Dostoevsky Figurative Language

Raskolnikov’s brusque affectation eventually yields to his predilection for salvation and redemption. He ultimately comes to the realization that he is not worthy of being “extraordinary” because of the crippling guilt that followed his murder of the pawnbroker. Raskolnikov reflects upon the implications of his crime on his psyche, “I murdered myself, not her! I crushed myself once for all,

Raskolnikov fails to distance himself from his long trains of deep thought, even when in public, showing that it takes more than a change of scenery to break his neurotic tendencies. This is exhibited during Raskolnikov’s initial visit to the old woman’s house, as he goes “down the sidewalk like a drunk man, not noticing the passers-by and running into them, and was in the next street before he came to his senses” (10). Even when in public, Raskolnikov remains so withdrawn from other people that he doesn’t even notice them as he walks by. The word “drunk” is used to describe Raskolnikov implying that he was acting so oddly it was attributed to being inebriated. This seen again after Raskolnikov receives the letter from his mother and leaves his house to clear his head, it is evident however that his mind remains clouded as he “walk[s] without noticing where he was going, whispering and even talking aloud to himself, to the surprise of passers-by” (40). Raskolnikov is behaving even more erratically than before, as now he is walking without a destination in mind. He is now also talking aloud to himself; oblivious to the attention he is drawing, further isolating himself in his own thoughts. This behavior persists all the way to near the end of the novel, after Raskolnikov meets with Svidrigailov. “As usual, once he

    The confusion in Raskolnikov’s soul is best seen when he tries to help a girl in the street who has been raped and left to the whims of whoever may

First, let me introduce you to the main character himself otherwise known as the murderer in this story. Raskolnikov is the main protagonist of the novel, making the story in his point of view. He is very alienated from society due to his

Being the protagonist in Crime and Punishment, Raskolnikov is subject to most ridicule and analysis for his moral ambiguity and outlandish views. After reading about his dreadful murder of Alyona and Lizaveta Ivanovna, many come to the conclusion that Raskolnikov is purely evil. His lack of guilt and belief of justification for his crime surely points readers in this direction. Raskolnikov remains convinced that he is superior and that it was his duty to kill such a worthless person. Although some may view this as evilness, others may perceive it as downright ignorant. His atypical way of thinking doesn’t necessarily make him evil, but that is how some comprehend it. At certain points in the story, we see Raskolnikov not as a deranged man, but instead as a compassionate human being. After the murder, we see him carrying out various charitable acts, perhaps as an attempt to atone for his unforgivable crime. For example, we see some good in him when he gives Sonya’s family twenty rubbles after Marmeladov passes on. We also see this when he attempts to rescue a drunk girl from a man by giving her money for a taxi. As much as Raskolnikov expresses that he was justified in his actions, through his mental and physical illnesses it is apparent that he feels some guilt about it. This guilt makes him seem at least a little bit more human. For these reasons, when all is said and done, it is difficult to determine

A shy and timid seventeen year old girl, Sonia is wary of Raskolnikov when she first meets him. Her tenacious religious faith is a vital part of her character; she is shy and timid, but also truly compassionate and altruistic (especially towards Raskolnikov). In this sense, Raskolnikov is quite different from Sonia; where he is uncaring and ignorant, she is warm-hearted and thoughtful. Sonia helps to bring back the humane aspects of Raskolnikov’s personality. “There, not far from the entrance, stood Sonia, pale and horror-stricken. She looked wildly at him… There was a look of poignant agony, of despair in her face...His lips worked in an ugly, meaningless smile. He stood still a minute, grinned, and went back into the police office” (Dostoevsky 447). At this moment in time, Raskolnikov had gone into the police station to confess his crime, but in a lack of better judgement, he returns back to Sonia without telling about his crime. Had Raskolnikov not been motivated by the repugnant look on Sonia’s face, it is unlikely that he would have gone back into the police station. This is perhaps the prime example of how Sonia brings out the best in Raskolnikov. Sonia’s sympathetic and doting personality is polar to Raskolnikov’s selfish beliefs and his “extraordinary man theory”. However, when all is said and done, Sonia guides Raskolnikov to face the punishment of his wrong doing. Had Raskolnikov not had a tenacious relationship with Sonia, it likely would have taken him a much

Dostoevsky’s believes in existentialism, and the idea that individual freedom is essential to the development of the mind (Copleston 165). He speaks through his characters by presenting them as “continually defeated as a result of their choices” ( “Existentialism”). Though Raskolnikov is allowed to make his own decisions he ended up making the wrong ones. He is forced to face his consequences of the murders he committed. Dostoevsky’s blend of philosophy with the novel allows

In addition to helping Marmeladov and Raskolnikov connection with society, the readers also see the idea of the impact of blood imagery on Raskolnikov contrasting the difference between isolationism and humanity within the book. While Raskolnikov does help Marmeladov to survive and get him to his family, however, I journaled that “this scene with someone’s blood being all over Raskolnikov shows an identical seen to when Raskolnikov kills Alyona and Lizaveta Ivanovna.” Although both scenes end with a tragic death, Dostoevsky uses the similarity of Raskolnikov’s appearance covered with blood to show the differential impact of blood on him and his psychological state. During his murder of the two women, the two women’s blood on Raskolnikov creates a sense of discomfort, guilt, and torment him both mentally and emotionally. Afterwards, fear overwhelms Raskolnikov as well as provokes the disgust of blood and its reminder of his past sins. However, in contrast to the crime, Raskolnikov is seen yet again covered in blood but instead, Marmeladov’s blood causes Raskolnikov to feel a sense of satisfaction from helping Marmeladov as well as a sense of freedom from his guilt. This difference in the reaction of blood reveals how Raskolnikov steps towards society by helping Marmeladov enables him to lessen his suffering and lead a less guilty life. With Raskolnikov’s change of perspective of blood, the readers now see a change in Raskolnikov exhibiting his desire for more of this “pure blood” to redeem him from sin. With this imagery. Dostoevsky once again reaffirms the central message that isolation will result in downfall and that humanity remains as an essential in a person’s

“One death for hundreds of lives-it’s simple arithmetic” (Dostoevsky 65) is the simple logic that constantly runs through Raskolnikov’s head as he makes his hard decisions. In Fyodor Dostoevsky’s Crime and Punishment Raskolnikov is a character who is driven by prejudices and anger. These traits compel him to make rash decisions, which result in lots of self-loathing. This self-loathing and doubt he contains comes from his desire to better himself and show people that he deserves no pity. Raskolnikov’s vain nature causes him to murder both the pawnshop broker and Lizavetta.

From declaring he wanted to become a Napoleon to wishing for financial independence to murdering for his own sake, he rattles off various motives, showing his obsessive rationalization (394-397). By presenting his conflicting intentions, Dostoevsky exhibits the chaos within Raskolnikov’s mind.

Even when Raskolnikov was asleep he received painful messages of others who were suffering, just as he was. In one particular instance, before the double-murder, Raskolnikov is brought back to the poverty he suffered throughout his childhood. He once again feels a great empathy toward the suffered, but this time

(Dostoevsky 49). Even when Raskolnikov’s original instincts lead him toward protecting the young girl from a creepy man, he abandons his conscience and convinces himself to halt his prevention of the forthcoming abuse. These instances exemplify how Raskolnikov's isolation leads him down a path of indecision and selfish behavior. In both circumstances, he observes abuse but does not take complete action toward stopping or fixing the horrific conditions. He either refused to say anything or did not follow through on his plan to help the vulnerable kids. Instead of taking further action to protect the powerless, he chooses to avoid any uncomfortable social interaction and returns to his condition of isolation.

Through Raskolnikov’s exemplification of the impracticality of this principle\, Dostoevsky makes his greatest point in Crime and Punishment. His commentary on the subject seeks to discredit the theory in the circumstance of an individual “superman” by displaying Raskolnikov as a character who is difficult for readers to identify with because of his inanity. Even Raskolnikov’s name is a symbol of nihilistic ideas, the word “raskol” meaning schism in Russian, illustrating the shift from an older school of thought (social utopianism) to a darker philosophy: nihilism and utilitarianism. Raskolnikov seems to fluctuate back and forth between the two philosophies, acting on one and then mentally chastising himself for it, immediately and almost erratically changing his mind. This symbolizes the more human side of him struggling

If I could meet Dostoevsky I would ask him what his inspiration for Crime and Punishment was. Sometimes I wonder if the novel was written to give us insight to how Dostoevsky felt about the world. Maybe he is using the character Raskolnikov to portray a part of him who feels alienated from the world, and is torn apart

In one of the first scenes when we first meet Raskolnikov, he has come across a young girl who is drunk. He sees her and immediately wants to help, so he finds a nearby police officer and tells him they must “keep her out of this scoundrel’s hands,” in reference to Svid, who has previously tried to “approach the girl” with suspicious intentions (44, 42). Raskolnikov seemed to