LitCharts assigns a color and icon to each theme in The Idiot, which you can use to track the themes throughout the work.
Innocence v. Foolishness
Money, Greed, and Corruption
Social Hierarchy, Authority, and Rebellion
Absurdity and Nihilism
Passion, Violence, and Christianity
Summary
Analysis
Myshkin is late to his meeting with General Ivolgin and apologizes. Ivolgin returns a book that Myshkin lent him, which depicts the French occupation of Moscow from the perspective of an old soldier. Ivolgin then gravely informs Myshkin that his friendship with Lebedev is over, because Lebedev has lied to him and disrespected him. Myshkin points out that the lie Ivolgin is referring to—in which Lebedev claimed to have lost a leg in a war that took place before he was even born—was just a silly joke. Ivolgin then says that in the same year, when he himself was 10 years old, he pushed through a crowd and saw Napoleon dismounting from his horse.
Ironically, General Ivolgin has chosen to end his friendship with Lebedev because Lebedev has committed the exact same kinds of transgressions that Ivolgin himself does every day. Rather than mere hypocrisy, perhaps there is something about seeing his own behaviors turned back against him that Ivolgin finds deeply disturbing. Ivolgin may not be able to bear the confrontation with himself that this experience conjures.
Active
Themes
Myshkin appeases General Ivolgin even though he knows that what he’s saying isn’t true. Ivolgin goes onto say that Napoleon even noticed him and remarked that he admired the young Ivolgin’s pride. He then claims that he was became Napoleon’s chamber-page. Myshkin comments that Ivolgin’s memoirs would be “extremely interesting,” and Ivolgin replies that he likes the idea of writing them. He then says that he urged Napoleon to beg for the forgiveness of Tsar Alexander I. With Myshkin’s encouragement, Ivolgin continues to describe his life as Napoleon’s chamber-page. He recounts the patriotic courage he supposedly showed, and mentions several occasions when Napoleon asked for his advice.
Even for General Ivolgin’s standards, this story is the height of ridiculousness. It seems that as Ivolgin has sunk deeper and deeper into disgrace, isolation, and misery, his desire to tell outlandish and unbelievable stories has become more extreme. This could indicate that he has lost his grip on reality altogether. The fact that Myshkin encourages his delusions raises questions about whether one should be complicit in such fantasies.
Active
Themes
As General Ivolgin continues with his story and describes his separation from Napoleon, he begins to cry real tears. Suddenly, Ivolgin notices that it’s 2 p.m. and he’s been talking for longer than he promised. Still overwhelmed by his own emotions, he wishes Myshkin well and leaves. That night, he receives a note in which Ivolgin informs him that he is “parting with him forever,” but expresses his admiration and gratitude for their friendship. Myshkin hears that Ivolgin has simply locked himself up with his family, but also hears that he caused some kind of disturbance at the Epanchins’ house.
In a way, General Ivolgin’s dramatic goodbye note and decision to lock himself up recall Ippolit’s suicide speech and Aglaya’s memories of her fantasies of poisoning herself. Each of these characters melodramatically chooses to remove themselves from the lives of others rather than face responsibility for their actions and attempt to make amends.
Active
Themes
Following the fight with Ganya, Ivolgin stands on the street, rambling nonsensically at Kolya and crying. Kolya begs that they go home, but Ivolgin goes off in another direction. Ivolgin bends toward Kolya and whispers, though once again his words don’t make any sense. Suddenly Ivolgin goes completely purple, convulses, and falls into Kolya’s arms. Realizing what is happening, Kolya shouts that his father is having a stroke.
This was likely not his actual plan, but General Ivolgin “succeeds” where Ippolit failed: he dramatically hurtles toward death, thereby leaving all those around him forced to cope with his absence and (very likely) feel guilty about not being there for him more when he was alive.
Active
Themes
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