Prince Myshkin: Difference between revisions
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==Significance of the character to the novel== |
==Significance of the character to the novel== |
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As a '[[Polyphony (literature)|polyphonic novel]]' each character in ''The Idiot'' has a unique voice and perspective in relation to the action and the other actors. As such every scene is a dramatic convergence of multiple voices and perspectives rather than simply being a monological recounting of the event by a narrator. Dostoevsky makes Prince Myshkin a character whose voice is capable of "actively and confidently interfering in the interior dialogue of the other person."<ref>{{cite book|last1=Bakhtin|first1=Mikhail (translated by Caryl Emerson)|title=Problems in Dostoevsky's Poetics|date=1984|publisher=University of Minnesota Press|isbn=978-0-8166-1228-4|page=242}}</ref> He is thus significant not merely to the 'plot', but to the very consciousness of the individual characters. His insight, compassion, sincerity, candour, disinclination to judge and lack of normal social egoism awaken a responsive consciousness in most of the people with whom he engages, and serve to disrupt the habitual flow of their self-centred thoughts and actions.<ref>Bakhtin (1984). p 242</ref> |
As a '[[Polyphony (literature)|polyphonic novel]]' each character in ''The Idiot'' has a unique voice and perspective in relation to the action and the other actors. As such every scene is a dramatic convergence of multiple independent voices and perspectives rather than simply being a monological recounting of the event by a narrator. Dostoevsky makes Prince Myshkin a character whose voice is capable of "actively and confidently interfering in the interior dialogue of the other person."<ref>{{cite book|last1=Bakhtin|first1=Mikhail (translated by Caryl Emerson)|title=Problems in Dostoevsky's Poetics|date=1984|publisher=University of Minnesota Press|isbn=978-0-8166-1228-4|page=242}}</ref> He is thus significant not merely to the 'plot', but to the very consciousness of the individual characters. His insight, compassion, sincerity, candour, disinclination to judge and lack of normal social egoism awaken a responsive consciousness in most of the people with whom he engages, and serve to disrupt the habitual flow of their self-centred thoughts and actions.<ref>Bakhtin (1984). p 242</ref> |
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===Nastasya Filippovna=== |
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It is in the character of [[Nastasya Filippovna]] that the capacity of the Prince to affect an other's interior dialogue is most marked. Viewed by both society and her self as a 'fallen woman' because of years of sexual exploitation by Totsky, Nastasya Filippovna often embraces the sharp-tongued, destructive persona of a cynical courtesan. Myshkin understands that this persona grows out of an internalisation of the abuse she suffered and the unjust moral condemnation consequent upon it, and from their first meeting lets her know that it is not who she really is, and that she is guilty of nothing. In the scene at the Ivolgins' apartment, Nastasya Filippovna mocks Ganya's family (who she knows disapprove of her) and intentionally provokes a scandalous scene, but "Myshkin's voice, intersecting with her internal dialogue in another direction, forces her to abruptly change that tone".<ref>Bakhtin (1984). p257</ref> She kisses the hand of Ganya's mother and acknowledges the truth of Myshkin's reproach. In the subsequent scandal scene at Nastasya Filippovna's apartment, Myshkin again directly addresses her true, innocent self, prompting her once more to abandon the self-destructive course of the 'fallen woman'. Although it is only temporary, and Nastasya Filippovna persistently reasserts the negative voice of her guilt in her words and actions, Myshkin remains in her consciousness as the voice of her innocence. Near the end of the novel, when Aglaya Ivanovna (with whom the Prince is in love) has become Nastasya Filippovna's accuser, Myshkin again defends her, telling Aglaya that the accusations are unjust. According to the narrator, Nastasya Filippovna "—though she sometimes behaved with such cynicism and impudence—was really far more modest, soft, and trustful than might have been believed... Myshkin understood this."<ref>{{cite book|last1=Dostoevsky|first1=Fyodor|title=The Idiot|date=1996|publisher=Wordsworth Editions|isbn=1 85326 175 0|page=534}}</ref> |
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{{Fyodor_Dostoyevsky}} |
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Revision as of 05:44, 4 December 2016
Prince Lev Nikolaevich Myshkin (Князь Лев Никола́евич Мы́шкин) is the protagonist of Fyodor Dostoyevsky's novel The Idiot. Dostoyevsky wanted to create a character that was "entirely positive... with an absolutely beautiful nature",[1] someone who is truly 'Christian'. According to Joseph Frank, the character of Prince Myshkin approaches "the extremest incarnation of the Christian ideal of love that humanity can reach in its present form, but he is torn apart by the conflict between the contradictory imperatives of his apocalyptic aspirations and his earthly limitations."[2]
Prince Myshkin has been in Switzerland for the last four years, at a sanatorium for treatment of his epilepsy. At age 26, having recovered his health, and in possession of a legal document suggesting entitlement to a significant inheritance, he returns to Russia. In St. Petersburg, his purity and guilelessness lead many to the false conclusion that he is an "idiot". In fact he possesses an incisive intellect, deep emotional intelligence, and a wisdom that surpasses all the other characters in the novel.
Significance of the character to the novel
As a 'polyphonic novel' each character in The Idiot has a unique voice and perspective in relation to the action and the other actors. As such every scene is a dramatic convergence of multiple independent voices and perspectives rather than simply being a monological recounting of the event by a narrator. Dostoevsky makes Prince Myshkin a character whose voice is capable of "actively and confidently interfering in the interior dialogue of the other person."[3] He is thus significant not merely to the 'plot', but to the very consciousness of the individual characters. His insight, compassion, sincerity, candour, disinclination to judge and lack of normal social egoism awaken a responsive consciousness in most of the people with whom he engages, and serve to disrupt the habitual flow of their self-centred thoughts and actions.[4]
Nastasya Filippovna
It is in the character of Nastasya Filippovna that the capacity of the Prince to affect an other's interior dialogue is most marked. Viewed by both society and her self as a 'fallen woman' because of years of sexual exploitation by Totsky, Nastasya Filippovna often embraces the sharp-tongued, destructive persona of a cynical courtesan. Myshkin understands that this persona grows out of an internalisation of the abuse she suffered and the unjust moral condemnation consequent upon it, and from their first meeting lets her know that it is not who she really is, and that she is guilty of nothing. In the scene at the Ivolgins' apartment, Nastasya Filippovna mocks Ganya's family (who she knows disapprove of her) and intentionally provokes a scandalous scene, but "Myshkin's voice, intersecting with her internal dialogue in another direction, forces her to abruptly change that tone".[5] She kisses the hand of Ganya's mother and acknowledges the truth of Myshkin's reproach. In the subsequent scandal scene at Nastasya Filippovna's apartment, Myshkin again directly addresses her true, innocent self, prompting her once more to abandon the self-destructive course of the 'fallen woman'. Although it is only temporary, and Nastasya Filippovna persistently reasserts the negative voice of her guilt in her words and actions, Myshkin remains in her consciousness as the voice of her innocence. Near the end of the novel, when Aglaya Ivanovna (with whom the Prince is in love) has become Nastasya Filippovna's accuser, Myshkin again defends her, telling Aglaya that the accusations are unjust. According to the narrator, Nastasya Filippovna "—though she sometimes behaved with such cynicism and impudence—was really far more modest, soft, and trustful than might have been believed... Myshkin understood this."[6]
References
- ^ Frank, Joseph (2010). Dostoevsky A Writer in His Time. Princeton University press. p. 577. ISBN 978-0-691-12819-1.
- ^ Frank, Joseph. Dostoevsky a writer in His Time. p. 577.
- ^ Bakhtin, Mikhail (translated by Caryl Emerson) (1984). Problems in Dostoevsky's Poetics. University of Minnesota Press. p. 242. ISBN 978-0-8166-1228-4.
- ^ Bakhtin (1984). p 242
- ^ Bakhtin (1984). p257
- ^ Dostoevsky, Fyodor (1996). The Idiot. Wordsworth Editions. p. 534. ISBN 1 85326 175 0.
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