Ivan Fyodorovich Karamazov A Diabolical Hero Fyodor Mikhailovich Dostoyevsky is considered by many to be the pinnacle in a great line of Russian authors who wrote in the 19th century. Gogol, Tolstoy, Lermontov, Pushkin, Chekhov: these writers, like many greats the world round, concerned themselves not only with their art, but with its affect on their society; Gogol, for example, is said to have gone insane while working on his masterpiece, Dead Souls, obsessing himself with the idea that he could bring about the resurrection of his country through his tale. Eventually becoming disillusioned with the task he had set himself, Gogol burnt much of the manuscript and renounced all his worldly possessions, going on to lead an ascetic life …show more content…
Recall, for example, the scene at the monastery when Elder Zosima sees right to the core of his self-torment: "Do you really hold such a conviction regarding the consequences of the decline of men's faith in the immortality of their souls?" the elder suddenly inquired of Ivan Fyodorovich. "Yes, that was what I said in my article. Without immortality there can be no virtue." "Blessèd must you be, if thus you do believe-either that or thoroughly unhappy." "Why unhappy?" Ivan Fyodorovich smiled. "Because in all probability you yourself believe neither in the immortality of your soul nor even the things you wrote about the Church and the ecclesiastical question." "You may well be correct ... Though actually I spoke not entirely in jest, either ..." Ivan Fyodorovich suddenly confessed in a strange manner, at the same time rapidly blushing. "Truly said-you spoke not entirely in jest. That idea has not been resolved within your heart and is tormenting it. But even a martyr sometimes likes to keep himself …show more content…
Yet, even by the end of the novel, Ivan's internal conflict is not resolved. When we see him last it is with 'acute fever and unconscious'(871). We cannot help but have pity for someone whose depths of conscience drove him to insanity and perhaps even to his death-bed. Indeed, it is these very ideas that lead me to assert that the critics whom I mentioned at the beginning of this essay were wrong: our sympathy for the character of Ivan Fyodorovich Karamazov does not make Dostoyevsky's great work a 'diabolodicy', but rather supports its intended role as a theodicy. In identifying with Ivan so strongly we are led through the 'crucible of doubt' along with him and, while he apparently succumbs to his intellectual pride, we see this and are pushed in the direction of accepting God, or, at the very least, His necessity. Of course, it could be argued that this 'acceptance' only stands in the context of the novel-that is, the events in the novel are structured so as to make all non-believers come to bad ends and thus make it seem as though any path other than that of Zosima and Alyosha is the
Mankind is plagued by pride. Humans constantly compare themselves to one another and adjust their pride according to their observation of themselves in the world around them. Those who believe in an afterlife often incorporate their view of themselves and their morality into their perception of how they will be judged in the afterlife. Fyodor Dostoevsky and Flannery O’Connor, as writers and believers in the Christian religion, portray two characters that envision how they will be judged on judgment day. In “Dostoevskian Vision in Flannery O’Connor’s ‘Revelation,’” Norman McMillan effectively argues that O’Connor’s “Revelation” and the chapter about Marmeladov’s vision in Dostoevsky’s Crime and Punishment share striking similarities in their themes and the experiences of their characters.
Leo Tolstoy may have not been always agreeable in the eyes of others, but even enlightened, wholesome characters who challenged the static injustice of the world were either met with resentment or death. Tolstoy had certainly earned the resentment from the radicalism of his religious ideals and his insistence on the reform of Russian hierarchy. While others resented his ideas, others regarded him a brave genius who wrote beautiful works to stand against what is wrong and fight for a world of right.
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
Tolstoy’s The Death of Ivan Ilyich is a reminder that books can provide answers to questions we never asked, but yearned to know. For that reason alone, The Death of Ivan Ilyich should be considered a work of art. However due to the many subtle hints and clues pointing at the underlying Christian nature of the book, it deserves to be added to the list of great modern Christian literature.
...ry Russian Literature. Having such signature literary techniques also makes him either easily loved or hated by audiences. Regardless of whether the reader enjoys Dead Souls, Gogol's digressions create an intended tone, aestheticism, humor, intimate narration, social criticism, and entertainment.
As a result of Dostoevsky’s diligence and commitment to making this effort effective the special things about Russia that are good and dear to the heart were saved. The faith in the common man is surprising and a typical of Dostoevsky.
...’s disbelief in God, indeed justifies Smerdyakov for murdering Fyodor, and when Ivan realizes it, he loses his mind. It is certain that Ivan’s philosophy may represent Dostoevsky’s thoughts and feelings at times but ultimately, his faith in God remains stronger than ever.
Fyodor Dostoevsky’s Crime and Punishment begins with Rodion Romanovich Raskolnikov living in poverty and isolation in St. Petersburg. The reader soon learns that he was, until somewhat recently, a successful student at the local university. His character at that point was not uncommon. However, the environment of the grim and individualistic city eventually encourages Raskolnikov’s undeveloped detachment and sense of superiority to its current state of desperation. This state is worsening when Raskolnikov visits an old pawnbroker to sell a watch. During the visit, the reader slowly realizes that Raskolnikov plans to murder the woman with his superiority as a justification. After the Raskolnikov commits the murder, the novel deeply explores his psychology, yet it also touches on countless other topics including nihilism, the idea of a “superman,” and the value of human life. In this way, the greatness of Crime and Punishment comes not just from its examination of the main topic of the psychology of isolation and murder, but the variety topics which naturally arise in the discussion.
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.
Friedrich Nietzsche once said, “Dostoevsky, the only one who has taught me anything about psychology.” The two writers share many similarities and differences. Dostoevsky clearly had an effect on the thinking of Nietzsche. The two would be considered both philosophers and psychologists. Both writers became prominent in the late 19th century in Germany and Russia respectively. Dostoevsky was noted for his Russian literary classics and would be responsible for a flowering of late 19th century Russian literary culture. His Russian contemporaries include Leo Tostoy and Anton Chekov. Dostoevsky’s most famous works include The Brothers Karamozov, The Idiot, and Crime and Punishment. Nietzsche is most famous for his philosophical works such as thus spoke Zarathustra. The two writers have many similarities in their philosophy. They both see a changing role in religion. Nietzsche and Dostoevsky also differ sharply on some other aspects of life. One of these being the differing views on the role of the fatherland. Nietzsche’s beyond good and evil and Dostoevsky’s crime and punishment are two works that can be compared and contrasted to show the similarities and dissimilarities of the two geniuses. The two men offer great insights in these books on morality and the affect it can have on the actions of the individual and the society as a whole.
The moral side of Raskolnikov's mind requires absolution in a Christian manner. This need obliviates his claim to be a Nietzchean superman, and illustrates that all humans have a desire for morality. Throughout the book, he constantly desires to confess, even when visiting the police station. "I'll go in, fall on my knees, and confess everything" (p.84), he thought; later, he considered if it was "better to cast off the burd...
The Russian novelist, Fyodor Dostoevsky, explores the psychology of humanity and freedom through “The Brothers Karamazov”, found in his short story “The Grand Inquisitor”. Dostoevsky’s “The Grand Inquisitor” is perhaps one of his greatest works ever known in modern literature because Dostoevsky’s philosophy is aimed towards free will, religion and human nature. For decades, many have criticized the short story because Dostoevsky gives a profound understanding of the confrontation between Jesus and the Grand Inquisitor. Also, the story ends in ambiguity, leaving the readers with wonder and confusion. Critics have argued over Dostoevsky's religious and political thoughts on contemporary society.
Russian author Fyodor Dostoevsky was among those philosophical thinkers who grappled with the task of explaining why evil exists in a world created by a perfect god. Despite the powerful influence of Christianity in his early childhood and throughout his life, Dostoevsky encountered difficulties in answering this question, which he described, “Nature, the soul, God, love – all this is understood by the heart, not by the mind” (Gibson 1973, 9). Nevertheless, Dostoevsky not only felt obligated to discover a solution to the problem, but also “responsible to his fellow believers for its success or failure” (Gibson 1973, 169). This quest for a solution to the problem of theodicy ultimately led Dostoevsky to write The Brothers Karamazov, a novel that attempts to explain the need for evil in the world. In posing his solution to this problem, Dostoevsky explains the necessity of suffering for the realization of human redemption, as well as the role of Christ’s atoneme...
...l […] his passing from one world into another” (542). Without Raskolnikov’s relationship with Sonia it would have been impossible for him to become this new man, to convert to Christian existentialism and find happiness and meaning in life.
In Notes from Underground, Dostoyevsky relates the viewpoints and doings of a very peculiar man. The man is peculiar because of his lack of self-respect, his sadistic and masochistic tendencies, and his horrible delight in inflicting emotional pain on himself and others. Almost instantly the reader is forced to hate this man. He has no redeeming values, all of his insights into human nature are ghastly, and once he begins the narrative of his life, the reader begins to actively hate and pity him.