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1. Dostoevsky uses Lebezyatnikov as another way to talk about his own opinion on the ideas of such “progressives” (376). His argument against the ideas of progressives is intensified with Lebezyatnikov because his actions don’t seem to be congruent with his stances. Lebezyatnikov’s treatment of Katerina Ivanovna and Sonya do not comply with his ideas of free love and the equality of women. Dostoevsky does not agree with the progressive “‘younger generation’” (378) as he characterizes Lebezyatnikov as belonging to “[a] varied legion of semi-literate half wits”(378). Clearly Dostoevsky is not fond of these people. Progressive ideas can be beneficial when actually acted upon. Perhaps he is not arguing that the ideas themselves are bad but that the people who “vulgarize them” (378) are the reason why these ideas make no actual progress. 2. Surprisingly when he confesses she does not react with fear or judgement but her reaction is strangely compassionate. She “[flings] herself on his neck and [holds] him tightly in her arms” (424) and he is shocked. The mercy that she shows him is God-like. Raskolnikov's exclamation "I killed myself, not the old crone!"(430) reestablishes the concept of death through sin and exemplifies the idea that he feels he has lost his life and his soul through his sin, which is a religious ideal. Sonya answers him saying "Accept suffering and redeem yourself by it." In this scene Sonya becomes, more clearly than before, a Christ-figure for Raskolnikov. He comes to her seeking salvation. Rodya tells her, "That's why I came, because I'm wicked."(428) He comes to her for help and seeking to shift his burden onto her. Jesus came to save sinners, by taking upon himself the burdens of mankind. Her incomprehensible... ... middle of paper ... ...ompletely and genuinely. Raskolnikov ‘s soul is no longer under the weight of his crime and he is finally able to embrace her love and give love in return. 2. “He had to tell her who had killed Lizaveta. He knew the terrible suffering it would be to him and as it were, brushed away the thought of it.” (422) He knows that by confessing he would be admitting to himself that he is not extraordinary and to him dealing with that suffering is much more difficult than the suffering he endures without telling. 3. “On the contrary, you’ll have to answer, gentlemen, for violently obstructing the course of justice”(417) a. It’s not fair because even though Sonya is vindicated from Luzhin’s accusations he doesn’t suffer any consequences. If Sonya had been found guilty there would have been a much stronger punishment. However with Luzhin, the matter is just brushed over.
The Punishment Imperative, a book based on the transition from a time when punishment was thought to be necessarily harsh to a time where reform in the prion system is needed, explains the reasons why the grand social experiment of severe punishment did not work. The authors of the book, Todd R. Clear and Natasha A. Frost, strongly argue that the previous mindset of harsh punishment has been replaced due to political shifts, firsthand evidence, and spending issues within the government. Clear and Frost successfully assert their argument throughout the book using quantitative and qualitative information spanning from government policies to the reintegration of previous convicts into society.
...ing to compensate for them. As his guilt is almost done eating him inside and out, Raskolnikov finally admits and with a new love, he points his life in a whole new direction. Svidrigailov’s moral ambiguity seems to play a smaller part in the whole picture than Raskolnikov’s, making a subplot for the story and adding details to make it more exciting.
Raskolnikov is obsessed with his “superman theory”. He is constantly trying to prove that he is part of the 10% of extraordinary people in the world. He wants to become an eminent figure such as Napoleon. At first he believed that the murders he committed would make him part of this elite class. Once he realized that he had made mistakes during the crime he began to question his theory. After much frustration he decided to go to the scene of the crime. This gave him a rush that made him feel invincible. He believed that this would prove if, or if not he was “super”. Once he realized that he wasn’t part of this class, he suffered a mental breakdown. This pushed him to confess his crime to Sonya. She helped him rationalize his crime and admit his guilt. The outcome of this conversation was that it helped him admit his fate.
While researching texts written about the patterns of crime and punishment in the nineteenth century, I found authors who published books, scholarly articles, and other useful information. These articles were rather heterogeneous; from talking about punishment for pregnancy out of wedlock, to crime rates growing from Irish immigrants in England, and the differentiation in crime of the genders. However, while these authors discuss crime and punishment, they discuss them in multiplicities, there is no certain rate or discussion of what crimes were often performed. My general goal in this paper is to bring to light the certain crimes and the punishments for these crimes in the Victorian Era. I aspire to efficiently explain the originality of the crime in the period of the nineteenth century.
From the moment when Raskalnikov murders the old woman, his personality begins to change drastically. Dostoevsky challenges the reader to understand the madness which ensues by first demonstrating that the ideas and convictions to which Raskalnikov clung died along with the women. While the reader struggles with this realization, Dostoevsky incorporates the Biblical legend of Lazarus as a symbolic mirror for Raskalnikov's mind. By connecting the two, the reader encounters the foreshadowing of a rebirth of morals and beliefs, though what form this may assume remains cryptic. As references to Lazarus continue to occur, the feeling of parallelism increases in intensity. Just as Raskalnikov slowly struggled through madness, Lazarus lay dying of a terrible disease. When Lazarus eventually dies, Raskalnikov mimes this by teetering on the edge of insanity, the death of the mind. Eventually Sonya begins to pull Raskalnikov back to reality by relieving a portion of his guilt. As his Christ figure, she accomplishes this by providing the moral and spiritual sturdiness which Raskalnikov lost after his debasement during the murders. Sonya affects him not by active manipulation, but via her basic character, just as Christ personified his beliefs through the manner in which he lived his life. No matter what Raskalnikov says or does to her, she accepts it and looks to God to forgive him, just as Jesus does in the Bible. This eventually convinces Raskalnikov that what he did was in fact a crime and that he must repent for it and"seek atonement".
In his last moments of life, Ivan sees light instead of death. His final audible words are “What joy!” despite the pain he feels. This epiphany that he has happens in a single moment and in a sense makes him finally come alive. Thus, right before his final breath Ivan is able to say to himself “Death is finished, it is no more!” Death no longer has a hold on him because the quest of perfection no longer does. Ivan has finally decided, after a lifetime of denying it, to “let the pain be.”
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
Crime and Punishment and Notes from the Underground Fyodor Dostoyevsky's stories are stories of a sort of rebirth. He weaves a tale of severe human suffering and how each character attempts to escape from this misery. In the novel Crime and Punishment, he tells the story of Raskolnikov, a former student who murders an old pawnbroker as an attempt to prove a theory. In Notes from the Underground, we are given a chance to explore Dostoyevsky's opinion of human beings.
1 "Rodya" is a nickname for Raskolnikov. It is a diminutive of Rodion, Raskolnikov's first name.
...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.
wards of the hospitals-- all this with her money! Kill her, take her money, dedicate
Dostoyevsky portrays Luzhin as his most disliked character and makes him a symbol of everything Dostoyevsky hates in human kind – self-importance and extreme insincerity. Luzhin’s ideas are disliked by all, but especially Raskolnikov. Luzhin speaks in a businesslike t...
To escape his feeling of anxiety, Rodya feels he can either confess or commit suicide. He considers both but ultimately, he has a vision of Sonya and decides to confess. While in prison, Rodya reflects upon this choice by saying: “Was there really such a force in this desire to live, and was so difficult to overcome it? Had Svidrigaliov, who was afraid of death not over come it?” (545).
Due to his murder, he had no concern or care for anyone. By killing two women and taking their lives away how could Raskolnikov possess sincere feelings for anyone? Raskolnikov’s lack of care influences how he views his family: “I hate them, I feel a physical hatred for them” (276). Raskolnikov has entirely lost love. If he has deep hatred towards those people most dear to him, then he must greatly lack love. But by Sonia’s actions, Raskolnikov is able to once again feel love. Sonia genuinely loves him. When confessing about the murder, Raskolnikov learns “how great [is] her love for him” (417). He begins to understand how Sonia feels and this realization strikes remorse in him. He becomes upset with himself because “he had made her more miserable” (420). Here Raskolnikov is concerned about Sonia. Earlier Raskolnikov had no feelings for anyone, but now he begins to regret his actions and feels bad about making her cry. Sonia’s deep love for him radiates off of herself and affects Raskolnikov which makes him feel compassion towards her. He begins to understand Sonia’s feelings and intentions even more when he returns for her cross: “ Raskolnikov at that moment felt and knew once for all that Sonia was with him forever and would follow him to the ends of the earth” (521). Raskolnikov recognizes how true and perpetual Sonia’s love and concern for him is and will be. Her love gives him hope for a bright future and thus he starts
At the end of the novel Raskolnikov is sitting in a prison cell in Siberia without family, he only has a former prostitute, Sonia, at his side to keep him company. He has murdered two women because of his poverty, one is a pawnbroker and the other Lizaveta. He went days avoiding the law especially Porfry. Even though his mother, his sister Dounia, and his friend Razmuzin tried to help him through his sickness he still confessed after the daughter of Marmeledov, a former government employee whom he met at a tavern, told him to confess.