"One can say a lot about the universal history, all that a perverse fantasy can imagine. But what one cannot affirm on it is that it has been reasonable."

"If I had necessity to live very calm, without worrying about the other people's misfortune, I would believe in God, because I would have this way the security that he would be in charge of solving the human misfortunes. Unfortunately, the same existence of the human misfortune, of the injustice and the pain, they tell me that there is not such a God."

"If people to your surroundings don't hear you, kneel down and ask him for forgiveness, because in fact you are the culprit."

"If we can formulate ourselves the question: Am I or not responsible for my acts?, does it mean that yes we are it."

"After a failure, the plans better elaborated they seem absurd."

"My friends, God is necessary to me, because he is the only being that I can love eternally."

"Anything is as difficult as the frankness, neither anything as easy as the flattery. The flattery is pleasant, and all they listen to it with certain delectation, with a rude delectation maybe, but delectation finally". (Crime and Punishment)

"The man delights in enumerating his grieves, but he doesn't enumerate his happiness."

"The woman, the devil only knows what is; I don't know it at all."

"The true pain, the one that makes us suffer deeply, sometimes makes serious and constant until to the thoughtless man; the spirit poor even become more intelligent after a great pain."

"If the God doesn't exist, later everything is allowed."

"The jealous ones are the first ones that forgive, all the women they know it."

"The innovators and the geniuses have always been treated at the beginning as crazy (and very often at the end) of their careers."

"You don't look for prize, because you have a great recompense in this earth that the fair one can only enjoy."

"The man should base his happiness by means of the suffering: it is the law of the earth."

"One can know a man for their smile. If you like their smile before you know it completely, you trust in that will be a good man."

As for the rest of the name, Fio-dor (with tonic accent in the second "o" - Fyodor is the Spanish version of the name, as well as "Carlos" is the English "Charles" Spanish version, or "Francisco", Spanish version of French "François").

Mijaí-l-vich (with graphic accent in the second "i" and with termination "Vich" and not "vitch" - although this doesn't apply in all the cases -); and Dos-to-yevs-kii (with doble"i" at the end, like in the names Dmitrii, Arkadii, or in the last names Ostrovskii or Nevskii).

The way before described, is the true translation of so grandiose Russian writer's name but to highlight that the best translation to Spanish carried out the teacher of the universal letters is: Fyodor Mikhailovich Dostoievsky.

About to the names

During my first readings that I made on Dostoievsky, it could never be clear how the names and the characters' last names were pronounced, since only the situation of the accents was not, but rather the form of the last names also varied from a translation to another; this way, for example, in The Idiot's edition the name of Parfenio Ragozhin can be read, in another Porfión Rogozhen, and in this other Parfión Rogochin that is the name of the candid prince's antagonist Mischkin in this famous novel; and the same thing happened to each one of the other characters of the book, without counting that the same title also varied: from Memories of the house of the deads or Memoirs of the dead house to The grave of the alive ones.

All these variants are due to that during the first translations to our language didn't have still a consent on how to edit in Spanish the different characters of the Russian alphabet, and each translator wrote them according to like to him they sounded him better (since being these languages so different what is made is to write the form in how it is pronounced).

But there is also another reason that has to do mainly with the question of the accents: the first translations to Spanish of Dostoievsky's (and in general of all the Russian authors) they were not made directly of Russian, but rather they were edited based on translations to French or English. As it is known, in English there are not graphic accents, and in French these they have functions different to those that have in Spanish. And it is for that reason that, even in some of the most modern versions, no last name takes accent be already in the last syllable, in the middle syllable or in the first one. Reason why one is left without knowing like certain science is if it mentions, for example, Andréyev or Andreyev, Pétrov or Petrov, etc.

I have tried to write all the last names with the accent where corresponds, so that the reader knows this way with all certainty the correct form about Piotr to say Ste-pá-no-vich, Ver-jo-vens-kii or Ro-dion Ro-má-no-vich Ras-kól-ni-kov.