Prince Myshkin's qualities and Dostoevsky's style

So who's the other great novelist, aside from Dostoevsky, who almost never uses metaphors or similes? How about: Jane Austen. Though the two writers share that stylistic trait, it's actually had to imagine two authors more different in theme, mood, and temperament - Dostoevsky always heated to a fever pitch, with characters who are murderers, philanderers, drunkards, political extremists, terrorists, and tragic heroes - with loud parties that go till dawn at which everyone gets drunk and tears each other apart or spills their emotions and a torrent of confession and abasement. And Austen - a close-knit culture of generally shared mores and decorum, sharply defined social classes and expectations, subtle jealousies and betrayals, the quintessential comedy of manners. Part 3 of Dostoevsky's "The Idiot" builds to a long bacchanal at Prince Myshkin's - it seems everyone invited themselves over to his (rented) dacha to celebrate something or other - at which the dying young nihilist who turned up at Myshkin's demanding that Myshkin relinquish his inheritance has now been won over by Myshkin's saintliness and he embarks on reading, aloud, the long tract he's written explaining everything that's gone wrong in his short and doomed life. Not exactly the highlight of the novel - but we are seeing, through this device, the influence that Myshkin has over others: the women who love him, and even those who approach him with vitriol and hatred. It belabors the obvious to note that Myshkin is a Christlike figure, not only for his suffering on behalf of others, but in his capacity to attract acolytes, a following, converts.