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Crime and punishment raskolnikov is extraordinary
Characters in Fyodor Dostoyevsky Crime and punishment in Fyodor Dostoyevsky
Crime and punishment raskolnikov is extraordinary
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As Timon would say, “’You got to put your past behind you,’” (The Lion King). These wise words spoken by an animated meerkat also ring true in Fyodor Dostoevsky’s Crime and Punishment, written almost one hundred and thirty years before even the idea of small talking mammals occurred to anyone. Dostoevsky’s novel follows the trials and tribulations of a poor ex-student, Raskolnikov, as he struggles with an internal battle of ethics. Throughout Raskolnikov’s struggle, his interactions with other characters and the characters themselves display different aspects of humanity, including regret and a longing for redemption. All characters have regrets in Dostoevsky’s novel, and most seek redemption or “atonement for [their] faults or defects” (Merriam-Webster Online Dictionary). When people hold onto past faults, they forfeit their chance of redemption.
Svidrigailov, in holding onto his failures with Dunia, forfeits his chance of redemption. His first attempt at seducing Dunia fails when she writes a letter that “reproached him with great heat and indignation for the baseness of his behavior in regard to Marfa Petrovna,” (35). Even after this blatant rejection from Dunia, Svidrigailov insists on vying for her love and continues to fail. His defect is his adulterous lifestyle, and by continuing to vie for Dunia’s love, he cannot see that his ways are adulterous. He therefore loses all chance of atoning for his adultery and forfeits his redemption. Much later in the novel, Svidrigailov confesses that the thought of being with Dunia “‘has haunted [his] dreams,’” and to further prove his ceaseless longing, he speaks endlessly about Dunia to her brother, Raskolnikov. Only a desperate man would hold onto and continue to dream about a woma...
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...g back, they cannot see the dangers that lie ahead of them. As the dim witted but warm hearted warthog Pumbaa says, “You got to put your behind in your past,” and keep your front aimed at the obstacles ahead and just let the places where you tripped remain distant memories.
Works Cited
Dostoevsky, Fyodor. Crime and Punishment. Trans. Constance Garnett. New York: Barnes & Noble Classics, 2007. Print.
Mecchi, Irene, Jonathan Roberts, and Linda Wolverton. "The Lion King (1994) - Memorable Quotes." The Internet Movie Database (IMDb). Web. 26 May 2010. .
“Redeeming – Definition and More from the Free Merriam-Webster Dictionary.” Dictionary and Thesaurus – Merriam-Webster Online. Ed. Merriam-Webster, Incorporated. Merriam-Webster, Incorporated, 2010. Wed. 26 May 2010. ,http://www.merriam-webster.com/dictionary/redeeming>
Dunstan first literally loses a part of himself in the war, when he wakes up six months after falling into a coma to the realization that he has lost his leg. This event played a gigantic role in Dunstan’s loss of self, as it would anybody who loses a limb. He first experiences uneasiness about his injury when he and Diana become lovers, the woman who nursed him back to life after the war, as he compares his “scarred and maimed body with her unblemished beauty” (82). Dunstan has a few sexual encounters after Diana, but they all end with the women leaving quite frustrated and annoyed, as he uses his sense of humour in the bedroom to cover up his feelings of physical inadequacy. “I could not forget my brownish-red nubbin where one leg should have been, and a left side that looked like the crackling of a roast” (117). This feeling of shortcoming is possibly the reason why Dunstan does not give himself completely over to a woman to be loved, or maybe because he does not take women very seriously; not until he meets Liesl, that is. Dunstan initially falls in love with the beautiful Faustina, and is overcome with this boyish and unexplainable obsession for her, until he unexpectedly finds Faustina and Liesl entangled in a passionate and shocking embrace. It was this that began Dunstan’s character development, as he first begins to feel for what he has seen. Liesl confronts him that night, trying to seduce him, and after they fight, and then talk, they make love, as equals. This act reconnects Dunstan with his body, and Liesl becomes the first woman that he ever really experiences intimacy with, as a great cloud lifts from his spirit. “With such a gargoyle! And yet never have I known such deep delight or such an aftermath of healing tenderness!” (231).
Svidrigailov is one of the most unfathomable characters in Crime and Punishment. As the novel goes on, Svidrigailov’s pursuit of Dunya progresses into sheer harassment. After eavesdropping on Raskolnikov’s confession to Sonya, he uses his newly acquired information to lure Dunya into his room. Svidrigailov proceeds to promise help to Raskolnikov if she will give him her hand in marriage. He then threatens to rape her when she tries to run away. Right when Svidrigailov appears to be purely evil, he surprises us all when his rational side kicks in and allows Dunya to leave. Although he may seem to be the cold-hearted villain of the book, his good deeds cannot go unnoticed. It cannot be forgotten that he is willing to give Dunya the three thousand rubbles in his wife’s will and offers ten thousand rubbles to help Dunya because he thinks her marriage will be a disadvantage to her in the end. Once Katerina Ivanonva dies, Svidrigailov also promises to pay for the funeral arrangements and to provide for the children, who will be sent to an orphanage. Although...
Kraeger, Linda, and Joe Barnhart. 1992. Dostoevsky on Evil and Atonement. Lampeter, Dyfed, Wales: The Edwin Mellen Press, Ltd.
In his book Crime and Punishment, Dostoevsky explores the paths of two men, Raskolnikov and Svidrigailov. These two men encompass many similar problems and obstacles throughout their lives. Both commit murders and are faced with the long and mentally excruciating journey of seeking redemption. They also share many characteristics of their personalities. The reason that the outcomes of their lives are so drastically different is due to the fact that they have completely different perspectives on life.
The conflict between good and evil is one of the most common conventional themes in literature. Coping with evil is a fundamental struggle with which all human beings must contend. Sometimes evil comes from within a character, and sometimes other characters are the source of evil; but evil is always something that the characters struggle to overcome. In two Russian novels, Fyodor Dostoevsky’s Crime and Punishment and Mikhail Bulgakov’s The Master and Margarita, men and women cope with their problems differently. Raskolnikov in Crime and Punishment and the Master in The Master and Margarita can not cope and fall apart, whereas Sonya in Crime and Punishment and Margarita in The Master and Margarita, not only cope but pull the men out of their suffering.
“Forgive and forget” is a common phrase in our society. However, one may argue that mistakes are never truly forgotten. The Kite Runner suggests that the best way to resolve your past and make up for your mistakes is through doing good. Through Rahim Khan’s wisdom, the actions of Baba, and the journey of Amir, Khaled Hosseini illustrates that the need for redemption, due to unresolved guilt, can haunt someone throughout their life.
As citizens of Earth, we are required to live by certain rules designated to maintain order through out society, but we know them as laws. With such a complex idea there has to be a companionship by which officials dictate who breaks these rules and how they are punished. Thus the justice system was born. The concept of justice is a byproduct of the system but is just as important. Individuals must know and understand judgment to know whether or not justice is being served. These ideas coincide so profoundly that you need both to make sound decisions. The novels Disgrace by J.M. Coetzee and Crime and Punishment by Fyodor Dostoevsky examine the individual’s responsibility to the justice system and how it affects the group as a whole. Through the fates of Lurie and Raskolnikov, Dostoevsky and Coetzee make self-policing the most important factor in societal justice.
...ontroversial Issues in Crime and Criminology. New York: Dushkin Publishing Group Inc. Schonebaum, Stephen E., ed. 1998. Does Capital Punishment Deter Crime? San Diego: Greenhaven Press Inc.
In Dostoevsky's Crime and Punishment, Raskalnikov undergoes a period of extreme psychological upheaval. By comparing this death and rebirth of Raskalnikov's psyche to the story of the resurrection of Lazarus, Dostoevsky emphasizes not only the gravity of his crimes, but also the importance of acceptance of guilt.
Andre, Claire, and Manuel Velasquez. “Capital Punishment.” Our Duty or Our Doom. 12 May 2010. 30 May 2010 .
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.
Dostoevsky, Feodor. Crime and Punishment. Trans. Jessie Coulson. Ed. George Gibian. New York: Norton, 1989.
Within the tortured mind of a young Russian university student, an epic battle rages between two opposite ideologies - the conservative Christianity characteristic of the time, and a new modernist humanism gaining prevalence in academia. Fyodor Dostoevsky in the novel Crime and Punishment uses this conflict to illustrate why the coldly rational thought that is the ideal of humanism represses our essential emotions and robs us of all that is human. He uses the changes in Raskolnikov's mental state to provide a human example of modernism's effect on man, placing emphasis upon the student's quest for forgiveness and the effect of repressed emotion.
If Kafka thought he had confronted and dealt with his faults, then there was no reason the engagement should not have worked out happily when resumed. But, like K., though he thought he was aware of and owned up to his own faults, he was still convicted for his denial and the engagement was again broken off. The Trial is Kafka’s exploration of the extreme consequences of denying one’s own guilt and thus one’s own humanity. In some senses, it serves as a warning, or a sort of parable of its own, and in others it is simply an expression of anguish. The story serves to warn against thinking so highly of oneself that we only interpret infractions of the outright law as guilt.
Foucault, M. (1995) Discipline and Punishment The Birth of the Prison [online]. 2nd ed. USA: Penguin Books, Ltd. [Accessed 01 January 2014].