Arkady Ivanovich Svidrigailov Analysis

When Cisneros is making tortillas she feels helpless because she didn’t know how to make them. She makes the reference to spinning straw into gold to make the reader understand how helpless she was feeling. The allusion to Rumpelstiltskin is also a metaphor throughout Cisneros’ story. She compares her experiences with the straw that is spun into gold in the story of Rumpelstiltskin. The mood of this autobiographical essay is ambition. Her experiences show how they inspired her to make them into something great. The theme is that, ordinary experiences can be turned into something great. I think using the story of Rumpelstiltskin is a good analogy because, readers can relate to her since Rumpelstiltskin is a classic story that most people know.

Pages 158 and 159 from Mouse Trap, the sixth chapter of the first Maus book provide a detailed insight as to how Art Spiegelman uses layout, figures and text to tell a story of survival with “absolute sincerity in an unexpected form”. These two pages involve both the framing story of Vladek telling Art his story, and Vladek’s story itself. In these pages, Vladek specifically describes the moment of his capture and his first thoughts upon arriving at Auschwitz. These pages provide detail as to how Vladek is a survivor of the Holocaust, and more specifically, Auschwitz (against the odds), and the pages show Art’s survival of Vladek’s stern personality. Spiegelman uses the graphic novel form (which is the unexpected form) to accurately and honestly

Unsure of whether someone witnessed the heinous murder, Raskolnikov again falls into a spiral of dreams. This time, the old landlady was “being mercilessly beaten” by Ilya Petrovich, the police officer (Dostoevsky 115). Angry about how a policeman, who is supposed to guard humanity, can attack a civilian, Raskolnikov feels disgusted. The dream is a shadow of Raskolnikov carrying out his gruesome murder. It highlights his new-found feeling of guilt. The mental trauma that he now faces constantly haunts him. While Raskolnikov condemns Ilya Petrovich in the dream, he neither admits his wrongdoings nor does he repent for his actions. This cognitive dissonance between his thoughts and behavior show readers that Raskolnikov has lost a sense of self and is swimming in a sea of confusion. His subconscious values caution him about the crime that he is about to undertake but his despite that, he moves forward with his “plan”. When we wakes up, he is feverish and delusional. Nastasya, the maid, exclaims “blood” thinking that the blood in his ears is responsible for his auditory hallucinations. However, in Raskolnikov’s mind, the mere mention of “blood” equates to murder. Unable to eat or drink, Raskolnikov then again falls unconscious, traversing between his conscious and

When Raskolnikov was a student he enjoyed the debate and human contact, but also strived for acceptance. He had a dual nature to himself, which could be characterized by his cold intelligence, which separated him from society, and his compassionate side. After Raskolnikov murdered Alyona and Lizaveta Ivanovna

Between all the other characters in Dostoyevsky’s Crime and Punishment, Raskolnikov and Svidrigailov are the most similar in that Svidrigailov is depicted as Raskolnikov’s baser self and a depraved character. While Raskolnikov is seen to be a more repentant character who is afflicted with guilt after murdering the pawnbroker for his own selfish desires despite telling himself it is for the greater good, Svidrigailov is rumored to have committed several murders and feels nothing for his victims, one of them being his own wife. Throughout the story, Rask is shown as wanting to be like Svidrigailov just as Svidrigailov longs to be like Rask because each one has qualities that the other wants in their life.

Raskolnikov murders an old pawnbroker woman for seemingly no reason at all. His sister and mother move to St. Petersburg following his sister's engagement to a man whom Raskolnikov was extremely displeased. Raskolnikov undergoes severe mental trauma, and falls ill after the

meek and submissive, and would give her father her last copeck even if he comes to her brutally drunk. Raskolnikov is at once attracted to and repulsed by this personality. Svidrigailov is the cold

Keeping this in mind, it comes as no surprise that Raskolnikov would feel utterly abhorred when Svidrigaïlov refers to them as “birds of a feather”(p.340; Part 4, Chapter 1). While Svidrigaïlov is rather keen of their shared similarities, such as their status as murderers, Raskolnikov willingly fails to realize these associations. Raskolnikov’s better side objects to the hedonistic behavior of Svidrigaïlov, decrying him as a man of the most abject nature. The dramatic irony lies in the fact that Raskolnikov desires to be an “extraordinary” man, the very epitome of Svidrigaïlov, a man he holds in no high regard. Despite their superficial variances and dissidences, Raskolnikov had slowly rendered himself into a facsimile of the man he detested, Svidrigaïlov. Although both men, whether knowingly or unknowingly, desire to transcend above the ordinary masses, it is only a matter of time before self-realization indicates the folly of their ways.

He does this physically with money and figuratively with his language. Ivanovna worries about financial problems because of her late husband, and while Raskolnikov tries to give her “a debt to his friend,” the “twenty roubles,” he uses ellipses; synonymous with both his hesitation and uncertainty in this sentence, as well as synonymous with his indecisive nature and trouble controlling even the smallest aspect of his life (179). His murder has been his only decisive action. Later, as he talks with his friend Razumikhin, ellipses still constantly split up his speech up until he tries to abruptly end his conversation with “Good-bye,” “I say Good-bye,” and “give me your hand, Good-bye (186).” Raskolnikov desperately tries to control the conversation, or at least control the end of the conversation, in three ways: purely with language, with language and power in diction, and with a physical connection between them. Razumikhin does not leave. His staying, even after Raskolnikov practically begs, displays the extremely small amount of control Raskolnikov has, even over his

Petersburg. She has a reputation for cheating the poor and for beating her own sister, Lizaveta. Raskolnikov developed a relationship with her during Act I when he pawned a watch to her. During a walk to a local Tavern, Raskolnikov hears Lizaveta mention that she will not be home around seven o’clock with Alyona. “The old woman [Alyona Ivanovna] would be left alone (Dostoyevsky 51).” With this new information, Raskolnikov has had his mind made for him. “He went in [to his apartment] like a man condemned to death (Dostoyevsky 51).” That very night, he visited Alyona with vicious intentions. Raskolnikov invited himself into her apartment, fabricating a story about an item that he wanted to pawn to her. Alyona was focused on the item when Raskolnikov brutally hit her with an axe. “He stepped back, let it [Alyona’s body] fall, and at once bent over her face; she was dead (Dostoyevsky 63).” Raskolnikov killed a defenseless old woman, finally revealing his cruel

Ethin Svoboda was born May 10th, 2000. His parents are Ann and Lee Svoboda. Ethin was the youngest of 4 children at the time of his birth his siblings at this time included Blake, Kaila, and Brooklyn. But in 2008 his family was introduced to twins named Ayana and Anthony. At a very young age Ethin was a very good Basketball player. I asked him why he liked basketball so much and he said: “I like basketball because it makes me feel good.” Ethin is also a very good student. He says his favorite subject is Fitness, “Because of all of the impressive things you can do with weights.” Because of his success in sports and in school his family and him often go on trips across the country. I asked him what his favorite and least favorite

After murdering Alyona and Lizaveta Ivanovna, Raskolnikov is tormented by the vast sense of guilt he feels. His guilt is most notable when it was pointed out by Zossimov who notes that at the mention of the murders alone seems to visibly affect Raskolnikov. He also almost nearly confesses to the crime multiple times, once in Part II: Chapter VI, to a police inspector. He also seems to faint at the mention of the murders, this occurring a multitude of times, once in Part II: Chapter I and again in Part III: Chapter III. Throughout Part II: Chapters I-VI Raskolnikov suffers delirium, weakness, and anxiety. This entire scenario is proving to take a toll on his mental state and physical well being. It also shows that he is not apart of the “superman echelon” mentioned in his article On Crime. It does show how he lacks the mere self control it takes to prevent himself from being caught. He has an ongoing struggle between wanting avoid suspicion and wanting to confess. This internal conflict causes him to act in an unstable manner, sometimes trying to come off as innocent and other

The journey that comes when relocating from one country to another can be a significant challenge for migrants through the idea of belonging.

Therefore Amoia notes that, "as the implications of the deed unfold in his conscience, Raskolnikov attempts to jusitfy his actions as a 'rational' crime" (53). Though he understands that he will be able to escape the physical punishement for the crime, he has yet to comprehend the burden that comes with such an unethical action. Even when Porfiry suggests that the criminal who murdered the pawnbroker may run away but, "psychologically he won't escape" (287), Raskolnikov becomes infuriated and accuses Porfiry of trying to scare him. However, Raskolnikov fails to understand the meaning behind Porfiry's words perhaps because he still chooses not to rely on his conscience and confess to the crime.While the superiority complex sets him apart from the society in the beginning, his piercing conscience distances him from people later on in the novel. He refuses to speak to Razumuikhin or to his family. It only before he goes to jail, that he decides to see his mother. Even when he does so, he is relieved that Dunya is not in the room. He later admits to Dunya that he doesn't, "even remember why [I] even went" to meet his mother. His conscience does not allow him to face his loved ones and eventually, he tries to isolate himself from society. While Raskolnikov tries to alienate himself from his own conscience, he is alienating himself from humanity in general.

Upon discovering the fact that Dounia and Pulcheria would soon move to St. Petersburg, Svidrigailov also sets off for the city, seeing that his wife has just unexpectedly died; this action is seen as a means in which to satisfy instant delight. Despite prior circumstances, Dounia complies to follow Svidrigailov to his room where he proceeds to coerce her. Regardless of Dounia’s adamant refusal “he had never seen her so handsome. The fire glowing in her eyes at the moment she raised the revolver seemed to kindle him and there was a pang of anguish in his heart. He took a step forward and a shot rang out. The bullet grazed his hair and flew into the wall behind him. He stood still and laughed softly” (491). This scene is the epitome of Svidrigailov’s maniacal obsessions and unveils the nature of his intentions.