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A 6 page essay on Leo Tolstoy's The Death of Ivan Ilyich
A 6 page essay on Leo Tolstoy's The Death of Ivan Ilyich
The theme of alienation in Tolstoy's death of ivan ilych
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In the mid-nineteenth century Western Europe had a firm grasp on Russian society and culture. At that time, Western Europe called for Modernization, which places a heavy emphasis on wealth and social maneuverability often leading to increased Economic Materialism and Egoism. Both Leo Tolstoy, in his work, The Death of Ivan Ilyich and Fyodor Dostoyevsky, in his work, Notes from Underground criticize Modernization and its effects as a danger to society. At the same time, both seem to advocate for moral and intellectual altruism often portrayed through the peasant class and as a byproduct of physical and emotional suffering. The two novels differ in their protagonists. Tolstoy’s protagonist, Ivan Ilyich, learns from his experience and is redeemed whereas Dostoyevsky’s protagonist, the Underground Man, is not. In the end, it is up to the reader to decide which author is more effective in presenting an altruistic hero and conveying the message at hand.
Dostoyevsky criticizes Russian Modernization in his representation of Zverkov. Zverkov is a Russian aristocrat, a representation of the artificiality of Russian society, and a “man of action” that the Underground Man vehemently despises (Dostoyevsky 639). He exists only to increase his own welfare, rushing “toward his goal like an enraged bull with horns lowered” (639). Given the standards set up by the Underground Man in Part I, a “man of action” is fundamentally “stupid,” the direct opposite of the “man of acute consciousness” to whom the Underground Man belongs (639). He can perform any action without being hindered by introspection, but has little to no understanding of the actions he commits. Zverkov displays this trait when boasts about “some magnificent lady whom he’d finally dri...
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...alistic pretenses and replace them with moralistic ones. Similarly, Dostoevsky argues that materialistic and egotistical actions must first be scrutinized before they are promulgated. Ultimately, it is up to the reader to generate change. It is every individual’s duty to promote community through unselfish acts and uphold ethical principles vital for a spiritual life. Hopefully, society is able to follow in Ivan’s footsteps and reach a state of enlightenment for it would be a shame to follow the path of the Underground Man.
Works Cited
Dostoyevsky, Fyodor. "Fyodor Dostoyevsky." Trans. Michael Katz. The Norton Anthology of World Literature. 3rd ed. Vol. E. New York: W. W. Norton &, 2012. 631-708. Print.
Tolstoy, Leo. "Leo Tolstoy." Trans. Louise Maude and Aylmer Maude. The Norton Anthology of World Literature. 3rd ed. Vol. E. New York: Norton, 2012. 735-78. Print.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Hansen, Bruce. “Dostoevsky’s Theodicy.” Provo, Utah: Brigham Young University, 1996. At . accessed 18 November 2001.
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, Leo. The Death of Ivan Ilyich. Trans. Lynn Solotaroff. New York: Bantam Books, 1981.
This man is the absolute opposite of everything society holds to be acceptable. Here is a man, with intelligent insight, lucid perception, who is self-admitted to being sick, depraved, and hateful. A man who at every turn is determined to thwart every chance fate offers him to be happy and content. A man who actively seeks to punish and humiliate himself. Dostoyevsky is showing the reader that man is not governed by values which society holds to be all important.
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.
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.
Dostoyevsky's characters are very similar, as is his stories. He puts a strong stress on the estrangement and isolation his characters feel. His characters are both brilliant and "sick" as mentioned in each novel, poisoned by their intelligence. In Notes from the Underground, the character, who is never given a name, writes his journal from solitude. He is spoiled by his intelligence, giving him a fierce conceit with which he lashes out at the world and justifies the malicious things he does. At the same time, though, he speaks of the doubt he feels at the value of human thought and purpose and later, of human life. He believes that intelligence, to be constantly questioning and "faithless(ly) drifting" between ideas, is a curse. To be damned to see everything, clearly as a window (and that includes things that aren't meant to be seen, such as the corruption in the world) or constantly seeking the meaning of things elusive. Dostoyevsky thought that humans are evil, destructive and irrational.
In Dostoevsky's Notes from Underground, the Underground Man proposes a radically different conception of free action from that of Kant. While Kant thinks that an agent is not acting freely unless he acts for some reason, the Underground Man seems to take the opposite stance: the only way to be truly autonomous is to reject this notion of freedom, and to affirm one's right to act for no reason. I will argue that the Underground Man's notion of freedom builds on Kant's, in that it requires self-consciousness in decision-making. But he breaks from Kant when he makes the claim that acting for a reason is not enough, and only provides an illusion of freedom. When faced with the two options of deceiving himself about his freedom (like most men) or submitting to ìthe wall,î (a form of determinism), the Underground Man chooses an unlikely third option - a 'retort'. I will conclude this paper by questioning whether this 'retort' succeeds at escaping the system of nature he desperately seeks to avoid.
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 ...
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...
Tolstoy, Leo, and Charles E. Moore. Leo Tolstoy: spiritual writings. Maryknoll, N.Y.: Orbis Books, 2006. Print.
According to Raskolnikov’s theory in Fyodor Dostoevsky’s “Crime and Punishment”,there are two types of people that coexist in the world; the “Extraordinary” and the “Ordinary”. The ordinary men can be defined as “Men that have to live in submission, have no right to transgress the law, because they are ordinary.”(248). To the contrary “extraordinary” men are “Men that have a right to commit any crime and to transgress the law in any way , just because they are extraordinary”(248). Dostoevsky’s theory is evident through the characters of his novel. The main character, Raskolnikov, uses his theory of extraordinary men to justify contemplated murder. There is a sense of empowerment his character experiences with the ability to step over social boundaries. He is led to believe the killing of the pawnbroker is done for the perseverance of the greater good. It is ironic that character who is shown to be powerful in the early stages of the novel subsequently go on to show many weaknesses.
Tolstoy, Leo. “The Devil”. The Death of Ivan Ilyich and Other Stories.Trans. Richard Peaver and Larissa Volokhonsky. New York: Alfred A. Knopf, 2009. Print.
A. The Epic of Russian Literature. New York: Oxford University Press, 1950. 309-346. Tolstoy, Leo. "