The poetics of the unconscious in The Idiot and Hegel’s subject of philosophical history

The present paper reads The Idiot in the context of Hegel’s philosophy of history and subjectivity and finds that Dostoevsky’s avowed interest in Hegel led to a substantial absorption of Hegel’s thought in his own aesthetics. Dostoevsky’s educated readers of the 1860s saw the novel as a moral history of the age, represented through an eccentric « new subject» (or the « new people»), embodied in marionette-like characters. The present paper explores this view further and finds that these marionette-like characters function as agents of the unconscious (and pre-empt the aesthetics of the theatre of the Absurd), which is the source of all subjectivity. Expressivity is the defining feature of subjectivity and is represented by means of pathological states – lying and self-destructive tendencies of the characters who display a pathological demeanour. Caprice (will power) is the prime mover of this subjectivity, which, in the context of Hegel’s philosophy of history, is the driver of the historical process and a direct expression of « Geist» or spirit of the people. This spirit comes to expression in different types of Russian national discourses, embodied in the myriad of embedded stories narrated by the characters on stage and off stage, and in stories within stories of episodic characters. These embedded episodic narratives, consisting of verbal pictures (or ekphrases), tell the story of Russia’s historical development from Peter Great’s time to Dostoevsky’s present of the 1860s. This is the story of the demise of the old « estate culture» of traditional Russia, with a « new Russia» emerging into history, which is grounded in an indeterminate subject of history, whose « pochva» (« soil») is the groundless ground of language and an ethics of individual freedom. Both of these elements of subjectivity, which define the « new people», are negativities shaping a new dialectics, which is both form and content of the new self-conscious “world-historical individual” – Hegelian Man - through which spirit (Geist) manifests itself in the “present moment” of Dostoevsky’s Russia.