Foolishness for Christ appears several times in the novels of Dostoevsky. "The Idiot" explores the ramifications of placing a holy fool (the compassionate and insightful epileptic Prince Myshkin) in a secular world dominated by vanity and desire. According to Joseph Frank "though the gentlemanly and well-educated prince bears no external resemblance to these eccentric figures, he does possess their traditional gift of spiritual insight, which operates instinctively, below any level of conscious awareness or doctrinal commitment." In "Demons", the madwoman Marya Lebyadkina displays many of the attributes of the holy fool, as do the characters of Sofya Marmeladova and Lizaveta in "Crime and
Prince Myshkin the Prince have much in common. It is occasionally evident that Ippolit shares Myshkin's sense of the sacred and the beautiful, and he consciously addresses himself to that sensibility when constructing his atheistic philosophy. Ippolit's interpretation of the book's key religious symbol, Holbein's painting "The Body of the Dead Christ in the Tomb", as something that perfectly illustrates the omnipotence of 'blind nature', is posited precisely because it is Christ who is depicted: 'nature' has "senselessly seized, smashed and devoured, dully and without feeling, a great priceless Being, a Being worth all of nature and its laws, worth the whole