Dostoevsky 's Crime And Punishment

In the novel “Crime and Punishment”, the author, Fyodor Dostoevsky gives the reader a glimpse into the mind of a tormented criminal, by his guilt of a murder. Dostoevsky’s main focal point of the novel doesn’t lie within the crime nor the punishment but within the self-conflicting battle of a man and his guilty conscience. The author portrays tone by mood manipulation and with the use of descriptive diction to better express his perspective in the story, bringing the reader into the mind of the murderer.

It shall not be, so long as I am alive, it shall not, it shall not! I won’t accept it!” (Part 1. 4.). Raskolnikov begins to alienate himself from his ex-colleague, Razumikhin, although at points it is Razumikhin who supports Raskolnikov the most. It forces Razumikhin to replace Raskolnikov in situations that should have been left to his authority. In a situation where Raskolnikov should have reassured Dounia and Pulcheria of their safety “he waved his hand weakly to Razumikhin to cut short the flow of warm and incoherent consolations he was addressing to his mother and sister” (Part 3. 1). As Raskolnikov began to slowly move away from any form of comfortable socialization and a growing poverty situation, his stubbornness to contain his pride and dignity eventually builds up to the brutal murder of Alyona.

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.

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

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

Guilt makes people go insane. They start to question right from wrong and do not know how to act accordingly. The interest of Raskolnikov’s life is centered around the murders of both Alyona Ivanova and her sister Lizaveta. Dostoevsky writes of Raskolnikov as two-faced, cold and antisocial yet also warm and compassionate. After murdering the two sisters,

In this scene of “Crime and Punishment,” Dostoevsky works hard to make the reader really feel like they are right there with Raskolnikov. We can see what he sees, hear what he hears, and feel what he feels. We see all of his thought and actions. Even though this is told from a 3rd person narrative, it still strongly shows what these characters feel in the dramatic moments.

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

There is a scene in the novel where a student talks to an officer in the restaurant about potentially murdering the old woman. The officer asks the student if he could ever kill her himself. To which the student replies, “Of course not! I was merely discussing the question from the point of view of justice. Personally I’d have nothing to do with it” (page 85). Raskolnikov overhears this conversation and of course the question that was posed by the officer was theoretical, but Raskolnikov is intrigued by it. The students logic matches up with Raskolnikov’s psychology, pushing the idea further into his head that there is justice in killing the old woman. Which further settled his plan, especially after he previously learned that “at exactly seven o’clock the old woman would be entirely alone in the house.” He went home, feeling like “a man sentenced to death...with all his being that he no longer possessed any freedom of reasoning or of will, and that everything was suddenly and irrevocably settled” (page 81).

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.

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

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.

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