The Importance of Raskolnikov’s Dreams in Crime and Punishment
The function of dreams has been theorized and debated by scientists, but there has yet to be a consensus as to why people dream (Payne and Nadel). Some dream theorists believe that studies on dreaming have not conclusively shown that dreams have any real purpose or significance. On the other end of the spectrum, there are dream experts that find dreaming to be essential to our mental, emotional, and physical health. In Fyodor Dostoevsky's Crime and Punishment, the dreams featured in the novel are essential to the moral growth of the protagonist, Rodion Romanovich Raskolnikov, and to the reader’s understanding of the character. Henry David Thoreau believed that “[d]reams are the touchstones of our character” and our true and naked selves come out in our dreams (313). The protagonist reveals his ‘true and naked self’ in four major dream sequences which take place throughout the novel. The four dreams allow the reader a more intimate look into the character’s unconscious mind which shows a vulnerable side of Raskolnikov that could not have been achieved by narrative alone. In the dream world, the events that unfold are not bound by time or space. The freedom from time and space allows for Dostoevsky to introduce information in combinations that would not have made sense if they were featured in the real world of the novel. A character is able to be resurrected from the dead or transported to the past or future. Dreams also allow for unfiltered content. When a person sleeps their mind is not policed by their conscience; and unpleasant thoughts that a person may successfully repress when they are awake may be able to show up freely in the dream world. In analysing the the...
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...tes of the block” out on the stairwell (120). If his neighbors are prisoners, then the stairwell must be part of the prison. His mind is the stairwell and to him it has become a prison. As the novel progresses, Raskolnikov’s mind continues to be a symbolic prison and he continues to be tormented and made physically ill by his thoughts.
Works Cited
Dostoevsky, Fyodor. Crime and Punishment. Trans. Constance Garnett. New York: Macmillan,
1929. Print. The Modern Readers' Ser.
Payne, Jessica D., and Lynn Nadel. "Sleep, Dreams, and Memory Consolidation: The Role of the Stress Hormone Cortisol." Sleep, Dreams, and Memory Consolidation: The Role of the
Stress Hormone Cortisol. Cold Spring Harbor Laboratory Press, 2004. Web. 30 Apr. 2014.
Thoreau, Henry David. "A Week: Wednesday." A Week on the Concord and Merrimack Rivers.
Boston: James R. Osgood, 1873. 313. Print
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.
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.
Deep down, Raskolnikov’s motives behind his deed amount to something profound in the end, how he rejects his past and learns much from it. Santangelo’s criticism touches on the meaning of Raskolnikov’s motives, but seems incomplete in terms of the impact their resolutions have on the end of the novel and Dostoyevsky’s message. This is where the motives transform into greater meanings. How does Raskolnikov redeem himself at the end? Is there one choice that explains the action? Each of his choices alone and together are gripping because seldomly is a person’s emergence from transgression the product of a single force. All results are intertwined with unfathomable levels of choice that begin subliminally but come down to a conscious decision. Dostoyevsky had the audacity to expose the root complexity of human emotion, then show how it can consciously choose its ending, happy or unhappy. Raskolnikov’s redemption was a public, pragmatic, individual, and ideological
It was both this interesting plot and the philosophical nature of Dostoyevsky's writing, which initially attracted me to this book. It also features many themes and characters, as well as an effective setting. As a result, I will examine the literary techniques used in "Crime and Punishment" by Fyodor Dostoyevsky to convey the downfall and subsequent rise of the main character, Raskolnikov. I will begin by looking at how the setting formed Raskolnikov's character, and then discuss the structure and other characters of the novel. The setting plays a primary role in forming Raskolnikov's character.
Dostoevsky’s Crime and Punishment incorporates the significance of murder into the novel through a multitude of levels. The act of killing is not only used to further the plot point of the novel, but also offers insight to the reader of Raskolnikov’s ideology and psyche. This is portrayed through both his initial logic and reasoning behind the plotting of the crime, as well as through his immediate and long term reactions after killing Alyona Ivanovna. The emotional and physical responses instilled in Raskolnikov after killing Alyona Ivanovna as well as his justification for doing so helps illustrate his utilitarianism by offering accurate insight into the character’s moral values. These reactions also serve to show the instability of Raskolnikov’s character due to his changing emotions from being completely justified as the ubermensch to showing a sense of great regret. By including the act of killing, Dostoevsky further develops Raskolnikov’s character, and provides another level of detail to readers concerning his ideology and beliefs prior to his actions.
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.
Rasch, B., & Born, J. (2008). Reactivation and consolidation of memory during sleep. Current Directions in Psychological Science, 17, 188-192. doi: 10.1111/j.14678721.2008.00572.x
In such poor living conditions, those that the slums of Russia has to offer, the characters in Fyodor Dostoevsky’s Crime and Punishment1 struggle, living day to day. Raskolnikov, the protagonist, experiences multiple layers of suffering (the thought of his murder causes him greater suffering than does his poverty) as does Sonia and Katerina Ivanovna (1). Through these characters as well as Porfiry Petrovitch, Dostoevsky wants the reader to understand that suffering is the cost of happiness and he uses it to ultimately obliterate Raskolnikov’s theory of an ubermensch which allows him to experience infinite love.
Dostoyevsky’s Crime and Punishment explores the themes of guilt and the consequences of committing immoral actions. Of all the deep, thought-provoking concepts put forth in Crime and punishment, the idea that guilt can be an adequate punishment more valid than any punishment executed by society as a whole is the most far reaching and supported by the novel. Crime and Punishment follows Rodian Raskolnikov’s life from just a few days before he commits two brutal murders to when he confesses his crimes and is convicted and sentenced to several years in prison. Initially, Rodian had successfully gotten away with the murder of two people. Raskolnikov’s guilt-driven madness has given him an immunity and even investigators he confesses to think he couldn’t be guilty. As a result, his guilt continues to feed on his conscience to the point where he is constantly miserable. Raskolnikov’s true punishment is the futility of his attempt to escape the guilt of his actions without confessing and feeling adequately punished.
During the mid- to late- 1800s in Russia, a radical phenomenon swept the nation. The idea that life was meaningless and that there was no "mind" or "soul" outside the physical world infected the minds of Russia's elite and Russia's poverty-stricken. This became known as Nihilism. According to Whitney Eggers on "Philosophies in Crime and Punishment," "Nihilists argued that there was a distinction between the weak and the strong, and that in fact the strong had a right to trample over the weak" (Eggers). Nihilism is commonly linked to utilitarianism, or the idea that moral decisions should be based on the rule of the greatest happiness for the largest number of people. Raskolnikov, the protagonist in Crime and Punishment, is a Nihilist, which is his main reason for committing the murders. As a Nihilist, Raskolnikov is a man who "approaches everything from a critical point of view...who does not bow down before any authorities, who does not accept a single principle on faith, no matter how much respect might surround that principle" (Cassedy, 1639).
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.
In his novel Crime and Punishment Fyodor Dostoevsky uses Raskolnikov as a vessel for several different philosophies that were particularly prominent at the time in order to obliquely express his opinions concerning those schools of thought. Raskolnikov begins his journey in Crime and Punishment with a nihilistic worldview and eventually transitions to a more optimistic one strongly resembling Christian existentialism, the philosophy Dostoevsky preferred, although it could be argued that it is not a complete conversion. Nonetheless, by the end of his journey Raskolnikov has undergone a fundamental shift in character. This transformation is due in large part to the influence other characters have on him, particularly Sonia. Raskolnikov’s relationship with Sonia plays a significant role in furthering his character development and shaping the philosophical themes of the novel.
In Dostoyevsky's Crime and Punishment, Raskolnikov's initial crime, failure, and acceptance of mistakes are his road to overcoming his ego, as well as self discovery.
Throughout the book, “Crime and Punishment,” by Fyodor Dostoevsky, we see key words that play major roles in the plot and development of the story. Five words, in particular, act as front-runners in symbolic themes; they are crime, punishment, poverty, suffering, and child. There is no doubt that these words play a major factor in the novel because not only do we see these words often, but also we experience the words as they are lived through by many of the major characters. What some readers might not realize is that Dostoevsky does not let only one of the words dominate a scene in the book; they are intermingled concepts. Where there is one of the five major words of the novel, Dostoevsky usually accompanies it with another. All five of the words are dependent of each other and without one of them, the novel would not demonstrate the story and powerful themes that Dostoevsky was looking to present.
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