Crime And Punishment Similes Analysis

In Crime and Punishment, Dostoevsky creates a psychological thriller, in which he reimagines his own life through the eyes of Raskolnikov. Whereas the Russian government sentences Dostoevsky to Siberia as punishment for sedition, Siberia serves a means of atonement for Raskolnikov. This type of religious undertone reinforces the novel’s existentialistic messages that emphasizes individual existence, freedom and choice. It holds the view that humans define their own meaning in life, and try to make rational decisions despite existing in an irrational universe. Thus, humans create their own purpose in life and their choices define who they are. Dostoevsky utilizes figurative language, specifically biblical allusions, as a way of conveying and clarifying these themes to the reader. By connecting to Bible, the author universalizes the intention, allowing the reader to apply the text to their own lives, and granting the audience further insight into the novel. Thus, biblical allusions help enrich the themes of Crime and Punishment while also cementing the central message of salvation- anyone, even murderers, have the potential to redeem themselves.

Raskolnikov confesses his crime to her, and through a very slow process is on the way to confessing his crime once and for all. Yet, even upon his occurring it is clear that Raskolnikov partially did it as a matter of practicality based on the influence of the case’s investigator, Porphyry. It is only through Sonia’s unflinching love for Raskolnikov that he is eventually transformed to love God and realize that this is the only true

The mood of confusion due to the characters disorientation from his guilty conscious is what manipulates the tone. The mood and tone are also expressed during the state of agitation the character encounters when battling his conscious about committing the murder in the first place. Going back to the point of the characters un-confessed sin which is his main cause of his torture; there comes the moment of truth within the story. In the excerpt, the author says, “There had been little difficulty about his trial. The criminal adhered exactly, firmly, and clearly to his statement… He explained every incident of the murder” (lines 4-6). This is the point in the story where Raskolnikov unleashes the demons in his mind and confesses to his sin. It’s shown here just how brutal the battle with his guilty conscious truly was, by Raskolnikov being pushed to a confession, stating the exact incidents and not missing a single detail, all while showing absolutely no remorse for himself. There is finally a sense of hope that is shown for the main character at the end of the excerpt when the author describes the moment in prison after his confession. When the author says “In prison, how it happened, he did not know. But all at once something seemed to seize him and fling him at her (Sonia’s) feet. He wept and threw his arms round her knees. They were both pale and thin; but those sick pale faces were bright with the dawn of a new future, of a full

Often times in literature, we are presented with quintessential characters that are all placed into the conventional categories of either good or bad. In these pieces, we are usually able to differentiate the characters and discover their true intentions from reading only a few chapters. However, in some remarkable pieces of work, authors create characters that are so realistic and so complex that we are unable to distinguish them as purely good or evil. In the novel Crime and Punishment, Fyodor Dostoevsky develops the morally ambiguous characters of Raskolnikov and Svidrigailov to provide us with an interesting read and to give us a chance to evaluate each character.

The author uses symbolism, entwined with specific language from Raskolnikov’s speech, to reflect the fractured state of mind of Raskolnikov. In the quote thought by Raskolnikov, “So I killed the principle, but I didn’t step over, I stayed on this side...,” the phrase “step over” symbolize Raskolnikov’s morality line internally. By changing the idea of the woman into something abstract like a principle, Raskolnikov is able to justify that the murder was a moral act since he did not murder a person. He also often uses repetition to demand attention on specific topics. In the provided prompt, “… it wasn’t a human being I killed, it was a principle!

	Raskolnikov presents evidence of his true mental state, and that he wants to be exposed before his peers for the good of society, which allows the reader to see him not as evil, but terribly misguided as a tainted product of the world he has been forced in to. First, he forgets to lock the door and is forced to kill another woman who walks in unexpectedly during his crime. Next, with the door still open, he dallies several minutes washing his axe, taking even more time to scrutinize his clothing for traces of blood, all seemingly in the unconscious hope that someone will walk in on him. So

When he first enters his house, his family had “been crying” and had “suffered agonies” waiting, yet it changes to a “cry of rapturous joy” once he appears, immediately displaying the stark contrast between his emotional and affectionate family and him (186). His mother and sister clasp him in their arms, yet a “sudden, unbearable thought” prevents him from even “lifting his arms to embrace them (186).” As his family affectionately cries and hugs him, he is so selfishly concerned with his own past actions, he fails to return even the slightest bit of their caring and endearment. In exact contrast to his family “kiss[ing] him, laughing” and “cry[ing],” “he took a step forward, faltered, and fell to the ground (186).” Raskolnikov obsesses so much about his crime and his guilt, that when he tries to take a step forward and accept his family’s love, he falters and faints, showing after his murder of Alyona, he is completely unable to reunite with the pure joy and love that his family

Crime and Punishment, written by Fyodor Dostoevsky, is the story of Raskolnikov a young man who decides to commit multiple murders. In turn he is eventually found guilty and punished for his actions. Dostoevsky uses the immensity of Raskolnikov’s guilt to show the inevitability of morality.

His goal is clearly to keep the girl away from the other man. His insistent addressing of the officer demonstrates a pure intention of keeping the girl safe. He makes sure to maintain proper communication with the officer and relays intricate observations of the girl’s condition and appearance. This action also shows the evidence of morality in Rodya’s character. However, Dostoevsky purposefully intends to make clear the mercurialness of this character. When he writes, “At that moment something seemed to sting Raskolnikov; in an instant, a complete revulsion of feeling came over him,” he creates a direct parallel comparison within Rodya (52). This direct connotation of a “sting” represents Rodya’s inherent characteristic of volatility. His initial reactions display a moral disposition, then as he watches the officer pursue the man and the girl he cries out, “Let them be! What is it to do with you? Let her go! Let him amuse himself. What is it to do with you?” (52). This is a complete change in mindset from his original reaction. He seems to desert the part of the moral compass he has maintained during this event and converts to second-guessing and questioning himself repeatedly. This transfer of thought directly shows Rodya’s change in mentality from moral to immoral. His further contemplation of women’s role and fate in society also represent his immoral thought process. He

Dreams are the reader’s view into the minds of the characters. According to the Psychoanalytical Theory, dreams show a character’s subconscious desires because in dreams there are no social rules. This is very prominent in the novel,Crime and Punishment, written by Fyodor Dostoyevsky. Throughout this novel the main character Raskolnikov endures numerous nightmares. Raskolnikov’s nightmares give the reader insight into Raskolnikov’s subconscious desires.

As we all know, a storm is a better known as a serious disturbance of any element of nature. In the short story, by Kate Chopin, the use of "The Storm" is attributed to many different things. It is a symbol throughout the story that can have an impact on different views. The aspect of the word creates definition to the subjects of the short story as a whole. Chopin expose her reflecting views on the society during the 19th century by giving readers the understanding of how "The Storm" reflects the role of women, the nature of marriage, and the nature of sexual desire during her time.

After the murder, his restless conscience tortures him, leading him into madness. Throughout the novel, Dostoevsky describes Raskolnikov as “delirious” and “fanatical,” likening him to a madman. Stemming from his guilt, this condition, remarked upon by his friend Razumihkin, the doctor Zossimov, the inspector Porfiry Petrovich, and others, consumes him and manifests as a physical disease. By portraying him as diseased, Dostoevsky links his murder with corruption – a corruption so great that it infects both his mind and body.

The title of Feodor Dostoevsky’s work, Crime and Punishment, leads the mind to think that the book will focus on a great punishment set by enforcers of the law that a criminal will have to endure, but the book does not really focus on any physical repercussions of the crimes of the main character, Rodion Romanovich Raskolnikov.

During this interactive oral, it was pointed out that the dreams in this novel are very influential to a character’s state of mind and actions. We discussed the graphic dream in which Raskolnikov, as a child, watches a mare as it is beaten to death. This dream is interpreted by Raskolnikov as a cue to murder the old woman. The mare seems to be a parallel to the

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.