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Character and their personality according to the setting in crime and punishment
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Dostoevsky's 1865 novel Crime and Punishment is the story of an expelled university student's murder of an old pawnbroker and her sister. The idealistic ex-student, Raskolnikov, is ultimately unable to live up to his own nihilistic theory of what makes a "Great Man" and, overcome by fits of morality, betrays himself to the police. Exiled to Siberia, suffering redeems the unfortunate young dreamer. Crime and Punishment is similar in many ways to Balzac's Pere Goriot, especially in respect to questions of morality. In Balzac, the master-criminal Vautrin lives by an amoral code similar to Raskolnikov's theory of Great Men--unrestrained by conscience, Vautrin holds that laws are for the weak, and those clever enough to realize this may overstep any boundaries they wish and dominate the rest of mankind. But where Balzac's characters act on this idea without repercussion, Raskolnikov makes a transgression and then begins immediately to question it. The result is a psychological inner battle between rationality and sentimental moralism which is as much a contest between Empiricism and Romanticism as it is a contest between good and evil, or God and the Devil.
The arena for this ideological contest is Petersburg, full of slums, revolutionary students and petty titular councilors. Scientifically and artificially constructed in the midst of marshland, the city itself is a symbol of the incompatibility of logical planning with humankind's natural sensibilities. The city did not grow randomly or organically, but entirely by czarist decree. Nonetheless, it is a dank and depressing place to live, at least for those in the vicinity of Haymarket Square, where the story takes place. Joseph Frank, Dostoevsky's biographer, says of ...
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...where it is spent. Raskolnikov's tiny apartment is exactly such a "square yard of space," for cramped squalor and psychological tumult aside, life in Raskolnikov's room is worth living.
Bibliography
Dostoevsky, Feodor. Crime and Punishment. Trans. Jessie Coulson. Ed. George Gibian. New York: Norton, 1989.
Frank, Joseph. Dostoevsky: The Miraculous Years, 1865-1871. Princeton: Princeton University Press, 1995.
Balzac, Honore de. Pere Goriot. Trans. Henry Reed. New York: Penguin Books, 1981.
Endnotes
1 "Rodya" is a nickname for Raskolnikov. It is a diminutive of Rodion, Raskolnikov's first name.
2 It is interesting to note that only positive characters are stricken by the squalor of Raskolnikov's room. Characters such as Mr. Luzhin, Svidrigaylov and Porfiry never, to my knowledge, comment on Raskolnikov's room.
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She then moves on to describe each of the characters, and in doing so, their surroundings and how they fit in: "He was cold and wet, and the best part of the day had been used up anyway. He wiped his hands on the grass and let the pinto horse take him toward home. There was little enough comfort there. The house crouched dumb and blind on the high bench in the rain. Jack's horse stood droop-necked and dismal inside the strand of rope fence, but there wasn't any smoke coming from the damned stove (28)."
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.
To begin, it is generally difficult to pinpoint a consensus date for the commencement of a martial arts tradition in Japan because the learning of these arts was mostly done orally and through practice. It is by and large agreed upon that all of the Oriental martial arts have their roots in China, from the founder of Zen Buddhism, the Indian monk Bodhidarma (Daruma for the Japanese), in the 6th century. The principles of Zen Buddhism would later be reflected in most of the ph...
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.
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.
"One day he caught a fish, a beautiful big big fish, and the man in the hotel boiled it for their dinner" (p.191). Little did Mrs. Malins know that those words issued from her feeble old lips so poignantly described the insensibility of the characters in James Joyce's The Dead toward their barren lives. The people portrayed in this novelette represented a wealthy Irish class in the early twentieth century, gathered at the house of the Morkan sisters for an annual tradition of feast and dance. Although all of the personages had, at one point, a potential for a beautiful life, sad memories of the past and the despair that invaded Ireland had eventually boiled all true senses and desires into a dull stew, destined to rot. Of particular interest is Gabriel Conroy, whom Joyce singularly bestowed a gift of introspection, though that did not save him from becoming yet another of the living dead.
In order to gain value from reading about the main crime in Crime in Punishment, it must be understood that Raskolnikov committed his act of violence completely intentionally. He was not a victim of force from another person, he did not kill on accident, and was not put into a situation where he would die if he did not commit murder. Raskolnikov willfully and methodically planned the death of Alyona. Because the death of Alyona Ivanovna was completely based off of Raskolnikov’s judgment, his reactions afterward provide the reader with an accurate look into the mental psyche and beliefs of his character. Raskolnikov believed the murder was completely justified due to the torm...
Dostoevsky does not like all of Raskolnokv though. He hates his aloofness. Dostoevsky cannot stand anti-socialism and believes that people should be together and not dislike “meeting at any time'; with anyone. Constantly Raskolnokov alienates himself from all his friends and family to go alone about his way, which ends up getting him into trouble because of his radical thinking, like his theory that some people can transcend the law because of some extraordinary powers. The trouble that Raskolnokov gets into is Fyodor’s way of showing that continually parting yourself from society is unhealthy for a person and that they need other human contact to be complete.
The exact origins of Jujitsu are unclear, as most of its history was passed on in the oral tradition. The few early written references show that its origins date back to Japanese mythology, where it is said that the gods, Kajima and Kadori, used Jujitsu to discipline the lawless and wild inhabitants of the Eastern provinces. Therefore, by definition, the art is nearly 2000 years old, however records do exist which show that the art was being practiced as far back as the 8th Century, over twelve hundred years ago. Jujitsu was formalised and most popular during the Edo period of Japan. This was the era of the Samurai. Jujitsu was the Samurai’s main set of combat techniques, after the sword. Jujitsu was a part of the Samurai’s fighting skills, something he could use when he was unable to use his favourite weapon.
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...
One of the most profound and obvious changes in Raskolnikov’s character can be seen in the newfound appreciation for other people and human relationships he discovers at the end of the novel. When the reader is first introduced to Raskolnikov, Dostoevsky quickly makes it apparent that he has little to no regard for others, writing on the very first page that Raskolnikov was “so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but anyone at all” (1). Indeed, in Raskolnikov’s mind, “to be forced to listen to [the landlady’s] trivial, irrelevant gossip […] and to rack his brains for excuses, to prevaricate, to lie” is the most loathsome thing imaginable (1). His disdain toward other people is so great that the mere thought of interacting with anyone for any length of time repulses him. On some occasions...
Dostoyevsky, Fyodor, Jessie Senior Coulson, and Richard Arthur. Peace. Crime and Punishment. Oxford: Oxford UP, 1998. Print.
In “The Dead,” James Joyce presents the Irish as a people so overwhelmed with times past and people gone that they cannot count themselves among the living. Rather, their preoccupation with the past and lack of faith in the present ensures that they are more dead than they are alive. The story, which takes place at a holiday party, explores the paralyzed condition of the lifeless revelers in relation to the political and cultural stagnation of Ireland. Gabriel Conroy, the story’s main character, differs from his countrymen in that he recognizes the hold that the past has on Irish nationalists and tries to free himself from this living death by shedding his Gaelic roots and embracing Anglican thinking. However, he is not able to escape, and thus Joyce creates a juxtaposition between old and new, dead and alive, and Irish and Anglican within Gabriel. His struggle, as well as the broader struggle within Irish society of accommodating inevitable English influence with traditional Gaelic customs is perpetuated by symbols of snow and shadow, Gabriel’s relationship with his wife, and the epiphany that allows him to rise above it all in a profound and poignant dissertation on Ireland in the time of England.
After inferring from the rationality of Raskolnikov’s hypothesis on illness that the rest of his working theory would too be correct, the reader is led down a path of definite expectations for his/her “extraordinary” narrator. This path would have been one whereby Raskolnikov was able to implement widespread well being as a result of his murders. Furthermore, he would have been able to avoid submission to the common law of the “ordinary” people in order to preserve his greatness.
The early history of judo and that of its founder, Japanese polymath and educator Kano Jigoro (surname first in Japanese) (1860-1938), are inseparable. Kano was born into a well-to-do Japanese family. His grandfather was a self-made man, a sake brewer from Shiga prefecture in central Japan; however, Kano's father was not the eldest son and did not inherit the business, but instead became a Shinto priest and government official, with enough influence for his son to enter the second incoming class of Tokyo Imperial University.