Dostoyevsky's Crime And Punishment

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.

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

Crime and Punishment revolves around Raskolnikov and his amplifying guilt after he murders the pawnbroker, Alyona. From the beginning of the novel his poverty is displayed in his living condition, which is further described by the “yellowish dusty wall-paper peeling off the

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

The room is as shabby as it is small--not a seemingly likely place for posing intellectual questions of great significance. But Dostoevsky is a writer fond of achieving great things with equally great economy. Just as he stretches a two-week period into a hefty novel, Dostoevsky makes a dingy student's apartment more important than a grand palace. Raskolnikov's room becomes a nexus for the story. It is there Raskolnikov cowers, broods and slips into depraved and fitful slumber. Almost all of the major characters in the book pay a visit to the room, and sometimes it even seems as if they are all stuffed into the tiny space at once. Yet the room is more than just a meeting place, more than a central location. It takes on a character of its own, illustrating Raskolnikov's mental turmoil, becoming an image of him to others and perhaps even doing much to induce or at least enforce his degenerate state.

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 protagonist, Rodion Romanovich Raskolnikov, a former student, decides to murder and rob an old pawn broker, Alyona Ivanovna, not due to his desperate need of money, but due to a theory he wants to test. Raskolnikov leaves no evidence which would lead the investigation to him; however, the police lieutenant in charge of the case, Porfiry Petrovich, a meticulous thinker, understands Raskolnikov’s theory and has a big role in influencing the student to confess. Between the murder and the confession, Raskolnikov undergoes a long and painful process of thought. His friend, Razumikhin Prokofych, along with a prostitute and his future significant other, Sonia Semyonovna Marmeladova, are part of the protagonist’s path. In the end, Sonia turns out to be Raskolnikov’s salvation as she helps him find redemption and start living

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

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

As Raskolnikov’s shame takes over him, his mental health gradually deteriorates, despite his previous belief that he held enough intellectual and emotional

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

In Dostoevsky's Crime and Punishment, the murder of the pawnbroker bears little significance when compared to the 'punishment' that Raskolnikov endures. The murder is the direct result of Raskolnikov's Ubermensch theory. Though it takes a while for Raskolnikov to realize the profound mistake in his theory and in his logic, his tedious yet prolific journey eventually leads him to redemption. Suffering, guilt and societal alienation prompt Raskolnikov to reject his Ubermensch theory and ultimately achieve redemption. Through Raskolnikov's character, Dostoevsky reveals that the psychological punishment inflicted by an unethical action is more effective in leading to self-realization than any physical punishment.

Raskolnikov’s meticulous analysis of his attire even before he commits the two murders shows how analytical of his surroundings he is. Raskolnikov is also very analytical of his actions. While out and

Rather than benefitting society, Raskolnikov realizes that he was driven to do crazy things in his attempt to be an extraordinary man. In that realization, Raskolnikov is finally redeemed. This dream and the epilogue itself are very important because they offer final commentary on the extraordinary man theory.