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The novel begins with three strangers in a train en route to Petersburg. A young man named Prince Myshkin is returning from a Swiss sanatorium where he has been treated for the past few years for some malady similar to epilepsy. He meets a roguish young man named Rogozhin, who has an unhealthy obsession with a beautiful young woman named Nastasya Filippovna, and a nosy government official named Lebedyev, who figures prominently throughout the novel.
Upon arriving in Petersburg, Myshkin acquaints himself with many of the citizens and eventually meets, and is infatuated by, Nastasya. She is pushy, fickle, and impetuous, and bounces from fiance to fiance like a fortune hunter. Her irresistibility and psychological stronghold on the men in her life leads to her downfall.
The basis of the novel is that Myshkin is not bright, has not had much education, and traverses society with a mentality of simplistic innocence. When speaking his opinion, he struggles to articulate himself with Charlie Brown-like stammering and wishy-washiness. For this reason, people consider him an idiot, but he is a good, honest, sympathetic, and gracious person. When he comes into a large inheritance, he is blackmailed by a man who claims to be the illegitimate son of Myshkin's benefactor; but when the man's story is debunked, Myshkin befriends rather than chastises the culprit and his accomplices. Myshkin also falls in love with and becomes betrothed to a giddy girl named Aglaia, who uses his ingenuousness as a foil for her jokes and sarcasm, despite his undying devotion to her.
The novel seems to say that a saintly man, making his way in a society that is concerned with materialism and cutthroat avarice, will be considered a childish idiot for valuing honesty, kindness, and the simple things in life. Like I said, the ending is a shocker and sends a plaintive message, that in a crazy world, a sanatorium is the only place for a saint.
At its core, The Idiot is a character/society study although it also encompasses many religious and political aspects as well. The central character, Prince Myshkin, provides the contrast for all the other characters and is definitely a "Christ-like" figure, a man who embodies most perfectly the Christian ideals of selflessness and love.
Prince Myshkin is a man who has suffered from mental illness since childhood. This illness has the curious effect of causing him to respond from his heart rather than from his head. In addition, Myshkin also suffers from a form of epilepsy that causes him to launch into tirades regarding the social ills of the day. As a Christ-like figure, Myshkin is in direct contrast to the other characters in the book who are all worldly and sophisticated, though somewhat cynical, aristocrats. Myshkin's extreme goodness also causes him to become entangled in various political and personal intrigues.
Although completely good, Prince Myshkin in a fully realized character. One of the marvels of this novel is that Dostoyevsky managed to present Myshkin as a serious, rather than a comic, character. His goodness is not something we want to laugh at. There are many comic moments in the book, however, and most of them are provided through various financial and romantic entanglements.
Although Prince Myshkin is the thread that links all the characters and aspects in the novel, he is not the only fully realized character; the others are also extremely well drawn. Dostoyevsky was fond of using real life incidents in his books and his notes tells us this is something he did in creating the characters that populate this book.
Ultimately, The Idiot is a tragic book. Politically, it ridicules the shallow ideals of the Russian aristocracy, and, while Prince Myshkin's ramblings may seem comic, they are actually harsh criticism.
Prince Myshkin was more than "a positively good man." He was a man who could see into the future and know what lay in store. Dostoyevsky's deep insight into the character of man makes The Idiot one of literature's most profound and timeless works.
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The main theme that Wilder tries to convey is that even the most insignificant, unimportant things in life need to be appreciated. The protagonist asks in the final act, "Do human beings ever realize life while they live it? Every, every minute?" The answer, of course, is 'no.' We all tend to rush through life like it is a giant marathon, and all too often, we trample on other people along the way. Also in the final act, the protagonist wishes that she would have been nicer to people while she had the chance; she wishes that she would've let the other characters know how much she loved and appreciated them. In writing this drama, Wilder wants to tell us that we should all live our lives to the fullest; we should take time every day to give thanks for all that we have; we should always tell our friends and family just how much they mean to us -- we can only do these things while we're living, and none of us know exactly how much longer that will be. Reading this play has really given me a "wake up call" and has allowed me to cherish everyday, ordinary things like the beauty of nature. I felt that the play was, in retrospect, brilliantly written, brief, and poignant. I recommend this play to everyone because it teaches a message that we all need to remember -- take time to savor the simple things, because they often carry the greatest rewards.
It is hard to believe that Wilder's nonrealistic stagecraft was a subject of concern to anyone then or now; I would have thought Shakespeare put that concern to rest in the prologue to "Henry V." I would have said Wilder was simply finding a way to make the setting and scenery irrelevant to his story he was trying to tell, although I also suspect he was trying to set up the impact of the end of the play which takes place in the town's graveyard as Emily and the other characters describe the peace of life after death.
Wilder's makes it clear he is trying to convey the simple sanctity of everyday life, a theme that is certainly found in Wilder's novel "The Bridge of San Luis Rey" (1927), which looked at the lives of five persons who died in the collapse of a bridge in Peru in the 18th century. The key exchange comes between Emily, who asks "Do any human beings ever realize life while they live it?--every, every minute?" "No," the Stage Manager responds, "The saints and poets, maybe--they do some." Obviously that is the lesson Wilder wants to impart to his audiences and the big question today is whether the frantic change in the pace of life we see a century later has made Wilder's point incomprehensible to most American audience.
"Our Town" is an important American drama, not because it was considered innovative or because it won the Pulitzer Prize, but because it represents the last gasp of American lyricism in the 20th century. World War I transmuted the Realists into the Modernists, writers like Hemingway and Steinbeck, whose response to the horrors of modern warfare was to elevate the subjects of literature to loftier grounds. In a world where men die or are maimed for life by poisonous gas, bombs dropped from airplanes, or machine guns, a new significance of meaning needs to be created. By such standards "Our Town" pales in comparison to the works of Eugene O'Neill, Tennessee Williams, and Arthur Miller. But if you put Wilder's play in historical and cultural perspective, then I think its greatness remains assured.
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. Life and Background of the Author
. Genera; Plot summary
. Remarque's Introductory Note
. Critical Commentaries
. Remarque's Style
. Remarque as a Social Critic
. Character Analyses
. Questions for Review