 's era on the series. Such a negative reaction stunned Nathan-Turner and Saward; Saward was especially rattled as he had held Robert Holmes in high esteem in the past and hadn't queried the scripts as they came in. This was perhaps the moment that Saward began questioning his own self-belief in the series and doubting his abilities as a script editor.
This would later lead to his departure a few months later. This story also introduced some costume changes for the Doctor and Peri. Notably, Nicola Bryant 's character Peri Brown starts wearing more conservative clothing from here out, after spending most of her appearances in loose-fitting and often revealing outfits. Her wardrobe change was a result of complaints that her provocative clothes were inappropriate for younger Doctor Who viewers. The Doctor is summoned before the High Council of Time Lords to stand trial for the charges of harmful interference to the course of events during his space-time excursions, which have threatened the sanctity of the universe.
Indignant at these accusations, the Doctor pleads his case to the Inquisitor with the hope that she will see him as a source of hope and goodwill for existence. However, his prosecuting attorney , a sinister Time Lord known simply as the Valeyard , begins a crusade against the Doctor's life with the motive of painting him out to be a villainous renegade.
The Valeyard's first movement against the Doctor is to review his past interactions on a familiar planet called Ravolox , where he and his-then companion Peri Brown met the morally grey Sabalom Glitz and a tyrannical robot stalking the world's desolated landscape. However, Ravolox holds a terrible truth in the far reaches of its ruins, while the Doctor's trial has its own fair share of startling twists and turns He walks into a room, where he is put on trial for conduct unbecoming a Time Lord.
The Inquisitor notes that the Doctor has been on trial previously. The Valeyard states he will argue that the Doctor was shown too much leniency on that occasion. The Valeyard opens the case by using the Matrix to show the Doctor's actions on the planet Ravolox. The Doctor and Peri arrive on Ravolox, which is virtually identical to Earth. He tells Peri that the official records state that the planet was devastated by a fireball, but the forest they are walking through suggests otherwise.
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They are seen by Sabalom Glitz and Dibber , who attempt to shoot the Doctor. He moves off just in time. Glitz and Dibber discuss their plan to destroy the " L3 robot " by sabotaging its light conversion system, which has been turned into a totem by a primitive tribe. The Doctor and Peri explore a cavern. Peri discovers a sign saying "Marble Arch" — a London Underground sign. This means that they are on Earth. Peri begins to mourn for her planet. The Doctor interrupts the replay to ask what the relevance of this is. He then also asks why Peri is not with him on the station. The Valeyard answers that she is where the Doctor left her and states that the Doctor's evident temporary amnesia — a side-effect of being taken out of time — should soon pass.
As the Matrix resumes showing the events on Ravalox, Peri is still upset. The Doctor goes into the complex alone. Two masked figures appear and capture Peri. Glitz claims that the totem attracted the fireball that devastated Ravolox and asks for it to be taken down. The Queen tells him that others have asked for the totem to be dismantled, and none have succeeded. Glitz and Dibber draw their guns but are overpowered and locked up. The Doctor finds an underground complex and picks up a bottle of water.
This sets off an alarm, and people enter and subdue him. He is accused of stealing water and sentenced to be stoned. The Doctor tries to block the rocks with his umbrella but is knocked unconscious. The Valeyard proposes that the inquiry into the Doctor's activities should become a full-blown trial, with the penalty being the termination of his life Other officials arrive and break up the stoning.
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The Doctor is still breathing. Before he can be killed, Merdeen receives a message from the Immortal stating that he wishes to question the Doctor. The Immortal is revealed to be a huge humanoid robot, commands its two assistants to release the service robot. Peri is brought before Katryca, who informs her that as there are few women, she will need to take many husbands as a member of her tribe. She is put in the same prison as Glitz and Dibber.
They tell Peri their plan to destroy the robot. They are taken back to Katryca, who tells them that Glitz will be sacrificed because of his attempt to destroy the great totem.
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The Doctor is taken to the Immortal, who introduces itself as Drathro. It commands the Doctor to work with the two assistants. The Doctor identifies the problem and tries to leave in order to fix it, but Drathro does not allow him to, as his instructions are to maintain an underground system. The Doctor electrifies the robot and his assistants and escapes.
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Drathro sends the service robot to track down the Doctor. Meanwhile, Peri, Glitz and Dibber overpower the guards and escape. Dibber remains behind to plant a bomb on the black light converter, whilst they go to the underground complex. In the Marb Station , Merdeen tells Balazar that there has been no fire for hundreds of years, and he should leave the complex. They encounter the Doctor, and Merdeen implores him to help Balazar escape.
Peri, Glitz and Dibber, pursued by tribesmen, find the Doctor, and they flee into the Marb Station but are trapped between the tribe and the service robot. When Peri asks what they should do, the Doctor replies, "I don't know. He specialized in the analysis of pathological states of mind that lead to insanity, murder, and suicide and in the exploration of the emotions of humiliation, self-destruction, tyrannical domination, and murderous rage.
Finally, these novels broke new ground with their experiments in literary form. Indeed, he frequently capitalized on his legend by drawing on the highly dramatic incidents of his life in creating his greatest characters. Even so, some events in his life have remained clouded in mystery, and careless speculations have unfortunately gained the status of fact. Unlike many other Russian writers of the first part of the 19th century, Dostoyevsky was not born into the landed gentry.
He often stressed the difference between his own background and that of Leo Tolstoy or Ivan Turgenev and the effect of that difference on his work. First, Dostoyevsky was always in need of money and had to hurry his works into publication. Although he complained that writing against a deadline prevented him from achieving his full literary powers, it is equally possible that his frenzied style of composition lent his novels an energy that has remained part of their appeal.
By contrast, his mother, a cultured woman from a merchant family, was kindly and indulgent. He bought an estate in , and so young Fyodor spent the summer months in the country. Until Dostoyevsky was educated at home, before being sent to a day school and then to a boarding school. Petersburg , a career as a military engineer having been marked out for him by his father. Dostoyevsky was evidently unsuited for such an occupation.
He and his older brother Mikhail, who remained his close friend and became his collaborator in publishing journals, were entranced with literature from a young age. Not long after completing his degree and becoming a sublieutenant, Dostoyevsky resigned his commission to commence a hazardous career as a writer living off his pen. Dostoyevsky did not have to toil long in obscurity. Even though it was 4: Later that day, Nekrasov brought Poor Folk to Belinsky. Makar Devushkin, a poor copying clerk who can afford to live only in a corner of a dirty kitchen, exchanges letters with a young and poor girl, Varvara Dobrosyolova.
Her letters reveal that she has already been procured once for a wealthy and worthless man, whom, at the end of the novel, she agrees to marry. The novel is remarkable for its descriptions of the psychological rather than just material effects of poverty. Dostoyevsky transformed the techniques Nikolay Gogol used in The Overcoat , the celebrated story of a poor copying clerk. The hero of this novella, Golyadkin, begets a double of himself, who mocks him and usurps his place. Always prone to nervous illness, Dostoyevsky suffered from depression. In Dostoyevsky began to participate in the Petrashevsky Circle, a group of intellectuals who discussed utopian socialism.
He eventually joined a related, secret group devoted to revolution and illegal propaganda. It appears that Dostoyevsky did not sympathize as others did with egalitarian communism and terrorism but was motivated by his strong disapproval of serfdom. On April 23, , he and the other members of the Petrashevsky Circle were arrested. Dostoyevsky spent eight months in prison until, on December 22, the prisoners were led without warning to the Semyonovsky Square. There a sentence of death by firing squad was pronounced, last rites were offered, and three prisoners were led out to be shot first.
At the last possible moment, the guns were lowered and a messenger arrived with the information that the tsar had deigned to spare their lives. The mock-execution ceremony was in fact part of the punishment.
One of the prisoners went permanently insane on the spot; another went on to write Crime and Punishment. Dostoyevsky passed several minutes in the full conviction that he was about to die, and in his novels characters repeatedly imagine the state of mind of a man approaching execution. The hero of The Idiot , Prince Myshkin, offers several extended descriptions of this sort, which readers knew carried special authority because the author of the novel had gone through the terrible experience. The mock execution led Dostoyevsky to appreciate the very process of life as an incomparable gift and, in contrast to the prevailing determinist and materialist thinking of the intelligentsia, to value freedom, integrity , and individual responsibility all the more strongly.
Instead of being executed, Dostoyevsky was sentenced to four years in a Siberian prison labour camp, to be followed by an indefinite term as a soldier. After his return to Russia 10 years later, he wrote a novel based on his prison camp experiences, Zapiski iz myortvogo doma —62; The House of the Dead.
Gone was the tinge of Romanticism and dreaminess present in his early fiction.
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The novel, which was to initiate the Russian tradition of prison camp literature, describes the horrors that Dostoyevsky actually witnessed: Above all, The House of the Dead illustrates that, more than anything else, it is the need for individual freedom that makes us human.
This conviction was to bring Dostoyevsky into direct conflict with the radical determinists and socialists of the intelligentsia. He rejected the condescending attitude of intellectuals, who wanted to impose their political ideas on society, and came to believe in the dignity and fundamental goodness of common people. Dostoyevsky also became deeply attached to Russian Orthodoxy, as the religion of the common people, although his faith was always at war with his skepticism.
Dostoyevsky suffered his first attacks of epilepsy while in prison. No less than his accounts of being led to execution, his descriptions of epileptic seizures especially in The Idiot reveal the heights and depths of the human soul. As Dostoyevsky and his hero Myshkin experience it, the moment just before an attack grants the sufferer a strong sensation of perfect harmony and of overcoming time. In Dostoyevsky married a consumptive widow, Mariya Dmitriyevna Isayeva she died seven years later ; the unhappy marriage began with her witnessing one of his seizures on their honeymoon.
Upon his return to Russia, Dostoyevsky plunged into literary activity. After first trying to maintain a middle-of-the-road position, Dostoyevsky began to attack the radicals, who virtually defined the Russian intelligentsia. Dostoyevsky was repulsed by their materialism , their utilitarian morality , their reduction of art to propaganda, and, above all, their denial of individual freedom and responsibility.
For the remainder of his life, he maintained a deep sense of the danger of radical ideas, and so his post-Siberian works came to be resented by the Bolsheviks and held in suspicion by the Soviet regime. In the first part of Zapiski iz podpolya ; Notes from the Underground an unnamed first-person narrator delivers a brilliant attack on a set of beliefs shared by liberals and radicals: Even if such a society could be built, the underground man argues, people would hate it just because it denied them caprice and defined them as utterly predictable.
For several reasons, Dostoyevsky spent much of the s in western Europe: With less than a month remaining, Dostoyevsky hired a stenographer and dictated his novel Igrok ; The Gambler —based on his relations with Suslova and the psychology of compulsive gambling—which he finished just on time. A few months later he married the stenographer, Anna Grigoryevna Snitkina.
She at last put his life and finances in order and created stable conditions for his work and new family. They had four children, of whom two survived to adulthood. Written at the same time as The Gambler , Prestupleniye i nakazaniye ; Crime and Punishment describes a young intellectual , Raskolnikov, willing to gamble on ideas. He decides to solve all his problems at a stroke by murdering an old pawnbroker woman.
Contradictory motives and theories all draw him to the crime. Utilitarian morality suggests that killing her is a positive good because her money could be used to help many others. On the other hand, Raskolnikov reasons that belief in good and evil is itself sheer prejudice , a mere relic of religion, and that, morally speaking, there is no such thing as crime.
Nevertheless, Raskolnikov, despite his denial of morality, sympathizes with the unfortunate and so wants to kill the pawnbroker just because she is an oppressor of the weak. His most famous theory justifying murder divides the world into extraordinary people, such as Solon, Caesar, and Napoleon, and ordinary people, who simply serve to propagate the species.
Meanwhile, Raskolnikov tries to discover the real motive for his crime but never arrives at a single answer. Crime and Punishment also offers remarkable psychological portraits of a drunkard, Marmeladov, and of a vicious amoralist haunted by hallucinations, Svidrigailov.
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Quite deliberately, Dostoyevsky made the heroine of the story, Sonya Marmeladova, an unrealistic symbol of pure Christian goodness. Having become a prostitute to support her family, she later persuades Raskolnikov to confess and then follows him to Siberia. Critical opinion is divided over whether the epilogue is artistically successful. If he could succeed, Dostoyevsky believed, he would show that Christ-like goodness is indeed possible; and so the very writing of the work became an attempt at what might be called a novelistic proof of Christianity.
Ippolit, a spiteful young man dying of consumption , offers brilliant meditations on art, on death, on the meaninglessness of dumb brutish nature, and on happiness, which, to him, is a matter of the very process of living.