Foil Characters On Raskolnikov In Crime And Punishment

Character foils are important to any story or play as they compare and contrast character traits as the story unfolds. The use of character foils allows the audience to understand a characters way of thought and the actions that they take. Character foils show the moral behaviour and can help the audience see contradictory factors that help advance the plot. Although characters may seem similar, the use of character foils can show their differences. In William Shakespeare’s Hamlet, the use of character foils proves Fortinbras is a stronger political leader over Hamlet, the contrasting view of Laertes as a son in comparison to Hamlet and Horatio being thought of as the better man in contradiction to Hamlet.

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,

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, the main character of the novel Crime and Punishment by Feodor Dostoevsky, actually possesses two completely contradicting personalities. One part of him is intellectual: cold, unfeeling, inhumane, and exhibiting tremendous self-will. It is this side of him that enables him to commit the most terrible crime imaginable - taking another human life. The other part of his personality is warm and compassionate. This side of him  does charitable acts and fights against the evil in his society.

In this quote, Raskolnikov assumes that Sonia does her work in a robotic way, with no feeling, he indicates that prostitution can actually have an impact on the "heart," and by that he really means "soul." A moment later, he suggests that if she were to stay a prostitute, she will either go crazy, kill herself, or start to enjoy it. So basically speaking, if she continues being a prostitute, she will lose her soul. He sees her as the criminal here, even though she doesn't see him as one.

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

Foils in The Crucible In literature, a character’s true personality is revealed through the use of foils. A foil is a minor character that contrasts with a main character and highlights his or her particular characteristics. They are found in movies, television shows, novels, and plays. Foils can reveal both positive and negative traits. Throughout The Crucible, literary foils reveal the true personalities of many characters.

Although the cross was initially supposed to show Raskolnikov's self-sacrifice, it began to show that he started down the path of recognizing the wrongs that he committed. Before he confessed his crime to Sonia he felt isolated from her as well. Since he fell in love with her, it was his biggest pain being cut off from her. When he finally trusted Sonia with the knowledge of his crime, she accepts him because he finally starts his reconciliation. He gathers strength from Sonia's acceptance of him, and that is what pushes him into confessing to society. His compassionate nature is what also pushes his actions once again. Since he felt disconnected from Sonia, his compassion is what pushed him into confining in her his secret to become closer to her. With Raskolnikov gaining spiritual reassessment at the end shows the special significance of Sonia as well through the novel. She gave herself (her love) to bring him back to society, like Jesus, and by doing so he would ultimatly save himself and recognize his sins, as he did. The strength from which Raskolnikov gained from Sonia influenced his reconciliation, reassessment, and stability to which then lead to the major importance of the

In “Romeo and Juliet,” Shakespeare uses foils for characterization. A foil is used to emphasize and clarify qualities of characters. Foils show contrast between characters. For example, Romeo and Mercutio are best friends and foils for each other. Romeo is the son of Lord Montague and Mercutio is the cousin of the Prince. The foil between these two paragraphs is evident when Romeo is depressed and Mercutio is determined to cheer his friend up with his witty humor. More contrast is shown when Romeo is passionately in love with his new found soul mate, Juliet, and Mercutio mocks the concept of romantic love.

“You won’t understand and will only suffer misery… on my account! Well, you are crying and embracing me again. Why do you do it?... And can you love such a mean wretch?” (325). This is when Raskolnikov is beginning to tell Sonia about his murders. He believes that Sonia would leave him and not love him anymore. This is important because it shows Raskolnikov’s guilt.

A foil character contrasts the personalities of another character, which particularly enlightens certain characteristics of the individual. This element portrays these characteristics in an obvious manner, as it benefits the reader or audience. By showing the characteristics of one, it directly heightens the character traits of the other, creating a foil illustration of an individual. Nowhere is this element of literature more prudent than in William Shakespeare’s Romeo and Juliet, as he effectively engages the use of foil characters. In the play, two lovers from opposing, and hateful families fall in love, but the hatred between households lead to their downfall. Characters in the immoral city of Verona are set to represent key themes and

Raskolnikov speaks this quote when he confesses to Sonia. It is significant because it shows he has realized he is not one of the extraordinary men he theorized about. “The devil,” or perhaps foolishness and pride, caused him to murder, and through his guilt he now knows he is not above morality or the law. Raskolnikov also claims that if he were extraordinary, he would not have come to Sonia in anguish. This quote proves he has seen the failure of his own theory.

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

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

Sonia’s personality draws Raskolnikov towards her because she is similar to Christ. She has a desire to save his soul. Sonia wants to help lead Raskolnikov to living a Christ centered life. When he finally surrenders to her, he asks her to read the story of Lazarus. Her belief of the truthfulness of the story is a turning point for Raskolnikov and his path to redemption: “And drawing a painful breath, Sonia reads distinctly and forcibly as though she was making a public confession faith. ‘Yea, Lord: I believe that Thou art the Christ, the son of God Which should come into the world’” (266). While listening to this, Raskolnikov was no doubt in astonishment that despite being a prostitute, Sonia maintains a pure faith in Christ and continues to see the goodness of God. Perhaps the greatest comfort given to Raskolnikov is when, after emphasizing that Lazarus had been dead for four days (it had been four days since Raskolnikov has committed murder) Sonya says this: “‘And he that was dead came forth.’ She read loudly, cold and trembling with ecstasy, as though she were seeing it before her eyes” (267). Her conviction and her faith in the promises of God is certainly crucial for Raskolnikov, as it eventually moved him to repentance. Sonia is relatable to God and Christ in this aspect because they want everyone to seek repentance in order to gain