In world science, a tradition has long been established and has become generally accepted to correlate the image of Ivan Karamazov with a number of large-scale, metaphysically iconic characters in world literature. But in Dostoevsky’s “poetics of memory” a special place was occupied by the artistic and figurative world of the Bible, which becomes for him in creative terms the defining intertext, the “great reminder.” In the book by Victor Lyakhu, the image of Ivan is interpreted as an allusion to the “first angel Dennitsa.” The biblical story about Lucifer, who rebelled against the Creator, became, according to the author of the book, a paradigm for the Russian artist, which he needed in the logic of his own intertextual strategy. With an eye to the meanings of the biblical prototext, Dostoevsky artistically embodied in The Brothers Karamazov the fundamental idea of his era, the idea of rebellious self-will. The culmination of this struggle was, in the end, as the artist himself wrote, “the collision of the two most opposite ideas that could only exist on earth: the man-god met the God-man.”