Summary Of Dostoevsky's 'Crime And Punishment'

The vivid descriptions in “The Yellow Wallpaper” help to bring the reader along in the narrators decent into a kind of psychosis. It starts mildly, with her describing the color of wallpaper as “repellant, almost revolting; a smoldering unclean yellow” (Gilman 528). As more time passes she begins to see more things in the paper such as “a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes start at you,” and for it have “so much expression in an inanimate thing” (Gilman 592). As the pattern and descriptions get more twisted, we get visual clues of the madness that is slowly consuming the narrator. The color of the paper even begins to become a physical thing she can smell descried as, “creep[ing] all over the house...sulking...hiding...lying in wait for me…It gets into my hair” (Gilman 534). In the end we get a graphic visual representation of her full psychosis

In Crime and Punishment, Dostoevsky creates a psychological thriller, in which he reimagines his own life through the eyes of Raskolnikov. Whereas the Russian government sentences Dostoevsky to Siberia as punishment for sedition, Siberia serves a means of atonement for Raskolnikov. This type of religious undertone reinforces the novel’s existentialistic messages that emphasizes individual existence, freedom and choice. It holds the view that humans define their own meaning in life, and try to make rational decisions despite existing in an irrational universe. Thus, humans create their own purpose in life and their choices define who they are. Dostoevsky utilizes figurative language, specifically biblical allusions, as a way of conveying and clarifying these themes to the reader. By connecting to Bible, the author universalizes the intention, allowing the reader to apply the text to their own lives, and granting the audience further insight into the novel. Thus, biblical allusions help enrich the themes of Crime and Punishment while also cementing the central message of salvation- anyone, even murderers, have the potential to redeem themselves.

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.

At the end of the first chapter, Raskolnikov goes to a tavern to get a drink after having deep thoughts about possible murder. Then, Marmeladov later comes into the tavern and talks to Raskolnikov about the struggles in his life. Marmeladov's family is very poor, "abusive" wife, and his daughter has a yellow ticket from being a prostitute. Raskolnikov responds to Marmeladov with sympathy and compassion.

The first religious theme that surfaced in Crime and Punishment was as subtle as the colour yellow when Raskolnikov visited the room of Alyona Ivanovna. As seen on page 5 of the novel: “The little room… with yellow paper on the walls.” and “The furniture, all very old and of yellow wood... and two or three halfpenny prints in yellow frames.” Although simple and easily overlooked, this little symbol lays the foundation for the more important religious

As Raskolnikov’s internal struggle becomes evident, Dostoevsky uses Raskolnikov’s disoriented state to illustrate nihilism’s ineffectiveness as a catalyst for social change. Raskolnikov’s radical philosophy is initially used as justification of his murder, a gambit to escape St. Petersburg’s poverty crisis. By labeling the pawnbroker Alyona Ivanovna as a “louse” and being largely apathetic towards any emotional or social repercussions, it is suggested that her death is for the greater good of not only Raskolnikov, but the whole of society; this lack of emotional substance in his logic brands him as a cold-blooded utilitarianist. However, it is a different story after the murder, where even Raskolnikov begins to doubt the legitimacy of his own argument. He realizes that his adrenaline rush prevents him from stealing much of the pawnbroker’s money, and with what he does manage to salvage, it is hidden away, nullifying any constructive benefit he had hoped to provide. Additionally, the murder of the pawnbroker’s innocent sister Lizaveta, whom prior to the even Raskolnikov feels

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.

After the murder, his restless conscience tortures him, leading him into madness. Throughout the novel, Dostoevsky describes Raskolnikov as “delirious” and “fanatical,” likening him to a madman. Stemming from his guilt, this condition, remarked upon by his friend Razumihkin, the doctor Zossimov, the inspector Porfiry Petrovich, and others, consumes him and manifests as a physical disease. By portraying him as diseased, Dostoevsky links his murder with corruption – a corruption so great that it infects both his mind and body.

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.

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

Fyodor Dostoevsky’s Crime and Punishment offers much social commentary. The novel is brimming with architectural imagery, including mentions of stairs and doors. Dostoevsky’s use of architectural imagery seems to comment on the morality of characters in the novel and in extension, the morality that exists within society, as well as the idea of an extraordinary man.

can be interpreted to show the failure of Raskolnikov as an extraordinary man, there is

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.

In the novel “Crime and Punishment”, by Fyodor Dostoevsky, Dostoevsky expresses his disapproval of the Ubermensch theory by using his main character; Raskolnikov who tries to become an extraordinary person but fails to do so. Raskolnikov is put in a group where people maintain the idea that man is not actually equal but are divided into two separate groups which are; the ordinary people who are locked within the laws and tradition of society by only reproducing their own kind, and the extraordinary who believe that people should have the moral right to break laws if their violation is for the greater society.

Fyodor Dostoyevskys Crime and Punishment, an epic tale of suffering and redemption which offers an insightful look at the trials of protagonist Rodion Romanovitch Raskolnikov after his heinous crime and the struggle that, unbknownst to him, leads to his eventual redemption. The ending of the novel is where this moral and spiritual redmption takes place, here in the cold depths of his assigned Syberian prison, is where Rodya is finnaly able to realize the inner turmoil he faced throughout the entirity of the novel is in fact the guilt he harbored for having hurt these significant beings. Though somewhat idelaistic in nature Rodyas experience is nonetheless a reminder of everyones elegibility for redemption.