eldest of his sons hating each other and fighting like brutal maniacs:

Dmitri threw up both hands and suddenly clutched the old man by the
two tufts of hair that remained on his temples, tugged at them, and
flung him with a crash on the floor. He kicked him two or three
times with his heel in the face. The old man moaned shrilly. Ivan,
though not so strong as Dmitri, threw his arms round him, and with
all his might pulled him away. Alyosha helped him with his slender
strength, holding Dmitri in front.

"Madman! You've killed him!" cried Ivan.

"Serve him right!" shouted Dmitri, breathlessly. "If I haven't
killed him, I'll come again and kill him."

It is easy to see why Dostoevsky has become a popular author. Incident
follows breathlessly upon incident. No melodramatist ever poured out
incident upon the stage from such a horn of plenty. His people are
energetic and untamed, like cowboys or runaway horses. They might be
described as runaway human beings.

And Dostoevsky knows how to crowd his stage as only the inveterate
melodramatists know. Scenes that in an ordinary novel would take place
with two or three figures on the stage are represented in Dostoevsky as
taking place before a howling, seething mob. "A dozen men have broken
in," a maid announces in one place in _The Idiot_, "and they are all
drunk." "Show them all in at once," she is bidden. Dostoevsky is always
ready to show them all in at once.

It is one of the triumphs of his genius that, however many persons he