“And the peasants would beat them so cruelly, sometimes even about the nose and eyes, and he felt so sorry, so sorry for them that he almost cried, and his mother always used to take him away from the window.”

“Why are they crying? Why are they crying?" Mitya asks, flying past them at a great clip."The wee one, the driver answers, "it's the wee one crying." And Mitya is struck that he has said it in his own peasant way: "the wee one," and not "the baby." And he likes it that the peasant has said "wee one": there seems to be more pity in it."But why is it crying?" Mitya insists, as if he were foolish, "why are its little arms bare, why don't they wrap it up?""The wee one's cold, its clothes are frozen, they don't keep it warm.""But why is it so? Why?" foolsih Mitya would not leave off."They're poor, burnt out, they've got no bread, they're begging for their burnt-down place.""No, no," Mitya still seems not to understand, "tell me: why are these burnt-out mothers standing here, why are the people poor, why is the wee one poor, why is the steppe bare, why don't they embrace and kiss, why don't they sing joyful songs, why are they blackened with such black misery, why don't they feed the wee one?"And he feels within himself that, though his questions have no reason or sense, he still certainly wants to ask in just that way, and he should ask in just that way. And he also feels a tenderness such as he has never known before surging up in his heart, he wants to weep, he wants to do something for them all, so that the wee one will no longer cry, so that the blackened, dried-up mother of the wee one will not cry either, so that there will be no more tears in anyone from that moment on, and it must be done at once, at once, without delay and despite everything, with all his Karamazov unrestraint.”

“He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him … so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all…. He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from everyone and from everything at that moment.”

“Sometimes even if he has to do it alone, and his conduct seems to be crazy, a man must set an example, and so draw men's souls out of their solitude and spur them to some act of brotherly love, that the great idea may not die.”

“...it was not a matter of miracles. It was not an expectation of miracles, frivolous in its impatience. Alyosha did not need miracles then for the triumph of certain convictions (it was not that at all), nor so that some sort of former, preconceived idea would quickly triumph over another...Again, it was not miracles he needed, but only a "higher justice," which, as he believed, had been violated--it was this that wounded his heart so cruelly and suddenly...it was justice, justice he thirsted for, not simply miracles!”

“In a morbid condition, dreams are often distinguished by their remarkably graphic, vivid, and extremely lifelike quality. The resulting picture is sometimes monstrous, but the setting and the whole process of the presentation sometimes happen to be so probable, and with details so subtle, unexpected, yet artistically consistent with the whole fullness of the picture, that even the dreamer himself would be unable to invent them in reality, though he were as much an artist as Pushkin or Turgenev. Such dreams, morbid dreams, are always long remembered and produce a strong impression on the disturbed and already excited organism of the person.Raskolnikov had a terrible dream.”

“People talk sometimes of a bestial cruelty, but that's a great injustice and insult to the beasts; a beast can never be so cruel as a man, so artistically cruel. The tiger only tears and gnaws, that's all he can do. He would never think of nailing people by the ears, even if he were able to do it.”