What appears in Creon's own eyes to be stern control ove... ... middle of paper ... ...ennsylvania State University:USA Oxford Companion to Classical Literature. Oxford: Oxford University Press, 1989. Segal, Charles Paul. "Sophocles' Praise of Man and the Conflicts of the Antigone." In Sophocles: A Collection of Critical Essays, edited by Thomas Woodard.
Punishment the main character, Raskolnikov is stricken with guilt and suffering that eventually lead to his confession and redemption motivated by many forces. Crime and Punishment is the story of a young "intellect", Raskolnikov, who develops a superman theory. In his hypothesis, he felt that certain men were extraordinary and could commit unethical acts without punishment or a guilty conscience. In his case, he wanted to rid the earth of a parasite through the vicious slaying of an old pawnbroker, Alyona, and her sister, Lizaveta, in order to gain money so that he could continue his studies and to see if he was truly extraordinary. Was he truly the Napoleon that he thought he was?
Ed. Howard Haycraft. New York: Simon and Schuster, 1946. 208-221. Sayers, Dorothy L. “The Omnibus of Crime.” Detective Fiction: A Collection of Critical Essays.
The young and impoverished law student is torn between unifying and nihilistic cultures afflicting nineteenth-century tsarist Russia. Through a journey of crime, it becomes clear to Raskolnikov that his ultimate failure was caused by his transgression in murdering cold-heartedly, attempting to prove his self-worth by crossing the law. As Raskolnikov’s guilt overwhelms him and becomes unbearable, his only solace is confession to the crime. Serving his prison term in Siberia, Raskolnikov comes to the realization that reason cannot beat the human conscience. Motive is central to any crime committed.
Tr. Andrew R. MacAndrew. A Signet Classic. NY, 1961.
What is on trial is the age-old debate between nature and nurture, which also lies at the center of Fyodor Dostoevsky's Crime and Punishment. In his dream about the gray nag, Raskolnikov as an unshaped child is innately compassionate; he weeps for horses being cruelly beaten, but already society, in the form of his parents, begins to shape him, to train him, to numb his compassionate feelings for those in pain. His mother draws him away from the window when he sees such a horse pass and his father tells him when the men kill the nag "They're drunk, they're playing pranks, it's none of our business, come along" (59). Already Raskolnikov is being taught to rationalize murder, for all those people who watched and did not interfere are partly to blame as they rationalize that "it's none of our business." Mikolka, the horse's murderer, also rationalizes his role; first, he defines the mare as property, not as life.
Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966. Dodds, E. R. "On Misunderstanding the Oedipus Rex." Twentieth Century Interpretations of Oedipus Rex: A Collection of Critical Essays. Ed. Michael J. O'Brien.
(Ithaca: Cornell University Press, 1988) 248. ix[ix] Speirs and Sandberg, 97. Works Cited Bloom, Harold, ed. Modern Critical Views: Franz Kafka. New York: Chelsea House Publishers, 1986. Boa, Elizabeth.