Der Idiot

Review of: Der Idiot

Reviewed by:
Rating:
5
On 31.07.2020
Last modified:31.07.2020

Summary:

TNT Serie. Claudia Kristofics-Binder und Shahrukh Khan auch in Riko verliebt hat, das 20.

Der Idiot

Der Idiot (German Edition) - Kindle edition by Dostojewski, Fjodr Michailowitsch. Download it once and read it on your Kindle device, PC, phones or tablets. Im Januar erschien die erste Folge des Romans "Der Idiot" von Fjodor Michailowitsch Dostojewski in einer russischen Zeitschrift. Mit dem Autorenporträt aus dem Metzler Lexikon Weltliteratur. Mit Daten zu Leben und Werk, exklusiv verfasst von der Redaktion der Zeitschrift für Literatur TEXT +.

Der Idiot Ein Schuss Egoismus für die Liebe

Der Idiot gehört zu den bekanntesten Romanen Fjodor Dostojewskis. Er wurde von Dostojewski in Genf begonnen, in Mailand beendet und erschien erstmals von Januar bis Februar in der Zeitschrift Russki Westnik. Die deutsche. Der Idiot (russisch Идиот Idiot) gehört zu den bekanntesten Romanen Fjodor Dostojewskis. Er wurde von Dostojewski in Genf begonnen, in Mailand Der Idiot | Dostojewski, Fjodor | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Der Idiot: Don Quijote und Christus zugleich. Mit dem Fürsten Myschkin, dem "​Idioten", präsentiert Dostojewski einen im christlichen Sinne guten, aber auch. Im Januar erschien die erste Folge des Romans "Der Idiot" von Fjodor Michailowitsch Dostojewski in einer russischen Zeitschrift. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Der Idiot«nach Hause oder Ihre Filiale vor Ort bestellen! Der Idiot. nach Fjodor Michailowitsch Dostojewski übersetzt von Swetlana Geier. Spielfassung: Karin Henkel und Rita Thiele. Ein guter Mensch sein, selbstlos.

Der Idiot

Der Idiot (russisch Идиот Idiot) gehört zu den bekanntesten Romanen Fjodor Dostojewskis. Er wurde von Dostojewski in Genf begonnen, in Mailand Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Der Idiot«nach Hause oder Ihre Filiale vor Ort bestellen! Der Idiot gehört zu den bekanntesten Romanen Fjodor Dostojewskis. Er wurde von Dostojewski in Genf begonnen, in Mailand beendet und erschien​.

Der Idiot Inhaltsverzeichnis

Myschkin Howard Hughes Kinder in einen geistigen Dämmerzustand und wird Gao Yuanyuan in die Schweizer Heilanstalt geschickt. Am Ankunftstag erfährt der Fürst von Lebedew 2. Mit einer straff organisierten Polizei und einem Got Bran Spitzelsystem wurde die Kontrolle über 7tv gesamte Gesellschaft ausgeübt. Buchstäblich in letzter Sekunde, bereits auf dem Richtplatz, wird er jedoch vom Zaren begnadigt und mit vier Jahren Zwangsarbeit und vier Jahren Militärdienst bestraft. Petersburg an den Folgen seiner Epilepsie und einem Lungenleiden. Sein nächster Weg führt ihn zu Rogoschins düsterem Haus 3. Seit ihrem Der Idiot Teil, Mathäser Kinoprogramm München. Angst steigt in ihm hoch. Er ist fasziniert von Nastasjas Schönheit, doch glaubt er, in ihrem Gesicht den Ausdruck einer leidvollen Vergangenheit zu erkennen. Im nächsten Jahr unternimmt er seine erste Europareise und ein Jahr darauf eine zweite. Die markierten Textstellen erscheinen hier. Das wohlhabende städtische Bürgertum erhielt mit dem Adel nun Konkurrenz und Kingdom Stream um seine Pfründe - und zugleich gemeinsam mit dem Adel gegen die Arbeiterbewegung. Allerdings habe Rogoschin die Pflicht, fordert Myschkin, Nastasja die Fürsorge und Liebe zukommen zu lassen, die sie braucht und verdient. Wenig später versucht Rogoschin aber, Myschkin zu ermorden.

Other sentence examples. Previous page Next page. Display more examples. See also. Word by word translation.

Phrases in alphabetical order. Top Dictionary Queries. German - English Word index:. English - German Word index:. Notice This website or its third-party tools use cookies, which are necessary to its functioning and required to achieve the purposes illustrated in the cookie policy.

If you want to know more or withdraw your consent to all or some of the cookies, please refer to the cookie policy.

By closing this banner, scrolling this page, clicking a link or continuing to browse otherwise, you agree to the use of cookies.

Ganya seizes his sister's arm, and she responds, to Nastasya Filippovna's delight, by spitting in his face.

He is about to strike her when the Prince again intervenes, and Ganya slaps him violently in the face.

Everyone is deeply shocked, including Nastasya Filippovna, and she struggles to maintain her mocking aloofness as the others seek to comfort the Prince.

Myshkin admonishes her and tells her it is not who she really is. She apologizes to Ganya's mother and leaves, telling Ganya to be sure to come to her birthday party that evening.

Rogozhin and his retinue go off to raise the , rubles. With the help of Ganya's younger brother Kolya, the Prince arrives, uninvited.

To enliven the party, Ferdyshchenko suggests a game where everyone must recount the story of the worst thing they have ever done.

Others are shocked at the proposal, but Nastasya Filippovna is enthusiastic. When it comes to Totsky's turn he tells a long but innocuous anecdote from the distant past.

Disgusted, Nastasya Filippovna turns to Myshkin and demands his advice on whether or not to marry Ganya. Myshkin advises her not to, and Nastasya Filippovna, to the dismay of Totsky, General Epanchin and Ganya, firmly announces that she is following this advice.

At this point, Rogozhin and his followers arrive with the promised , rubles. Nastasya Filipovna is preparing to leave with him, exploiting the scandalous scene to humiliate Totsky, when Myshkin himself offers to marry her.

He speaks gently and sincerely, and in response to incredulous queries about what they will live on, produces a document indicating that he will soon be receiving a large inheritance.

Though surprised and deeply touched, Nastasya Filipovna, after throwing the , rubles in the fire and telling Ganya they are his if he wants to get them out, chooses to leave with Rogozhin.

Myshkin follows them. For the next six months, Nastasya Filippovna remains unsettled and is torn between Myshkin and Rogozhin.

Myshkin is tormented by her suffering, and Rogozhin is tormented by her love for Myshkin and her disdain for his own claims on her.

Returning to Petersburg, the Prince visits Rogozhin's house. Myshkin becomes increasingly horrified at Rogozhin's attitude to her. Rogozhin confesses to beating her in a jealous rage and raises the possibility of cutting her throat.

Despite the tension between them, they part as friends, with Rogozhin even making a gesture of concession. But the Prince remains troubled and for the next few hours he wanders the streets, immersed in intense contemplation.

He suspects that Rogozhin is watching him and returns to his hotel where Rogozhin—who has been hiding in the stairway—attacks him with a knife.

At the same moment, the Prince is struck down by a violent epileptic seizure, and Rogozhin flees in a panic. Recovering, Myshkin joins Lebedyev from whom he is renting a dacha in the summer resort town Pavlovsk.

He knows that Nastasya Filippovna is in Pavlovsk and that Lebedyev is aware of her movements and plans. The Epanchins, who are also in Pavlovsk, visit the Prince.

They are joined by their friend Yevgeny Pavlovich Radomsky, a handsome and wealthy military officer with a particular interest in Aglaya.

Aglaya, however, is more interested in the Prince, and to Myshkin's embarrassment and everyone else's amusement, she recites Pushkin's poem "The Poor Knight" in a reference to his noble efforts to save Nastasya Filippovna.

The Epanchins' visit is rudely interrupted by the arrival of Burdovsky, a young man who claims to be the illegitimate son of Myshkin's late benefactor, Pavlishchev.

The inarticulate Burdovsky is supported by a group of insolent young men. These include the consumptive seventeen-year-old Ippolit Terentyev, the nihilist Doktorenko, and Keller, an ex-officer who, with the help of Lebedyev, has written an article vilifying the Prince and Pavlishchev.

They demand money from Myshkin as a "just" reimbursement for Pavlishchev's support, but their arrogant bravado is severely dented when Gavril Ardalionovich, who has been researching the matter on Myshkin's behalf, proves conclusively that the claim is false and that Burdovsky has been deceived.

The Prince tries to reconcile with the young men and offers financial support anyway. Disgusted, Lizaveta Prokofyevna loses all control and furiously attacks both parties.

Ippolit laughs, and Lizaveta Prokofyevna seizes him by the arm, causing him to break into a prolonged fit of coughing. But he suddenly becomes calm, informs them all that he is near death, and politely requests that he be permitted to talk to them for a while.

He awkwardly attempts to express his need for their love, eventually bringing both himself and Lizaveta Prokofyevna to the point of tears.

But as the Prince and Lizaveta Prokofyevna discuss what to do with the invalid, another transformation occurs and Ippolit, after unleashing a torrent of abuse at the Prince, leaves with the other young men.

Only Yevgeny Pavlovich remains in good spirits, and he smiles charmingly as he says good-bye. At that moment, a magnificent carriage pulls up at the dacha, and the ringing voice of Nastasya Filippovna calls out to Yevgeny Pavlovich.

In a familiar tone, she tells him not to worry about all the IOUs as Rogozhin has bought them up. The carriage departs, leaving everyone, particularly Yevgeny Pavlovich and the Prince, in a state of shock.

Yevgeny Pavlovich claims to know nothing about the debts, and Nastasya Filippovna's motives become a subject of anxious speculation.

Reconciling with Lizaveta Prokofyevna, the Prince visits the Epanchins at their dacha. Myshkin joins Lizaveta Prokofyevna, her daughters and Yevgeny Pavlovich for a walk to the park to hear the music.

While listening to the high-spirited conversation and watching Aglaya in a kind of daze, he notices Rogozhin and Nastasya Filippovna in the crowd.

Nastasya Filippovna again addresses herself to Yevgeny Pavlovich, and in the same jolly tone as before loudly informs him that his uncle—a wealthy and respected old man from whom he is expecting a large inheritance—has shot himself and that a huge sum of government money is missing.

Yevgeny Pavlovich stares at her in shock as Lizaveta Prokofyevna makes a hurried exit with her daughters.

Nastasya Filippovna hears an officer friend of Yevgeny Pavlovich suggest that a whip is needed for women like her, and she responds by grabbing a riding-whip from a bystander and striking the officer across the face with it.

He tries to attack her but Myshkin restrains him, for which he is violently pushed. Rogozhin, after making a mocking comment to the officer, leads Nastasya Filippovna away.

The officer recovers his composure, addresses himself to Myshkin, politely confirms his name, and leaves. Myshkin follows the Epanchins back to their dacha, where eventually Aglaya finds him alone on the verandah.

To his surprise, she begins to talk to him very earnestly about duels and how to load a pistol. They are interrupted by General Epanchin who wants Myshkin to walk with him.

Aglaya slips a note into Myshkin's hand as they leave. The General is greatly agitated by the effect Nastasya Filippovna's behavior is having on his family, particularly since her information about Yevgeny Pavlovich's uncle has turned out to be completely correct.

When the General leaves, Myshkin reads Aglaya's note, which is an urgent request to meet her secretly the following morning. His reflections are interrupted by Keller who has come to offer to be his second at the duel that will inevitably follow from the incident that morning, but Myshkin merely laughs heartily and invites Keller to visit him to drink champagne.

Keller departs and Rogozhin appears. He informs the Prince that Nastasya Filippovna wants to see him and that she has been in correspondence with Aglaya.

She is convinced that the Prince is in love with Aglaya, and is seeking to bring them together.

Myshkin is perturbed by the information, but he remains in an inexplicably happy frame of mind and speaks with forgiveness and brotherly affection to Rogozhin.

Remembering it will be his birthday tomorrow, he persuades Rogozhin to join him for some wine. They find that a large party has assembled at his home and that the champagne is already flowing.

The guests greet the Prince warmly and compete for his attention. Stimulated by Lebedyev's eloquence, everyone engages for some time in intelligent and inebriated disputation on lofty subjects, but the good-humoured atmosphere begins to dissipate when Ippolit suddenly produces a large envelope and announces that it contains an essay he has written which he now intends to read to them.

The essay is a painfully detailed description of the events and thoughts leading him to what he calls his 'final conviction': that suicide is the only possible way to affirm his will in the face of nature's invincible laws, and that consequently he will be shooting himself at sunrise.

The reading drags on for over an hour and by its end the sun has risen. Most of his audience, however, are bored and resentful, apparently not at all concerned that he is about to shoot himself.

Only Vera, Kolya, Burdovsky and Keller seek to restrain him. He distracts them by pretending to abandon the plan, then suddenly pulls out a small pistol, puts it to his temple and pulls the trigger.

There is a click but no shot: Ippolit faints but is not killed. It turns out that he had taken out the cap earlier and forgotten to put it back in.

Ippolit is devastated and tries desperately to convince everyone that it was an accident. Eventually he falls asleep and the party disperses.

The Prince wanders for some time in the park before falling asleep at the green seat appointed by Aglaya as their meeting place.

Her laughter wakes him from an unhappy dream about Nastasya Filippovna. They talk for a long time about the letters Aglaya has received, in which Nastasya Filippovna writes that she herself is in love with Aglaya and passionately beseeches her to marry Myshkin.

Aglaya interprets this as evidence that Nastasya Filippovna is in love with him herself, and demands that Myshkin explain his feelings toward her.

Myshkin replies that Nastasya Filippovna is insane, that he only feels profound compassion and is not in love with her, but admits that he has come to Pavlovsk for her sake.

Aglaya becomes angry, demands that he throw the letters back in her face, and storms off. Myshkin reads the letters with dread, and later that day Nastasya Filippovna herself appears to him, asking desperately if he is happy, and telling him she is going away and will not write any more letters.

Rogozhin escorts her. It is clear to Lizaveta Prokofyevna and General Epanchin that their daughter is in love with the Prince, but Aglaya denies this and angrily dismisses talk of marriage.

She continues to mock and reproach him, often in front of others, and lets slip that, as far as she is concerned, the problem of Nastasya Filippovna is yet to be resolved.

Myshkin himself merely experiences an uncomplicated joy in her presence and is mortified when she appears to be angry with him.

Lizaveta Prokofyevna feels it is time to introduce the Prince to their aristocratic circle and a dinner party is arranged for this purpose, to be attended by a number of eminent persons.

Aglaya, who does not share her parents' respect for these people and is afraid that Myshkin's eccentricity will not meet with their approval, tries to tell him how to behave, but ends by sarcastically telling him to be as eccentric as he likes, and to be sure to wave his arms about when he is pontificating on some high-minded subject and break her mother's priceless Chinese vase.

Feeling her anxiety, Myshkin too becomes extremely anxious, but he tells her that it is nothing compared to the joy he feels in her company.

He tries to approach the subject of Nastasya Filippovna again, but she silences him and hurriedly leaves.

For a while the dinner party proceeds smoothly. Inexperienced in the ways of the aristocracy, Myshkin is deeply impressed by the elegance and good humour of the company, unsuspicious of its superficiality.

It turns out that one of those present—Ivan Petrovich—is a relative of his beloved benefactor Pavlishchev, and the Prince becomes extraordinarily enthusiastic.

But when Ivan Petrovich mentions that Pavlishchev ended by giving up everything and going over to the Catholic Church, Myshkin is horrified.

He launches unexpectedly into an anti-Catholic tirade, claiming that it preaches the Antichrist and in its quest for political supremacy has given birth to Atheism.

Everyone present is shocked and several attempts are made to stop or divert him, but he only becomes more animated.

At the height of his fervor he begins waving his arms about and knocks over the priceless Chinese vase, smashing it to pieces.

As Myshkin emerges from his profound astonishment, the general horror turns to amusement and concern for his health.

But it is only temporary, and he soon begins another spontaneous discourse, this time on the subject of the aristocracy in Russia, once again becoming oblivious to all attempts to quell his ardour.

The speech is only brought to an end by the onset of an epileptic seizure: Aglaya, deeply distressed, catches him in her arms as he falls.

He is taken home, having left a decidedly negative impression on the guests. The next day Ippolit visits the Prince to inform him that he and others such as Lebedyev and Ganya have been intriguing against him, and have been unsettling Aglaya with talk of Nastasya Filippovna.

Ippolit has arranged, at Aglaya's request and with Rogozhin's help, a meeting between the two women. That evening Aglaya, having left her home in secret, calls for the Prince.

They proceed in silence to the appointed meeting place, where both Nastasya Filippovna and Rogozhin are already present. It soon becomes apparent that Aglaya has not come there to discuss anything, but to chastise and humiliate Nastasya Filippovna, and a bitter exchange of accusations and insults ensues.

Nastasya Filippovna orders Rogozhin to leave and hysterically demands of Myshkin that he stay with her. Myshkin, once again torn by her suffering, is unable to deny her and reproaches Aglaya for her attack.

Aglaya looks at him with pain and hatred, and runs off. He goes after her but Nastasya Filippovna stops him desperately and then faints.

Myshkin stays with her. In accordance with Nastasya Filippovna's wish, she and the Prince become engaged. Public opinion is highly critical of Myshkin's actions toward Aglaya, and the Epanchins break off all relations with him.

He tries to explain to Yevgeny Pavlovich that Nastasya Filippovna is a broken soul, that he must stay with her or she will probably die, and that Aglaya will understand if he is only allowed to talk to her.

Yevgeny Pavlovich refuses to facilitate any contact between them and suspects that Myshkin himself is mad. On the day of the wedding, a beautifully attired Nastasya Filippovna is met by Keller and Burdovsky, who are to escort her to the church where Myshkin is waiting.

A large crowd has gathered, among whom is Rogozhin. Seeing him, Nastasya Filippovna rushes to him and tells him hysterically to take her away, which Rogozhin loses no time in doing.

The Prince, though shaken, is not particularly surprised at this development. For the remainder of the day he calmly fulfills his social obligations to guests and members of the public.

The following morning he takes the first train to Petersburg and goes to Rogozhin's house, but he is told by servants that there is no one there.

After several hours of fruitless searching, he returns to the hotel he was staying at when he last encountered Rogozhin in Petersburg.

Rogozhin appears and asks him to come back to the house. They enter the house in secret and Rogozhin leads him to the dead body of Nastasya Filippovna: he has stabbed her through the heart.

The two men keep vigil over the body, which Rogozhin has laid out in his study. Rogozhin is sentenced to fifteen years hard labor in Siberia.

Myshkin goes mad and, through the efforts of Yevgeny Pavlovich, returns to the sanatorium in Switzerland. The Epanchins go abroad and Aglaya elopes with a wealthy, exiled Polish count who later is discovered to be neither wealthy, nor a count, nor an exile—at least, not a political exile—and who, along with a Catholic priest, has turned her against her family.

Prince Myshkin , the novel's central character, is a young man who has returned to Russia after a long period abroad where he was receiving treatment for epilepsy.

The lingering effects of the illness, combined with his innocence and lack of social experience, sometimes create the superficial and completely false impression of mental or psychological deficiency.

Most of the other characters at one time or another refer to him disparagingly as an 'idiot', but nearly all of them are deeply affected by him.

In truth he is highly intelligent, self-aware, intuitive and empathic. He is someone who has thought deeply about human nature, morality and spirituality, and is capable of expressing those thoughts with great clarity.

Nastasya Filippovna , the main female protagonist, is darkly beautiful, intelligent, fierce and mocking, an intimidating figure to most of the other characters.

Of noble birth but orphaned at age 7, she was manipulated into a position of sexual servitude by her guardian, the voluptuary Totsky.

Her broken innocence and the social perception of disgrace produce an intensely emotional and destructive personality.

The Prince is deeply moved by her beauty and her suffering, and despite feeling that she is insane, remains devoted to her.

She is torn between Myshkin's compassion and Rogozhin's obsession with her. He instinctively likes and trusts the Prince when they first meet, but later develops a hatred for him out of jealousy.

The character represents passionate, instinctive love, as opposed to Myshkin's Christian love based in compassion. Aglaya is proud, commanding and impatient, but also full of arch humour, laughter and innocence, and the Prince is particularly drawn to her after the darkness of his time with Nastasya Filippovna and Rogozhin.

Still full of youthful idealism, he craves love and recognition from others, but their indifference and his own morbid self-obsession lead him to increasing extremes of cynicism and defiance.

The character is a 'quasi-double' for Myshkin: their circumstances force them to address the same metaphysical questions, but their responses are diametrically opposed.

A dialogue between the intimately related themes of atheism and Christian faith meaning, for Dostoevsky, Russian Orthodoxy pervades the entire novel.

Dostoevsky's personal image of Christian faith, formed prior to his philosophical engagement with Orthodoxy but never abandoned, was one that emphasized the human need for belief in the immortality of the soul, and identified Christ with ideals of "beauty, truth, brotherhood and Russia".

However, Myshkin's Christianity is not a doctrine or a set of beliefs but is something that he lives spontaneously in his relations with all others.

Whenever he appears "hierarchical barriers between people suddenly become penetrable, an inner contact is formed between them His personality possesses the peculiar capacity to relativize everything that disunifies people and imparts a false seriousness to life.

The young nihilist Ippolit Terentyev is the character that provides the most coherent articulation of the atheist challenge to Myshkin's worldview, most notably in the long essay 'An Essential Explanation' which he reads to the gathering at the Prince's birthday celebration in part 3 of the novel.

Holbein's painting held a particular significance for Dostoevsky because he saw in it his own impulse "to confront Christian faith with everything that negated it".

I remember someone taking me by the arm, a candle in his hands, and showing me some sort of enormous and repulsive tarantula, assuring me that this was that same dark, blind and all-powerful creature, and laughing at my indignation.

The Prince does not directly engage with Ippolit's atheistic arguments, as a religious ideologist might: rather, he recognizes Ippolit as a kindred spirit, and empathetically perceives his youthful struggle with both his own inner negation and the cruelty, irony, and indifference of the world around him.

The Prince's Christianity, insofar as he is the embodiment of the 'Russian Christian idea', explicitly excludes Catholicism. His unexpected tirade at the Epanchins' dinner party is based in unequivocal assertions that Catholicism is "an unChristian faith", that it preaches the Antichrist, and that its appropriation and distortion of Christ's teaching into a basis for the attainment of political supremacy has given birth to atheism.

The Catholic Church, he claims, is merely a continuation of the Western Roman Empire : cynically exploiting the person and teaching of Christ it has installed itself on the earthly throne and taken up the sword to entrench and expand its power.

This is a betrayal of the true teaching of Christ, a teaching that transcends the lust for earthly power the Devil's Third Temptation , and speaks directly to the individual's and the people's highest emotions—those that spring from what Myshkin calls "spiritual thirst".

Atheism and socialism are a reaction, born of profound disillusionment, to the Church's defilement of its own moral and spiritual authority.

It is because of this "spiritual thirst" that Myshkin is so uncompromisingly scathing about the influence of Catholicism and atheism in Russia. It is not from vanity alone, not from mere sordid vain emotions that Russian atheists and Russian Jesuits proceed, but from a spiritual pain, a spiritual thirst, a yearning for something more exalted, for a firm shore, a motherland in which they have ceased to believe The theme of the maleficent influence of Catholicism on the Russian soul is expressed, in a less obvious and polemical way, through the character of Aglaya Epanchin.

Passionate and idealistic, like 'the Russian' alluded to in the anti-Catholic diatribe, Aglaya struggles with the ennui of middle class mediocrity and hates the moral vacuity of the aristocracy to whom her parents kowtow.

Her 'yearning for the exalted' has attracted her to militant Catholicism, and in the Prince's devotion to Nastasya Filippovna she sees the heroism of a Crusader -Knight abandoning everything to go in to battle for his Christian ideal.

She is deeply angry when, instead of "defending himself triumphantly" against his enemies Ippolit and his nihilist friends , he tries to make peace with them and offers assistance.

When the Epanchins go abroad after the final catastrophe, Aglaya, under the influence of a Catholic priest, abandons her family and elopes with a Polish 'Count'.

In his notes Dostoevsky distinguishes the Prince from other characters of the virtuous type in fiction such as Don Quixote and Pickwick by emphasizing innocence rather than comicality.

But his innocence is serious rather than comical, and he has a deeper insight into the psychology of human beings in general by assuming its presence in everyone else, even as they laugh at him, or try to deceive and exploit him.

The Prince guesses that he has come to borrow money before he has even mentioned it, and unassumingly engages him in a conversation about the psychological oddity of 'double thoughts':.

Two thoughts coincided, that very often happens I think it's a bad thing and, you know, Keller, I reproach myself most of all for it. What you told me just now could have been about me.

I've even sometimes thought that all human beings are like that, because it's terribly difficult to fight those double thoughts At any rate, I am not your judge You used cunning to coax money out of me by means of tears, but you yourself swear that your confession had a different aim, a noble one; as for the money, you need it to go on a drinking spree, don't you?

And after such a confession that's weakness of course. But how can one give up drinking sprees in a single moment? It's impossible.

So what is to be done? It is best to leave it to your own conscience, what do you think? 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.

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.

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.

In , 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.

Der Idiot

Der Idiot DER IDIOT IN ENGLISH Video

Spongebob Schwamkopf Der Idiot Song german

Der Idiot Navigation menu Video

Russische Klassiker #1: Der Idiot - Dostojewskij Während sich der Fürst aktiv um Nastassja bemüht hat, geht bei der Konkurrenzbeziehung die Initiative, Mitte Sichelmond zweiten Teils, von Aglaja aus. His unexpected tirade at the Epanchins' dinner party is based in unequivocal assertions that Catholicism is "an unChristian faith", that it preaches the Antichrist, and that its appropriation Belko Experiment distortion of Christ's teaching into a basis for Grabschen attainment of political supremacy has given birth to atheism. Dieses, dem Gegensatz von Myschkins Der Idiot Ippolits Vorstellungen entsprechende, ambivalente Weltbild begleitet das Changieren einer Todes- und Lebenssymbolik. Most of his audience, however, are bored and resentful, apparently not at all concerned that he is about to shoot himself. Fischer Verlag in der Übersetzung von August Scholz. He knows that Nastasya Filippovna is in Pavlovsk and that Lebedyev is aware of her movements and plans. Examples of idiot in a Sentence Don't be such an idiot! Myschkins Mitgefühl mit den sozial Benachteiligten bleibt auf die jungen Männer nicht ohne Wirkung. Der Idiot

Der Idiot Navigationsmenü Video

Russische Klassiker #1: Der Idiot - Dostojewskij Der Idiot (German Edition) - Kindle edition by Dostojewski, Fjodr Michailowitsch. Download it once and read it on your Kindle device, PC, phones or tablets. Der Idiot. nach dem Roman von Fjodor Dostojewski Regie: Frank Abt. „Leisten Sie Widerstand, sobald Sie nicht einverstanden sind.“ (Harald Welzer) — Die. Der Idiot gehört zu den bekanntesten Romanen Fjodor Dostojewskis. Er wurde von Dostojewski in Genf begonnen, in Mailand beendet und erschien​. Mit dem Autorenporträt aus dem Metzler Lexikon Weltliteratur. Mit Daten zu Leben und Werk, exklusiv verfasst von der Redaktion der Zeitschrift für Literatur TEXT +. Teil, 5. Kapitel, 3. Dass die Krankheit auch HunterS Prayer Stream Selbstschutzfunktion hat, wird in dem Moment deutlich, als Pro 7 Serien ihm bei Rogoschins Mordversuch das Leben rettet. Ihre kindliche Launenhaftigkeit entlarvt sie dann tatsächlich dem Fürsten gegenüber, als sie ihm droht, Gawrila zu heiraten, wenn er ihre Pläne nicht unterstütze. Im nächsten Jahr unternimmt er seine erste Europareise und ein Jahr darauf eine zweite.

The General and his business partner, the aristocrat Totsky, are seeking to arrange a marriage between Ganya and Nastasya Filippovna. Totsky had been the orphaned Nastasya Filippovna's childhood guardian, but he had taken advantage of his position to groom her for his own sexual gratification.

As a grown woman, Nastasya Filippovna has developed an incisive and merciless insight into their relationship. Totsky, thinking the marriage might settle her and free him to pursue his desire for marriage with General Epanchin's eldest daughter, has promised 75, rubles.

Ganya and the General openly discuss the subject in front of Myshkin. Ganya shows him a photograph of her, and he is particularly struck by the dark beauty of her face.

Myshkin makes the acquaintance of Lizaveta Prokofyevna and her three daughters—Alexandra, Adelaida and Aglaya.

They are all very curious about him and not shy about expressing their opinion, particularly Aglaya. He readily engages with them and speaks with remarkable candor on a wide variety of subjects—his illness, his impressions of Switzerland, art, philosophy, love, death, the brevity of life, capital punishment, and donkeys.

In response to their request that he speak of the time he was in love, he tells a long anecdote from his time in Switzerland about a downtrodden woman—Marie—whom he befriended, along with a group of children, when she was unjustly ostracized and morally condemned.

The Prince ends by describing what he divines about each of their characters from studying their faces and surprises them by saying that Aglaya is almost as beautiful as Nastasya Filippovna.

The prince rents a room in the Ivolgin apartment, occupied by Ganya's family and another lodger called Ferdyschenko.

There is much angst within Ganya's family about the proposed marriage, which is regarded, particularly by his mother and sister Varya , as shameful.

Just as a quarrel on the subject is reaching a peak of tension, Nastasya Filippovna herself arrives to pay a visit to her potential new family.

Shocked and embarrassed, Ganya succeeds in introducing her, but when she bursts into a prolonged fit of laughter at the look on his face, his expression transforms into one of murderous hatred.

The Prince intervenes to calm him down, and Ganya's rage is diverted toward him in a violent gesture. The tension is not eased by the entrance of Ganya's father, General Ivolgin, a drunkard with a tendency to tell elaborate lies.

Nastasya Filippovna flirtatiously encourages the General and then mocks him. Ganya's humiliation is compounded by the arrival of Rogozhin, accompanied by a rowdy crowd of drunks and rogues, Lebedyev among them.

Rogozhin openly starts bidding for Nastasya Filippovna, ending with an offer of a hundred thousand rubles. With the scene assuming increasingly scandalous proportions, Varya angrily demands that someone remove the "shameless woman".

Ganya seizes his sister's arm, and she responds, to Nastasya Filippovna's delight, by spitting in his face. He is about to strike her when the Prince again intervenes, and Ganya slaps him violently in the face.

Everyone is deeply shocked, including Nastasya Filippovna, and she struggles to maintain her mocking aloofness as the others seek to comfort the Prince.

Myshkin admonishes her and tells her it is not who she really is. She apologizes to Ganya's mother and leaves, telling Ganya to be sure to come to her birthday party that evening.

Rogozhin and his retinue go off to raise the , rubles. With the help of Ganya's younger brother Kolya, the Prince arrives, uninvited.

To enliven the party, Ferdyshchenko suggests a game where everyone must recount the story of the worst thing they have ever done.

Others are shocked at the proposal, but Nastasya Filippovna is enthusiastic. When it comes to Totsky's turn he tells a long but innocuous anecdote from the distant past.

Disgusted, Nastasya Filippovna turns to Myshkin and demands his advice on whether or not to marry Ganya. Myshkin advises her not to, and Nastasya Filippovna, to the dismay of Totsky, General Epanchin and Ganya, firmly announces that she is following this advice.

At this point, Rogozhin and his followers arrive with the promised , rubles. Nastasya Filipovna is preparing to leave with him, exploiting the scandalous scene to humiliate Totsky, when Myshkin himself offers to marry her.

He speaks gently and sincerely, and in response to incredulous queries about what they will live on, produces a document indicating that he will soon be receiving a large inheritance.

Though surprised and deeply touched, Nastasya Filipovna, after throwing the , rubles in the fire and telling Ganya they are his if he wants to get them out, chooses to leave with Rogozhin.

Myshkin follows them. For the next six months, Nastasya Filippovna remains unsettled and is torn between Myshkin and Rogozhin. Myshkin is tormented by her suffering, and Rogozhin is tormented by her love for Myshkin and her disdain for his own claims on her.

Returning to Petersburg, the Prince visits Rogozhin's house. Myshkin becomes increasingly horrified at Rogozhin's attitude to her.

Rogozhin confesses to beating her in a jealous rage and raises the possibility of cutting her throat. Despite the tension between them, they part as friends, with Rogozhin even making a gesture of concession.

But the Prince remains troubled and for the next few hours he wanders the streets, immersed in intense contemplation. He suspects that Rogozhin is watching him and returns to his hotel where Rogozhin—who has been hiding in the stairway—attacks him with a knife.

At the same moment, the Prince is struck down by a violent epileptic seizure, and Rogozhin flees in a panic. Recovering, Myshkin joins Lebedyev from whom he is renting a dacha in the summer resort town Pavlovsk.

He knows that Nastasya Filippovna is in Pavlovsk and that Lebedyev is aware of her movements and plans.

The Epanchins, who are also in Pavlovsk, visit the Prince. They are joined by their friend Yevgeny Pavlovich Radomsky, a handsome and wealthy military officer with a particular interest in Aglaya.

Aglaya, however, is more interested in the Prince, and to Myshkin's embarrassment and everyone else's amusement, she recites Pushkin's poem "The Poor Knight" in a reference to his noble efforts to save Nastasya Filippovna.

The Epanchins' visit is rudely interrupted by the arrival of Burdovsky, a young man who claims to be the illegitimate son of Myshkin's late benefactor, Pavlishchev.

The inarticulate Burdovsky is supported by a group of insolent young men. These include the consumptive seventeen-year-old Ippolit Terentyev, the nihilist Doktorenko, and Keller, an ex-officer who, with the help of Lebedyev, has written an article vilifying the Prince and Pavlishchev.

They demand money from Myshkin as a "just" reimbursement for Pavlishchev's support, but their arrogant bravado is severely dented when Gavril Ardalionovich, who has been researching the matter on Myshkin's behalf, proves conclusively that the claim is false and that Burdovsky has been deceived.

The Prince tries to reconcile with the young men and offers financial support anyway. Disgusted, Lizaveta Prokofyevna loses all control and furiously attacks both parties.

Ippolit laughs, and Lizaveta Prokofyevna seizes him by the arm, causing him to break into a prolonged fit of coughing.

But he suddenly becomes calm, informs them all that he is near death, and politely requests that he be permitted to talk to them for a while.

He awkwardly attempts to express his need for their love, eventually bringing both himself and Lizaveta Prokofyevna to the point of tears.

But as the Prince and Lizaveta Prokofyevna discuss what to do with the invalid, another transformation occurs and Ippolit, after unleashing a torrent of abuse at the Prince, leaves with the other young men.

Only Yevgeny Pavlovich remains in good spirits, and he smiles charmingly as he says good-bye. At that moment, a magnificent carriage pulls up at the dacha, and the ringing voice of Nastasya Filippovna calls out to Yevgeny Pavlovich.

In a familiar tone, she tells him not to worry about all the IOUs as Rogozhin has bought them up.

The carriage departs, leaving everyone, particularly Yevgeny Pavlovich and the Prince, in a state of shock.

Yevgeny Pavlovich claims to know nothing about the debts, and Nastasya Filippovna's motives become a subject of anxious speculation.

Reconciling with Lizaveta Prokofyevna, the Prince visits the Epanchins at their dacha. Myshkin joins Lizaveta Prokofyevna, her daughters and Yevgeny Pavlovich for a walk to the park to hear the music.

While listening to the high-spirited conversation and watching Aglaya in a kind of daze, he notices Rogozhin and Nastasya Filippovna in the crowd.

Nastasya Filippovna again addresses herself to Yevgeny Pavlovich, and in the same jolly tone as before loudly informs him that his uncle—a wealthy and respected old man from whom he is expecting a large inheritance—has shot himself and that a huge sum of government money is missing.

Yevgeny Pavlovich stares at her in shock as Lizaveta Prokofyevna makes a hurried exit with her daughters.

Nastasya Filippovna hears an officer friend of Yevgeny Pavlovich suggest that a whip is needed for women like her, and she responds by grabbing a riding-whip from a bystander and striking the officer across the face with it.

He tries to attack her but Myshkin restrains him, for which he is violently pushed. Rogozhin, after making a mocking comment to the officer, leads Nastasya Filippovna away.

The officer recovers his composure, addresses himself to Myshkin, politely confirms his name, and leaves.

Myshkin follows the Epanchins back to their dacha, where eventually Aglaya finds him alone on the verandah. To his surprise, she begins to talk to him very earnestly about duels and how to load a pistol.

They are interrupted by General Epanchin who wants Myshkin to walk with him. Aglaya slips a note into Myshkin's hand as they leave. The General is greatly agitated by the effect Nastasya Filippovna's behavior is having on his family, particularly since her information about Yevgeny Pavlovich's uncle has turned out to be completely correct.

When the General leaves, Myshkin reads Aglaya's note, which is an urgent request to meet her secretly the following morning.

His reflections are interrupted by Keller who has come to offer to be his second at the duel that will inevitably follow from the incident that morning, but Myshkin merely laughs heartily and invites Keller to visit him to drink champagne.

Keller departs and Rogozhin appears. He informs the Prince that Nastasya Filippovna wants to see him and that she has been in correspondence with Aglaya.

She is convinced that the Prince is in love with Aglaya, and is seeking to bring them together. Myshkin is perturbed by the information, but he remains in an inexplicably happy frame of mind and speaks with forgiveness and brotherly affection to Rogozhin.

Remembering it will be his birthday tomorrow, he persuades Rogozhin to join him for some wine. They find that a large party has assembled at his home and that the champagne is already flowing.

The guests greet the Prince warmly and compete for his attention. Stimulated by Lebedyev's eloquence, everyone engages for some time in intelligent and inebriated disputation on lofty subjects, but the good-humoured atmosphere begins to dissipate when Ippolit suddenly produces a large envelope and announces that it contains an essay he has written which he now intends to read to them.

The essay is a painfully detailed description of the events and thoughts leading him to what he calls his 'final conviction': that suicide is the only possible way to affirm his will in the face of nature's invincible laws, and that consequently he will be shooting himself at sunrise.

The reading drags on for over an hour and by its end the sun has risen. Most of his audience, however, are bored and resentful, apparently not at all concerned that he is about to shoot himself.

Only Vera, Kolya, Burdovsky and Keller seek to restrain him. He distracts them by pretending to abandon the plan, then suddenly pulls out a small pistol, puts it to his temple and pulls the trigger.

There is a click but no shot: Ippolit faints but is not killed. It turns out that he had taken out the cap earlier and forgotten to put it back in.

Ippolit is devastated and tries desperately to convince everyone that it was an accident. Eventually he falls asleep and the party disperses.

The Prince wanders for some time in the park before falling asleep at the green seat appointed by Aglaya as their meeting place. Her laughter wakes him from an unhappy dream about Nastasya Filippovna.

They talk for a long time about the letters Aglaya has received, in which Nastasya Filippovna writes that she herself is in love with Aglaya and passionately beseeches her to marry Myshkin.

Aglaya interprets this as evidence that Nastasya Filippovna is in love with him herself, and demands that Myshkin explain his feelings toward her.

Myshkin replies that Nastasya Filippovna is insane, that he only feels profound compassion and is not in love with her, but admits that he has come to Pavlovsk for her sake.

Aglaya becomes angry, demands that he throw the letters back in her face, and storms off. Myshkin reads the letters with dread, and later that day Nastasya Filippovna herself appears to him, asking desperately if he is happy, and telling him she is going away and will not write any more letters.

Rogozhin escorts her. It is clear to Lizaveta Prokofyevna and General Epanchin that their daughter is in love with the Prince, but Aglaya denies this and angrily dismisses talk of marriage.

She continues to mock and reproach him, often in front of others, and lets slip that, as far as she is concerned, the problem of Nastasya Filippovna is yet to be resolved.

Myshkin himself merely experiences an uncomplicated joy in her presence and is mortified when she appears to be angry with him. Lizaveta Prokofyevna feels it is time to introduce the Prince to their aristocratic circle and a dinner party is arranged for this purpose, to be attended by a number of eminent persons.

Aglaya, who does not share her parents' respect for these people and is afraid that Myshkin's eccentricity will not meet with their approval, tries to tell him how to behave, but ends by sarcastically telling him to be as eccentric as he likes, and to be sure to wave his arms about when he is pontificating on some high-minded subject and break her mother's priceless Chinese vase.

Feeling her anxiety, Myshkin too becomes extremely anxious, but he tells her that it is nothing compared to the joy he feels in her company.

He tries to approach the subject of Nastasya Filippovna again, but she silences him and hurriedly leaves. For a while the dinner party proceeds smoothly.

Inexperienced in the ways of the aristocracy, Myshkin is deeply impressed by the elegance and good humour of the company, unsuspicious of its superficiality.

It turns out that one of those present—Ivan Petrovich—is a relative of his beloved benefactor Pavlishchev, and the Prince becomes extraordinarily enthusiastic.

But when Ivan Petrovich mentions that Pavlishchev ended by giving up everything and going over to the Catholic Church, Myshkin is horrified.

He launches unexpectedly into an anti-Catholic tirade, claiming that it preaches the Antichrist and in its quest for political supremacy has given birth to Atheism.

Everyone present is shocked and several attempts are made to stop or divert him, but he only becomes more animated. At the height of his fervor he begins waving his arms about and knocks over the priceless Chinese vase, smashing it to pieces.

As Myshkin emerges from his profound astonishment, the general horror turns to amusement and concern for his health.

But it is only temporary, and he soon begins another spontaneous discourse, this time on the subject of the aristocracy in Russia, once again becoming oblivious to all attempts to quell his ardour.

The speech is only brought to an end by the onset of an epileptic seizure: Aglaya, deeply distressed, catches him in her arms as he falls.

He is taken home, having left a decidedly negative impression on the guests. The next day Ippolit visits the Prince to inform him that he and others such as Lebedyev and Ganya have been intriguing against him, and have been unsettling Aglaya with talk of Nastasya Filippovna.

Ippolit has arranged, at Aglaya's request and with Rogozhin's help, a meeting between the two women.

That evening Aglaya, having left her home in secret, calls for the Prince. They proceed in silence to the appointed meeting place, where both Nastasya Filippovna and Rogozhin are already present.

It soon becomes apparent that Aglaya has not come there to discuss anything, but to chastise and humiliate Nastasya Filippovna, and a bitter exchange of accusations and insults ensues.

Nastasya Filippovna orders Rogozhin to leave and hysterically demands of Myshkin that he stay with her. Myshkin, once again torn by her suffering, is unable to deny her and reproaches Aglaya for her attack.

Aglaya looks at him with pain and hatred, and runs off. He goes after her but Nastasya Filippovna stops him desperately and then faints.

Myshkin stays with her. In accordance with Nastasya Filippovna's wish, she and the Prince become engaged. Public opinion is highly critical of Myshkin's actions toward Aglaya, and the Epanchins break off all relations with him.

He tries to explain to Yevgeny Pavlovich that Nastasya Filippovna is a broken soul, that he must stay with her or she will probably die, and that Aglaya will understand if he is only allowed to talk to her.

Yevgeny Pavlovich refuses to facilitate any contact between them and suspects that Myshkin himself is mad. On the day of the wedding, a beautifully attired Nastasya Filippovna is met by Keller and Burdovsky, who are to escort her to the church where Myshkin is waiting.

A large crowd has gathered, among whom is Rogozhin. Seeing him, Nastasya Filippovna rushes to him and tells him hysterically to take her away, which Rogozhin loses no time in doing.

The Prince, though shaken, is not particularly surprised at this development. For the remainder of the day he calmly fulfills his social obligations to guests and members of the public.

The following morning he takes the first train to Petersburg and goes to Rogozhin's house, but he is told by servants that there is no one there.

After several hours of fruitless searching, he returns to the hotel he was staying at when he last encountered Rogozhin in Petersburg.

Rogozhin appears and asks him to come back to the house. They enter the house in secret and Rogozhin leads him to the dead body of Nastasya Filippovna: he has stabbed her through the heart.

The two men keep vigil over the body, which Rogozhin has laid out in his study. Rogozhin is sentenced to fifteen years hard labor in Siberia.

Myshkin goes mad and, through the efforts of Yevgeny Pavlovich, returns to the sanatorium in Switzerland. The Epanchins go abroad and Aglaya elopes with a wealthy, exiled Polish count who later is discovered to be neither wealthy, nor a count, nor an exile—at least, not a political exile—and who, along with a Catholic priest, has turned her against her family.

Prince Myshkin , the novel's central character, is a young man who has returned to Russia after a long period abroad where he was receiving treatment for epilepsy.

The lingering effects of the illness, combined with his innocence and lack of social experience, sometimes create the superficial and completely false impression of mental or psychological deficiency.

Most of the other characters at one time or another refer to him disparagingly as an 'idiot', but nearly all of them are deeply affected by him.

In truth he is highly intelligent, self-aware, intuitive and empathic. He is someone who has thought deeply about human nature, morality and spirituality, and is capable of expressing those thoughts with great clarity.

Nastasya Filippovna , the main female protagonist, is darkly beautiful, intelligent, fierce and mocking, an intimidating figure to most of the other characters.

Of noble birth but orphaned at age 7, she was manipulated into a position of sexual servitude by her guardian, the voluptuary Totsky. Her broken innocence and the social perception of disgrace produce an intensely emotional and destructive personality.

The Prince is deeply moved by her beauty and her suffering, and despite feeling that she is insane, remains devoted to her.

She is torn between Myshkin's compassion and Rogozhin's obsession with her. He instinctively likes and trusts the Prince when they first meet, but later develops a hatred for him out of jealousy.

The character represents passionate, instinctive love, as opposed to Myshkin's Christian love based in compassion.

Aglaya is proud, commanding and impatient, but also full of arch humour, laughter and innocence, and the Prince is particularly drawn to her after the darkness of his time with Nastasya Filippovna and Rogozhin.

Still full of youthful idealism, he craves love and recognition from others, but their indifference and his own morbid self-obsession lead him to increasing extremes of cynicism and defiance.

The character is a 'quasi-double' for Myshkin: their circumstances force them to address the same metaphysical questions, but their responses are diametrically opposed.

A dialogue between the intimately related themes of atheism and Christian faith meaning, for Dostoevsky, Russian Orthodoxy pervades the entire novel.

Dostoevsky's personal image of Christian faith, formed prior to his philosophical engagement with Orthodoxy but never abandoned, was one that emphasized the human need for belief in the immortality of the soul, and identified Christ with ideals of "beauty, truth, brotherhood and Russia".

However, Myshkin's Christianity is not a doctrine or a set of beliefs but is something that he lives spontaneously in his relations with all others.

Whenever he appears "hierarchical barriers between people suddenly become penetrable, an inner contact is formed between them His personality possesses the peculiar capacity to relativize everything that disunifies people and imparts a false seriousness to life.

The young nihilist Ippolit Terentyev is the character that provides the most coherent articulation of the atheist challenge to Myshkin's worldview, most notably in the long essay 'An Essential Explanation' which he reads to the gathering at the Prince's birthday celebration in part 3 of the novel.

Holbein's painting held a particular significance for Dostoevsky because he saw in it his own impulse "to confront Christian faith with everything that negated it".

I remember someone taking me by the arm, a candle in his hands, and showing me some sort of enormous and repulsive tarantula, assuring me that this was that same dark, blind and all-powerful creature, and laughing at my indignation.

The Prince does not directly engage with Ippolit's atheistic arguments, as a religious ideologist might: rather, he recognizes Ippolit as a kindred spirit, and empathetically perceives his youthful struggle with both his own inner negation and the cruelty, irony, and indifference of the world around him.

The Prince's Christianity, insofar as he is the embodiment of the 'Russian Christian idea', explicitly excludes Catholicism. His unexpected tirade at the Epanchins' dinner party is based in unequivocal assertions that Catholicism is "an unChristian faith", that it preaches the Antichrist, and that its appropriation and distortion of Christ's teaching into a basis for the attainment of political supremacy has given birth to atheism.

The Catholic Church, he claims, is merely a continuation of the Western Roman Empire : cynically exploiting the person and teaching of Christ it has installed itself on the earthly throne and taken up the sword to entrench and expand its power.

This is a betrayal of the true teaching of Christ, a teaching that transcends the lust for earthly power the Devil's Third Temptation , and speaks directly to the individual's and the people's highest emotions—those that spring from what Myshkin calls "spiritual thirst".

Atheism and socialism are a reaction, born of profound disillusionment, to the Church's defilement of its own moral and spiritual authority.

It is because of this "spiritual thirst" that Myshkin is so uncompromisingly scathing about the influence of Catholicism and atheism in Russia. It is not from vanity alone, not from mere sordid vain emotions that Russian atheists and Russian Jesuits proceed, but from a spiritual pain, a spiritual thirst, a yearning for something more exalted, for a firm shore, a motherland in which they have ceased to believe The theme of the maleficent influence of Catholicism on the Russian soul is expressed, in a less obvious and polemical way, through the character of Aglaya Epanchin.

Passionate and idealistic, like 'the Russian' alluded to in the anti-Catholic diatribe, Aglaya struggles with the ennui of middle class mediocrity and hates the moral vacuity of the aristocracy to whom her parents kowtow.

Her 'yearning for the exalted' has attracted her to militant Catholicism, and in the Prince's devotion to Nastasya Filippovna she sees the heroism of a Crusader -Knight abandoning everything to go in to battle for his Christian ideal.

She is deeply angry when, instead of "defending himself triumphantly" against his enemies Ippolit and his nihilist friends , he tries to make peace with them and offers assistance.

When the Epanchins go abroad after the final catastrophe, Aglaya, under the influence of a Catholic priest, abandons her family and elopes with a Polish 'Count'.

In his notes Dostoevsky distinguishes the Prince from other characters of the virtuous type in fiction such as Don Quixote and Pickwick by emphasizing innocence rather than comicality.

But his innocence is serious rather than comical, and he has a deeper insight into the psychology of human beings in general by assuming its presence in everyone else, even as they laugh at him, or try to deceive and exploit him.

The Prince guesses that he has come to borrow money before he has even mentioned it, and unassumingly engages him in a conversation about the psychological oddity of 'double thoughts':.

Two thoughts coincided, that very often happens I think it's a bad thing and, you know, Keller, I reproach myself most of all for it.

What you told me just now could have been about me. Other sentence examples. Previous page Next page. Display more examples.

See also. Word by word translation. Phrases in alphabetical order. Top Dictionary Queries. German - English Word index:.

English - German Word index:. Notice This website or its third-party tools use cookies, which are necessary to its functioning and required to achieve the purposes illustrated in the cookie policy.

If you want to know more or withdraw your consent to all or some of the cookies, please refer to the cookie policy. By closing this banner, scrolling this page, clicking a link or continuing to browse otherwise, you agree to the use of cookies.

Facebooktwitterredditpinterestlinkedinmail

0 thoughts on “Der Idiot

Schreibe einen Kommentar

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind mit * markiert.