Psychosexual insights from a Russian classic.
“The Battle of the Sexes” is fundamentally important for racial activism, particularly since we have White Knighting activists who expend their political capital on ditzy female airheads.
Now, before someone accuses me of hypocrisy by using “game” analyses here, let me remind you that I’ve always maintained that, as regards sex, “game” is essentially correct in the descriptive sense. By opposition to “game” is prescriptive. In other words, I see the gamesters as correct in their description of women and of the sexual marketplace, but I disagree with their prescriptive suggestions on how men should behave based on these realities.
Thus, we can analyze a few characters of The Brothers Karamazov through the lens of sexual realism.
A “game” evaluation of the major female characters has already been done by someone else, and I see this analysis as sound.
The Wikipedia description of those characters are as follows (emphasis added):
Agrafena Alexandrovna Svetlova (a.k.a. Grushenka, Grusha, Grushka), a beautiful 22-year-old, is the local Jezebel and has an uncanny charm for men. In her youth she was jilted by a Polish officer and subsequently came under the protection of a tyrannical miser. The episode leaves Grushenka with an urge for independence and control of her life. Grushenka inspires complete admiration and lust in both Fyodor and Dmitri Karamazov. Their rivalry for her affection is one of the most damaging factors in their relationship. Grushenka seeks to torment and then deride both Dmitri and Fyodor as a wicked amusement, a way to inflict upon others the pain she has felt at the hands of her “former and indisputable one”. However, after she begins a friendship with Alyosha, and as the book progresses, she begins to tread a path of spiritual redemption through which emerges hidden qualities of gentleness and generosity, though her fiery temper and pride are ever present.
Katerina Ivanovna Verkhovtseva (a.k.a. Katya, Katka, Katenka) is Dmitri’s beautiful fiancée, despite his open forays with Grushenka. Her engagement to Dmitri is chiefly a matter of pride on both their parts, Dmitri having bailed her father out of a debt. Katerina is extremely proud and seeks to act as a noble martyr, suffering as a stark reminder of everyone’s guilt. Because of this, she cannot bring herself to act on her love for Ivan, and constantly creates moral barriers between him and herself. By the end of the novel, she too, begins a real and sincere spiritual redemption, as seen in the epilogue, when she asks Mitya and Grushenka to forgive her.
Thus, typical young women: cruel, capricious unpleasant, arrogant, shit-testing, and we see that Dostoevsky falters in his story-telling when he has both characters show “redemption” toward the end of the book. In reality, both would have continued their behavior until their looks failed, at which time they’d find some beta male to parasitize off of (“marriage”) complete with nagging and general nastiness (“married life”).
Let’s now consider the main male characters, along with their Wikipedia descriptions (emphasis added).
Fyodor Pavlovich Karamazov is the father, a 55-year-old “sponger” and buffoon who sires three sons during his two marriages. He is rumored to have fathered an illegitimate son, Pavel Fyodorovich Smerdyakov, whom he employs as his servant. Fyodor takes no interest in any of his sons, who are, as a result, raised apart from each other and their father. The relationship between Fyodor and his adult sons drives much of the plot in the novel.
Dmitri Fyodorovich Karamazov (a.k.a. Mitya, Mitka, Mitenka, Mitri) is Fyodor Karamazov’s eldest son and the only offspring of his first marriage, with Adelaida Ivanovna Miusov. Dmitri is considered to be a sensualist, much like his father, spending large amounts of money on nights filled with champagne, women, and whatever entertainment and stimulation money can buy. Dmitri is brought into contact with his family when he finds himself in need of his inheritance, which he believes is being withheld by his father. He was engaged to be married to Katerina Ivanovna, but breaks that off after falling in love with Grushenka. Dmitri’s relationship with his father is the most volatile of the brothers, escalating to violence as he and his father begin fighting over the same woman, Grushenka. While he maintains a good relationship with Ivan, he is closest to his younger brother Alyosha, referring to him as his “cherub”.
Fyodor the father and Dmitri the eldest son, the rivals for the “affections” (sic) of Grushenka, are both complicated characters. Although they both – particularly the father – have some of the “dark triad” traits so believed by the gamesters, ultimately both men are hardcore Betas – pussy pedestalizing obsessives, with infinite fucks given (IFG) – contrary to the assumed zero fucks given (ZFG) attitude of the Alpha – with a case (particularly for Dmitri) of “oneitis.” Thus, both men are easy prey for the malevolent Grushenka, playing with them in the same manner that a spiteful (female) cat would torment a mouse. Thus: Fyodor and Dmitri: Beta Males. They are both classic Roissyite Gamesters as well: IFG pussy pedestalizers, making their entire lives revolving around women.
Ivan Fyodorovich Karamazov (a.k.a. Vanya, Vanka, Vanechka) is the 24-year-old middle son and first from Fyodor’s second marriage to Sofia Ivanovna. He is disturbed especially by the apparently senseless suffering in the world. He says to Alyosha in the chapter “Rebellion” (Bk. 5, Ch. 4), “It’s not God that I don’t accept, Alyosha, only I most respectfully return him the ticket.” From an early age, Ivan is sullen and isolated. His father tells Alyosha that he fears Ivan more than Dmitri. Some of the most memorable and acclaimed passages of the novel involve Ivan, including the chapter “Rebellion”, his “poem” “The Grand Inquisitor” immediately following, and his nightmare of the devil (Bk. 11, Ch. 9). Ivan’s relationship with his father and brothers are rather superficial in the beginning. He is almost repulsed by his father, and had no positive affection towards Dmitri. While he doesn’t dislike Alexei, he didn’t have any deep affection for him either. But towards the end of the novel, his relationship with his siblings gets more complicated. Ivan falls in love with Katerina Ivanovna, who was Dmitri’s betrothed. But she doesn’t start to return his feelings until the end.
Ivan – rebellious, intellectually dissident, cold – is closest to being an alpha in the book, but his “oneitis” for Katerina Ivanovna and his “brain fever” – a sign of weakness – classify him as a Beta, a high Beta, but a Beta nevertheless.
Alexei Fyodorovich Karamazov (a.k.a. Alyosha, Alyoshka, Alyoshenka, Alyoshechka, Alexeichik, Lyosha, Lyoshenka) at age 20 is the youngest of the Karamazov brothers, the youngest child by Karamazov’s second wife and thus Ivan’s full brother. The narrator identifies him as the hero of the novel in the opening chapter, as does the author in the preface. He is described as immensely likable. At the outset of the events, Alyosha is a novice in the local Russian Orthodox monastery. His faith is in contrast to his brother Ivan’s atheism. His Elder, Father Zosima, sends him into the world, where he becomes involved in the sordid details of his family. In a secondary plotline, Alyosha befriends a group of school boys, whose fate adds a hopeful message to the conclusion of the novel.
With respect to being an Orthodox novice, and his spending more time with young boys (maybe he should have become a Roman Catholic priest?) than young women, Alexei is MGTOW. However, when he does interact with women, he typically does so in a bashful, clumsy, hand-twisting manner. Hence, Alyosha = Beta.
Pavel Fyodorovich Smerdyakov, widely rumored to be the illegitimate son of Fyodor Karamazov, is the son of “Reeking Lizaveta”, a mute woman of the street who died in childbirth. His name, Smerdyakov, means “son of the ‘reeking one'”. He was brought up by Fyodor Karamazov’s trusted servant Grigory Vasilievich Kutuzov and his wife Marfa. Smerdyakov grows up in the Karamazov house as a servant, working as Fyodor’s lackey and cook. He is morose and sullen, and, like Dostoyevsky, suffers from epilepsy. The narrator notes that as a child, Smerdyakov collected stray cats to hang and bury them. Generally aloof, Smerdyakov admires Ivan and shares his atheism.
Pavel is a MGTOW Omega male. At his best, he’s a low Beta.
Father Zosima, the Elder Father Zosima is an Elder and spiritual advisor (starets) in the town monastery and Alyosha’s teacher. He is something of a celebrity among the townspeople for his reputed prophetic and healing abilities. His popularity inspires both admiration and jealousy amidst his fellow monks. Zosima provides a refutation to Ivan’s atheistic arguments and helps to explain Alyosha’s character. Zosima’s teachings shape the way Alyosha deals with the young boys he meets in the Ilyusha storyline.
The character of Father Zosima was to some extent inspired by that of Saint Tikhon of Zadonsk.
Father Zosima as an Elder monk is obviously MGTOW. Before entering the monastery, as a young man, he was somewhat similar to Ivan Karamazov, a high Beta with some Alpha traits. More importantly, the “all responsible for one another” philosophy of Father Zosima, as well as the outlook of Alyosha (the author-proclaimed “hero” of the novel), is that if Dostoevsky himself. This is a form of Russian (The Third Rome) messianic Christianity, reflecting the aspects of the Russian soul discussed by Spengler in The Decline of the West. Thus, Father Zosima asserts a form of collectivist Brotherhood, mutual care and love horizontally across society, in a leveling egalitarian manner, independent of social rank – the expansive horizon, the horizontal plane, as discussed by Spengler. While this is not our Nietzschean “cup of tea” so to speak, it does reflect a type of “will to power” = the idea of the inevitable victory of this worldview, the memetic conquest of humanity (Russian Bolshevism – a secularized version of Father Zosima’s philosophy?).
Ilyusha, Ilyushechka, or simply Ilusha in some translations, is one of the local schoolboys, and the central figure of a crucial subplot in the novel. His father, Captain Snegiryov, is an impoverished officer who is insulted by Dmitri after Fyodor Karamazov hires him to threaten the latter over his debts, and the Snegiryov family is brought to shame as a result. The reader is led to believe that it is partly because of this that Ilyusha falls ill, possibly to illustrate the theme that even minor actions can touch heavily on the lives of others, and that we are “all responsible for one another”.
If this child did not die and became a man, he’d most likely be a Beta or an Omega.
In summary, the Karamazovs were a bunch of Beta males who were manipulated, and ruined, by horrific nasty females. The only Karamazov who ended the story not badly ruined was Alyosha, not coincidentally the MGTOW Karamazov. There’s a lesson there, I think.
Consider that young men typically have very strong sex drives. Then further consider that increasing numbers of young heterosexual men are going MGTOW. How terrible must today’s young women be to trigger such a reaction, to make men go against their most powerful biological drives. This is something that women would do well to reflect upon.
Men in the “movement” themselves should reflect upon The Nature of Woman, and not waste their time and energy, and expend their political capital, defending what is not worth defending. Although none of the male characters in The Brothers Karamazov are admirable from my perspective, some are worse than others. Let’s not have “movement leaders” channeling Fyodor and Dmitri (hopefully, no Pavels are among us), turning themselves inside out for sly, malicious females.