he wants them, leaves with Rogozhin. Throughout the novel Nastasya Filippovna is torn between these two interlocked but irreconcilable drives, and all three participants in the triangle are tortured as a result. Myshkin is tortured by the clarity of his insight into her suffering. Rogozhin is tortured by her cruelty towards him and disdain for his love, and by jealousy of Myshkin. Nastasya Filippovna is tortured by her inability to accept either her innocence or her guilt, while at the same time ardently believing in both, and she flees from one to the other, from Rogozhin to Myshkin and from Myshkin back to Rogozhin, being driven slowly insane by the impossibility of resolution. According to Joseph Frank: "Facing the insurmountable contradiction of inner purity and her outward disgrace, Nastasya Filippovna as a character is irremediably doomed, and she will function to bring down 'her saviour', the Prince, in her own tragic end." Nastasya Filippovna, Myshkin and Aglaya Early in Part 2 of the novel we learn that the relationship between Nastasya Filippovna and Rogozhin has broken down, and that Rogozhin thinks this has happened because Nastasya Filippovna is really in love with the Prince. Although Rogozhin continues his tortured pursuit of Nastasya Filippovna and maintains an ambivalent friendship with Myshkin, he shows himself to be capable of doing violence to both of them. After this the first triangle recedes somewhat into the background, although it remains as an ominous presence in all the characters' minds. In Parts 2 and 3 the main narrative focus shifts to the second triangle, in which Nastasya Filippovna plays a secondary but essential role in the course taken by the relationship between the Prince and Aglaya Epanchin. Aglaya is fascinated by the Prince's efforts to 'save' the 'fallen woman', misinterpreting it as a heroic and chivalrous deed like that of a medieval knight, a "serious and not comic" Don Quixote, or the Poor Knight in Pushkin's poem who performs acts of valour in the Crusades in the name of his Christian ideal. By thus idealizing Myshkin, she fails to see the depth and sincerity of his compassionate response to Nastasya Filippovna's suffering. Nastasya Filippovna, unable to embrace Myshkin's love or accept herself as pure, in turn idealizes Aglaya as a manifestation of true purity, and desperately tries to bring her and Myshkin together. She seeks, largely successfully, to publicly disgrace an apparent suitor to Aglaya—the