Raskolnikov Mood

Through this “juxtaposition between life and death it because evident the prominent shift in Raskolnikov stance when it comes to confessing at the crimes he has committed. Dostoevsky used the metaphor of the man on the ledge condemned to death wanting to live despite the consequences as a representation of Raskolnikov’s internal conflict and contemplation of his life if he were to confess. Although to the reader “to live somewhere high up on a cliffside, on a ledge so narrow that there was room only for his two feet--and with the abyss, the ocean, eternal darkness, eternal solitude, eternal storm”(158) feels touchorous and appealing to the reader to Raskolnikov it is much better than living a life filled with guilt. By using the word

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

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.

Crime and Punishment, a Russian novel by Fyodor Dostoyevsky, is an engrossing story about an ex-student, Raskolnikov, who plans a murder against an innocent pawnbroker. Raskolnikov the main character and narrator of the story, is a very poor young man who lives on the top floor of a dilapidated apartment in St. Petersburg. Although his plan to kill the pawnbroker Alyona Ivanovna is obvious early on in Crime and Punishment, his reasoning behind committing the murder is a mystery. Through out the novel, Raskolnikov surfaces many different reasons as to why he killed Alyona, but all the reasons are proven false except for the last one he gives. Raskolnikov’s need for money to support his family, and his

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

Dostoyevsky writes the story from the third person omniscient, providing the reader with the inner thoughts and monologues from all the characters. This style he mastered is likely derived from his roots in prison and Siberia. Long days confined to isolation give him a unique insight as a writer and allow him to so deeply and effectively portray the inner machinations of such an enigmatic mind. For the most part the story is told not through dialogue or interaction between people but through these internal thoughts and their implications. The story told from this cerebral vantage point “reveals the author's mastery of psychological observation and analysis”(Uwasomba). Dostoyevsky uses long unbreaking paragraphs, with little speaking, to really give the reader the sense of understanding the story through the eyes of the Raskolnikov. Using this style helps convey two major aspects for the development of Raskolnikov; it puts the reader in his mindset, giving them the isolated feeling that is with Raskolnikov at almost all times, and it also allows the reader to follow the mental evolution of him as we see him develop into a classic tragic

This ambivalence of meanings and moral principles emerges in particular during the many conversations and confronts that the protagonist has. Wasiolek, for instance, analyses Raskolnikov confession to Sonia and notices how the narrator states that Raskolnikov commits the crime " for himself only," implying that the protagonist feels superior to the social conception of wrong and right, and acts because as a free man he has the power to, even if that means killing two people. Under such prospective Raskolnikov seems "indifferent to the fate of other," but the reader knows that this is no true. As a matter of fact, the protagonist manages to help Marmeladov's family after his death, he refuses his sister engagement to Luzhin for a matter of principle and he helps a young woman

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.

The soviet communist party, or the Bolsheviks, always new that strong propaganda was essential to increase the consciousness of the masses. As stated in the Encyclopedia of Propaganda, " propaganda was central to Marxist-Leninist ideology long before the Bolshevik revolution of 1917."(675) The power of persuasion and coercion were exercised with great force by Soviet leaders. The two leaders whom utilized propaganda to influence public opinion in the USSR were Vladimir Lenin and Joseph Stalin. Both men used many different facets of the media to spread their propaganda. They also used the troubled social climate along with the ignorance of the masses to custom tailor a regime that lasted for over seven decades.

In Crime and Punishment, Fyodor Dostoevsky discusses justice, questioning who or what determines this ideal. Primarily, he focuses on a man named Raskolnikov, who murders two women and then wrestles with his motives. As Raskolnikov’s hopeless outlook drives him to madness, his friend Sonia reveals an alternative view of justice, which allows for redemption. Through analyzing his character’s viewpoints, Dostoevsky never explicitly defines justice; instead, he exposes his audience to different interpretations to form their own conclusions. However, by depicting Raskolnikov spiraling into madness, Dostoevsky guides his reader to reject justice as determined by man in favor of it established by a higher power.

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.

In Fyodor Dostoevsky’s Crime and Punishment, Raskolnikov asserts that “truly great men [...] must feel great sorrow in this world” (Dostoevsky 264), and indeed, many of Crime and Punishment’s primary characters regularly experience such sorrow. From Sonya’s prostitution of herself to support her family financially, to Svidrigailov’s struggle with deep-rooted depravity, each of these characters must confront the consequences of their situations and take drastic measures to escape them. Raskolnikov, however, only worsens his poverty by discarding his money at random, making donations to strangers and burying the very gold and jewelry he murdered the innocent to obtain. According to Maurice Beebe in his essay The Three Motives of Raskolnikov,

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

Dostoyevsky gives the reader no such comfort. The reader wants to see Raskolnikov have some good excuse for killing the old woman, some sense of moral justification of the act so we can turn his accusers into "bad guys" and himself and his friends the "good guys". The reader gets nothing of the sort, Crime and Punishment is no fairy tale. The suspense in Crime and Punishment is caused by Dostoyevsky's superb characters, and the longing for a moral sense of right and wrong.

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