The Idiot

The Idiot

by

Fyodor Dostoevsky

The Idiot: Part Four, Chapter Eleven Summary & Analysis

Summary
Analysis
In St. Petersburg, Myshkin goes straight to Rogozhin’s house. Rogozhin’s mother says her son is not at home. Myshkin tries to find out if he came back the night before with Nastasya, but she will not tell him. Myshkin then asks the caretaker, who informs him that Rogozhin was at home the day before, although it’s possible that he’s gone out now. Myshkin then stands outside on the street for a while, and for a second thinks he thinks he sees Rogozhin’s face peering through a blind, but within a second it is gone. Myshkin then sets off for the neighborhood where he knows Nastasya had been staying with a friend of hers, an old teacher’s widow. 
Myshkin is clearly determined to find Rogozhin and Nastasya, but it is unclear to what purpose. It doesn’t seem likely that he will try to win Nastasya back. At the same time, his reason for marrying her in the first place was a desire to protect her amidst fears for her safety. Perhaps this is the same reason that has drawn him back to St. Petersburg and into a potentially dangerous situation.
Themes
Innocence v. Foolishness Theme Icon
Passion, Violence, and Christianity Theme Icon
Myshkin is shocked to learn that the none of the people at the widow’s house had seen Nastasya there that day or the day before. They are all desperate to know about the wedding, and he explains the whole story. The next day Myshkin goes back to Rogozhin’s house, where the caretaker tells him that Rogozhin went to Pavlovsk that morning and may not be back for a week. Myshkin then goes to see Nastasya’s beautiful German friend, only to find that she and Nastasya have had a fight and are not speaking. Myshkin begins to have a strange feeling, and returns to Rogozhin’s, before again going to the widow’s apartment.
Myshkin’s devotion to Nastasya, who has repeatedly abandoned him and ruined his life, shows how selfless and innocent he truly is. Yet it also reveals the extent to which his innocence is both a form of foolishness and insight. He is putting himself at risk by trying to track down Nastasya and Rogozhin. Furthermore, all the evidence indicates that Nastasya doesn’t want to be found. However, the strange feeling Myshkin has indicates that something might be terribly wrong.
Themes
Innocence v. Foolishness Theme Icon
Passion, Violence, and Christianity Theme Icon
Myshkin asks the women at the apartment to show him Nastasya’s room. There he finds a copy of Madame Bovary and a card table. The women tell him that Nastasya plays cards there every night with Rogozhin. Now, the cards they use to play with are missing. The women advise Myshkin to keep checking in at Rogozhin’s house, and the widow offers to go to Darya’s dacha in Pavlovsk herself. Myshkin returns to the inn where he is staying in “inexpressible anguish.” He leaves the inn again, but has only walked 50 steps when Rogozhin grabs him. Rogozhin insists that they walk to his house but on opposite sides of the street, so that they are not seen together.
The placement of Madame Bovary in Nastasya’s room is very important. Published in 1856 (only a few years before The Idiot) by the French novelist Gustave Flaubert, the novel tells the story of an adulterous woman who strives to escape her dreary and oppressive life through romantic passion, and ends up killing herself. There are obvious parallels that this novel shares with situations in The Idiot, both to Nastasya’s striving and to Aglaya’s dreams of a grander life than marriage and domesticity.
Themes
Innocence v. Foolishness Theme Icon
Social Hierarchy, Authority, and Rebellion Theme Icon
Passion, Violence, and Christianity Theme Icon
At the house, Rogozhin said he lied to the caretaker and said he was in Pavlovsk. He says he knew Myshkin kept coming to the house, and hid from him. When Myshkin asks where Nastasya is, Rogozhin replies that she is “here.” After they speak a little, Myshkin again demands to know where Nastasya is, and Rogozhin points to a curtain. Myshkin moves past it to look, and sees a figure lying in bed, completely still. Clothes lie scattered all around the bed, and the whole scene is “terribly still.” Rogozhin leads him out of the room. He notices that Myshkin is shaking, which might mean he is going to have a fit.
Nastasya’s murder is not described in any direct terms, but only by the eerie stillness left by the sight of her dead body. This provides a return to the novel’s earlier considerations of death, resurrection, and Holbein’s painting The Dead Christ. The absolute stillness of Nastasya’s corpse prompts the same harrowing, atheistic question as the painting: what if there is no redemption, no resurrection—just death?
Themes
Innocence v. Foolishness Theme Icon
Absurdity and Nihilism Theme Icon
Passion, Violence, and Christianity Theme Icon
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Sitting together again, Rogozhin tells Myshkin: “I just can’t think what I’m going to do with you now.” He admits that he killed Nastasya, and that no one in the house knows that she spent the night there. He says that he and Myshkin should spend the night there with Nastasya, and expresses concern that people might hear him if he has a fit. Although there is only one bed, he will arrange pillows on the floor. He asks Myshkin if there’s a smell in the room, and Myshkin replies that he doesn’t know.
Rogozhin says very little about Nastasya’s murder. The reader never finds out when exactly he did it or what the immediate trigger was. In a sense, though, it doesn’t matter, because his murdering Nastasya has been predicted from the very beginning of the novel. It was the fate that inevitably awaited both of them. 
Themes
Innocence v. Foolishness Theme Icon
Absurdity and Nihilism Theme Icon
Passion, Violence, and Christianity Theme Icon
Myshkin asks if Rogozhin killed Nastasya with the same knife he used to try and attack Myshkin, and Rogozhin says he did. Myshkin then asks if he wanted to kill Nastasya before the wedding; Rogozhin says he doesn’t know. They hear footsteps and both scramble to shut the door. Myshkin whispers that he wanted the cards Nastasya and Rogozhin played with, and Rogozhin gives them to him. They wait silently for half an hour, before Rogozhin suddenly bursts out laughing remembering how Nastasya whipped the officer at the Pavlovsk vauxhall. Many hours pass, and Rogozhin weeps. Eventually, people burst through the door to find Rogozhin unconscious, and Myshkin in the same state of “idiocy” as when he first arrived in Switzerland.
Even after finding out that Rogozhin murdered Nastasya, Myshkin does not abandon him, try to seek help, or attempt to alert the police. Instead he stays with him, asking him questions about the crime. This connects Myshkin to the old state councilor in Moscow mentioned earlier in the novel, who would go to see those about to be sent to Siberia. Myshkin’s profound moral goodness allows him to spend time with Rogozhin as a person, not only a killer, although ultimately the whole ordeal has a severely negative impact on his health.  
Themes
Innocence v. Foolishness Theme Icon
Social Hierarchy, Authority, and Rebellion Theme Icon
Absurdity and Nihilism Theme Icon
Passion, Violence, and Christianity Theme Icon