Aglaya Ivanovna, despite her occasional fury at his apparent passivity, understands this aspect of Myshkin’s innocence, and expresses it in their conversation at the green seat when she speaks of the «two parts of the mind: one that’s important and one that’s not important».
Nastasya Filippovna is a character who embodies the internal struggle between innocence and guilt. Isolated and sexually exploited by Totsky from the age of sixteen, Nastasya Filippovna has inwardly embraced her social stigmatization as a corrupted ‘fallen woman’, but this conviction is intimately bound to its opposite—the victimized child’s sense of a broken innocence that longs for vindication. The combination produces a cynical and destructive outer persona, which disguises a fragile and deeply hurt inner being.
When the Prince speaks to her, he addresses only this inner being, and in him she sees and hears the long dreamt-of affirmation of her innocence. But the self-destructive voice of her guilt, so intimately bound to the longing for innocence, does not disappear as a result, and constantly reasserts itself.
Myshkin divines that in her constant reiteration of her shame there is a «dreadful, unnatural pleasure, as if it were a revenge on someone.» Its principal outward form is the repeated choice to submit herself to Rogozhin’s obsession with her, knowing that its end result will almost certainly be her own death.
The theme of the intrapsychic struggle between innocence and guilt is manifested, in idiosyncratic forms, in many of the characters in the novel. The character of General Ivolgin, for example, constantly tells outrageous lies, but to those who understand him (such as Myshkin, Lebedyev, and Kolya) he is the noblest and most honest of men. He commits a theft out of weakness, but is so overcome by shame that it helps precipitate a stroke.
Lebedyev is constantly plotting and swindling, but he is also deeply religious, and is periodically overcome by paroxysms of guilt-ridden self-loathing. Myshkin himself has a strong tendency to feel ashamed of his own thoughts and actions. The fact that Rogozhin reaches the point of attacking him with a knife is something for which he feels himself to be equally guilty because his own half-conscious suspicions were the same as Rogozhin’s half-conscious impulse. When Burdovsky, who has unceremoniously demanded money from him on the basis of a falsehood, gets increasingly insulted by his attempts to offer assistance, Myshkin reproaches himself for his own clumsiness and lack of tact.
Autobiographical themes
Capital punishment
In 1849, Dostoevsky was sentenced to execution by firing squad for his part in the activities of the Petrashevsky Circle. Shortly after the period of interrogation and trial, he and his fellow prisoners were taken, without warning, to Semyonovsky Square where the sentence of death was read out over them. The first three prisoners were tied to stakes facing the firing squad: Dostoevsky was among the next in line. Just as the first shots were about to be fired, a message arrived from the Tsar commuting the sentences to hard labor in Siberia.
The experience had a profound effect on Dostoevsky, and in Part 1 of The Idiot (written twenty years after the event) the character of Prince Myshkin repeatedly speaks in depth on the subject of capital punishment. On one occasion, conversing with the Epanchin women, he recounts an anecdote that exactly mirrors Dostoevsky’s own experience. A man of 27, who had committed a political offence, was taken to the scaffold with his comrades, where a death sentence by firing squad was read out to them.
Twenty minutes later, with all the preparations for the execution having been completed, they were unexpectedly reprieved, but for those twenty minutes the man lived with the complete certainty that he was soon to face sudden death. According to this man, the mind recoils so powerfully against the reality of its imminent death that the experience of time itself is radically altered. The mind speeds up exponentially as the moment approaches, causing time to expand correspondingly, even reaching the point where the tiny amount of conventional human time left is experienced inwardly as unbearable in its enormity. Eventually, the man said, he «longed to be shot quickly».
The subject of capital punishment first comes up earlier in Part 1, when the Prince is waiting with a servant for General Epanchin to appear. Engaging the servant in conversation, the Prince tells the harrowing story of an execution by guillotine that he recently witnessed in France. He concludes the description with his own reflections on the horror of death by execution:
… the worst, most violent pain lies not in injuries, but in the fact that you know for certain that within the space of an hour, then ten minutes, then half a minute, then now, right at this moment—your soul will fly out of your body, and you’ll no longer be a human being, and that this is certain; the main thing is that it is certain. When you put your head right under the guillotine and hear it sliding above your head, it’s that quarter of a second that’s most terrible of all…
Who can say that human nature is able to endure such a thing without going mad? Why such mockery—ugly, superfluous, futile? Perhaps the man exists to whom his sentence has been read out, has been allowed to suffer, and then been told: «off you go, you’ve been pardoned». A man like that could tell us perhaps. Such suffering and terror were what Christ spoke of. No, a human being should not be treated like that!
Later, when he is conversing with the Epanchin sisters, the Prince suggests to Adelaida, who has asked him for a subject to paint, that she paint the face of a condemned man a minute before the guillotine falls. He carefully explains his reasons for the suggestion, enters in to the emotions and thoughts of the condemned man, and describes in meticulous detail what the painting should depict.
In this description Myshkin takes the contemplation of the condemned man’s inward experience of time a step further and asks: what would the mind be experiencing in the last tenth of a second, as it hears the iron blade sliding above? And what would be experienced if, as some argue, the mind continues for some time after the head has been cut off? The Prince breaks off without answering, but the implication is that the victim experiences these ‘moments’ of unspeakable terror as vast stretches of time.
In part 2, the usually comical character of Lebedyev also considers the horror of the moment before execution. In the midst of a heated exchange with his nihilist nephew he expresses deep compassion for the soul of the Countess du Barry, who died in terror on the guillotine after pleading for her life with the executioner.
Epilepsy
For much of his adult life Dostoevsky suffered from an unusual and at times extremely debilitating form of temporal lobe epilepsy. In 1867 (the same year he began work on The Idiot) he wrote to his doctor: «this epilepsy will end up by carrying me off… My memory has grown completely dim. I don’t recognize people anymore… I’m afraid of going mad or falling into idiocy».
Dostoevsky’s attacks were preceded by a brief period of intense joyous mystical experience which he described as being worth years of his life, or perhaps even his whole life. A similar illness plays an important part in the characterization of Prince Myshkin, partly because the severity of the condition and its after-effects (disorientation, amnesia, aphasia, among others) contributes significantly to the myth of the character’s ‘idiocy’.
Although Myshkin himself is completely aware that he is not an ‘idiot’ in any pejorative sense, he sometimes concedes the aptness of the word in relation to his mental state during particularly severe attacks. He occasionally makes reference to the pre-narrative period prior to his confinement in a Swiss sanatorium, when the symptoms were chronic and he really was «almost an idiot». Paradoxically, it is also clear that aspects of the disease are intimately connected to a profound intensification of his mental faculties, and are a significant cause of the development of his higher spiritual preoccupations:
…there was a certain stage almost immediately before the fit itself when, amidst the sadness, the mental darkness, the pressure, his brain suddenly seemed to burst into flame, and with an extraordinary jolt all his vital forces seemed to be tensed together. The sensation of life and of self-awareness increased tenfold at those moments… The mind, the heart were flooded with an extraordinary light; all his unrest, all his doubts, all his anxieties were resolved into a kind of higher calm, full of a serene, harmonious joy and hope.
Although for Myshkin these moments represented an intimation of the highest truth, he also knew that «stupefaction, mental darkness, idiocy stood before him as the consequence of these ‘highest moments’.» At the end of the novel, after Rogozhin has murdered Nastasya Filippovna, the Prince appears to descend completely into this darkness.
Mortality
The consciousness of the inevitability of death and the effect that this consciousness has on the living soul is a recurring theme in the novel. A number of characters are shaped, each according to the nature of their own self-consciousness, by
