#ippolit

[likealizardyousay]

girls will be like “he’s my poor little meow meow” and it’s literally a Dostoevsky character

[barkyquotty]

I guess

[cassassinate123]

Ippolit Terentyev core

[psychidion]

I agree that I could have become angry then at the dark and blank fate which had decreed that I be squashed like a fly, and, of course without knowing why; but why did I not end just with anger? Why did I actually begin to live, knowing that it was no longer possible for me to begin; why did I try knowing there was no longer anything to try?

- Ippolit from Dostoevsky’s The Idiot

[wretchedvulgarian]

When Ippolit said “I hate you, Gavrila Ardalionovich, solely because- this may seem astonishing to you- solely because you are the type and embodiment, the personification and apex of the most impudent, the most self-satisfied, the most vulgar and vile ordinariness!” I felt that

But actually...Ippolit is how I imagine Ivan Karamazov was like at 18 (cocky, spindly, annoying as any 18 year old is) but with consumption

Also, because I’m a Ganya stan I guess...that was way harsh, Ippolit

[ran-orimoto]

Like, if Ippolit from "The idiot" had the possibility to grow up, he would have become a sort of Raskolnikov. He dreams of weird things, he's an atehist, he's incredibly clever...And fails at suiciding, just like Rodja is a failure at killing someone.

They're both failures at existing, but I love them despite everything XD.

[cassassinate123]

Beginning of Part 4 of "The Idiot"

The Robbery and General Ivolgin:

At the end of Part 3, the revelation of a robbery at the Prince's birthday party, with General Ivolgin as the prime suspect, highlights Ivolgin's growing descent into disgrace. His involvement reflects the chaos and moral decay in the Prince's circle. The fact that this occurs during such a significant occasion—the Prince's birthday—adds a layer of irony, as the event meant to celebrate goodness and innocence is tainted by theft.

Ganya and Varya’s Relationship:

Dostoevsky paints Ganya and his sister Varya as "ordinary" people but in different ways. Varya is the more grounded and pragmatic of the two, content with her role as a supportive figure and aware of her limitations. She acts as the responsible eldest daughter, supporting Ganya and her husband, Ptitsyn, while still remaining critical of Ganya’s ambitions and frustrations. In contrast, Ganya is ambitious and dissatisfied with his "ordinary" status, always seeking to rise above it but doing so without acknowledging his limitations. This difference in their outlooks defines their sibling relationship: Ganya depends on Varya and her husband financially and emotionally, but he is never grateful and is embarrassed by their household circumstances.

This sibling dynamic is particularly interesting because, while Varya helps Ganya, her support is laced with criticism, and Ganya’s ambition often blinds him to how much he relies on her. Ganya’s discontent with his ordinary life and his self-centeredness feed his frustration, making him ungrateful and resentful.

Ippolit Moves in with Ganya:

In Chapter 2, we find out that Ippolit has moved into Ganya’s household, which is surprising since Ganya is not known for his generosity. The situation is even more ironic because it’s not even Ganya’s place—it’s his brother-in-law Ptitsyn’s apartment. Ganya's invitation to Ippolit seems to be driven by a desire to control Ippolit’s actions, particularly his interactions with Aglaya.

Ganya’s jealousy of Ippolit is likely because he suspects Ippolit harbors feelings for Aglaya, and this is something Ganya sees as a threat. There’s a sense of competition between the men over Aglaya’s attention, particularly because Ippolit wanted her to read his suicide note, a personal and intimate act.

Varya’s Relationship with the Epanchins:

Varya is friendly with the Epanchin sisters, but this friendliness is driven by her desire to support Ganya’s relationship with Aglaya. This dynamic reveals how Varya’s actions are often motivated by her brother’s ambitions rather than any personal goals of her own. She acts as a facilitator for Ganya’s aspirations, though she doesn’t necessarily believe in them.

Aglaya and Ganya’s Invitation:

Aglaya’s invitation to Ganya to meet her at the park bench, where she previously asked the Prince to elope with her, is significant. Both Ganya and Varya are thrilled by this invitation, interpreting it as a sign that Aglaya’s engagement with the Prince is NOT progressing very well. The bench itself carries symbolic weight, as it is tied to Aglaya’s earlier, intense emotions toward the Prince.

The timing of Aglaya’s invitation on the day of the arrival of a Moscow princess further heightens the sense of expectation. It suggests that everyone believes an important decision regarding Aglaya and the Prince is imminent.

Shift of Focus from Nastasya to Aglaya:

The narrative seems to shift its focus from Nastasya Filippovna to Aglaya, particularly in terms of who the Prince will marry. There’s a certain irony here, as Nastasya herself claims to be in love with Aglaya. Her statement is clearly not meant literally; it reflects her admiration and perhaps envy of Aglaya’s purity and social standing. More significantly, Nastasya’s refusal to marry Rogozhin until the Prince is married to Aglaya complicates the situation further. Rogozhin, deeply obsessed with Nastasya, now faces another obstacle, as Nastasya ties her fate to that of the Prince and Aglaya.

Everyone is maneuvering for position—whether it’s Ganya striving for social status through Aglaya, Varya supporting her brother’s ambitions while managing her own household, or Ippolit trying to assert his significance in his final days. Meanwhile, the Prince remains at the center of these entangled relationships, a passive figure around whom other characters project their hopes and fears.