“Raskolnikov, Why’d you do it?”
The character Raskolnikov in the novel Crime and Punishment is among one of the most realistic and believable characters I have ever read about. He is also the most confusing and distraught man I have been introduced to this entire year. Raskolnikov possesses the most varying personality imaginable and this makes the reasoning behind his actions a mystery, especially in the case of the murder. Determining the rationale in killing the old pawnbroker is a complex process that necessitates deep thought from the reader. It is also a difficult point to argue because Dostoevsky’s novel is so intensely detailed that different readers can emphasize different aspects of the book in order to attempt to explain Raskolnikov’s deeds.
Guilt as well as intellectual reasoning prove to be the main motivating factors behind the crime of Raskolnikov. Throughout the novel his actions are usually a result of his striking intelligence or his tormenting conscience, or in the situation of the murder, both. Raskolnikov’s idea to kill the old pawnbroker stems from a theory he was developing. It was probable that during his studies at the university he was aquatinted with the popular philosophies of two German thinkers of the time.
One of these philosophers is George Wilhelm Friedrich Hegel, who had formulated a conception of an exceptional individual he called a “superman”. Hegel’s superman exists for good purposes. He stands above and beyond the ordinary man and works for the good of all men. The most controversial part of this superman theory that Raskolnikov obviously adopts is the Machiavellian belief that the end justifies the mean. This means that anything that could have a beneficial outcome for many should be considered regardless of the sacrifice of the few. If the intent is noble the method will be justified. According to Hegel, any damaging part of a community should be removed, and one tiny crime will be wiped clean by the good deeds that occur because of it.
Another prevalent German theorist was Friedrich Wilhelm Nietzsche who had a differing opinion of the superman. His idea was that the superman does not live for benefit of society, but instead for his own personal satisfaction. Nobility never prompts any of his aims. Nietzsche was a devout atheist who believed that either no God exists or that He was dead, so his superman is a man who, without fear of God, exerts his own desires completely.
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.
Raskolnikov commits his initial crime out of arrogance. "The old hag is nothing.... I killed not a human being," he says. (245) Raskolnikov feels that he has justification for killing the pawn broker. He thinks that the woman has no reason to live. He believes that the woman is less than a human, and that he is a superior being. Raskolnikov thinks that he has a right to kill.
In the novel, Crime and Punishment, the principle character, Raskolnikov, has unknowingly published a collection of his thoughts on crime and punishment via an article entitled "On Crime." Porfiry, who is trying to link Raskolnikov to a murder, has uncovered this article, read it, and tells Raskolnikov that he is very interested in learning about his ideas. Porfiry brings Raskolnikov into this conversation primarily to find out more about Raskolnikov's possible involvement in the crime. Raskolnikov decides to take him up on the challenge of discussing his theory, and embarks into a large discussion of his philosophy of man.
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.
...ing to compensate for them. As his guilt is almost done eating him inside and out, Raskolnikov finally admits and with a new love, he points his life in a whole new direction. Svidrigailov’s moral ambiguity seems to play a smaller part in the whole picture than Raskolnikov’s, making a subplot for the story and adding details to make it more exciting.
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.
One of the aspects of Crime and Punishment that stands out is that it is much more than a simple crime story. It is in fact a great study of the mind of a murder. Raskolnikov is a terrifying but sympathetic main character precisely because he is just twisted enough, just ill enough, for the reader to believe anyone is capable of such atrocities. The jumping off point for Raskolnikov is his idea of extraordinary and ordinary people. Looking at his theory and applying it as a tool for analysis of Raskolnikov himself leads not only to a deeper understanding of this idea but also of Raskolnikov. It also explains to some degree how seemingly benign ideas can lead a believer to do unspeakable things.
...al of a man, of his gradual regeneration, of his slow progress from one world into another." Although dearly purchased, Raskolnikov has at last found inner peace.
Torn between his sense of morality and his belief in nihilism, Raskolnikov becomes estranged from society. Nihilism is the rejection of all moral and religious principles and even that life is meaningless. Throughout the novel, Raskolnikov is trying to relieve the tensions between these two extremes. In the beginning, Raskolnikov has hit a low point within his life. He feels helpless because his sister is marrying for money to help his family, he is beyond poverty and cannot even afford to pay rent, and he has no job. Raskolnikov feels at the mercy of the world and completely and utterly helpless. He hates having to rely upon the Pawnbroker for help and even money. When the idea first pops into his head to murder the pawnbroker, it starts to become a potential reality. The ideology of murder is masked behind Raskolnikov’s belief that it would be for the greater good to eliminate the pawnbroker because of her mean spirited nature. Driven mad by the possibility of a choice, which Raskolnikov convinces himself exists because of nihilism. Raskolnikov because of his torn morality goes between extreme submissiveness to over powering those around him. Overall, Raskolnikov decides to commit the murder in an attempt to see if he can transcend his morality. This is what Terras refers to in the context of The Brothers Karamazov, where tensions between Raskolnikov’s façade and his true self are creating an external and internal struggle that causes him to have a
In Fyodor Dostoevsky's Crime and Punishment, the theme of duality and the conflict between personal desires and morals is present throughout much of the novel. There are dual conflicts: one external between a disillusioned individual and his world, and the other internal between an isolated soul and his inner thoughts. It is the internal conflict in the main character, Raskolnikov, that is the focused on for much of the novel. The first of Rodya’s two sides is his intellectual side. This side of rodya is inhumane, and exhibiting extreme self-will and power. This is the side of him that comes up with his theory. The crime was a result of his theory that some people possess extraordinary abilities while others have no ability. It's this intellectual side of him that caused him to conceive and execute his murder. Through the authors use of setting tone, diction, and allusion, the readers get a better understand if what type of character, rodya is.
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.
Raskolnikov’s claim of societal benefit belies his dangerous nihilistic tendencies.
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.
Raskolnikov's article, "On Crime," is vital to the understanding of his beliefs. This article also has a profound effect on Crime and Punishment as a whole, the subject matter being one of the main themes of the novel. The idea of the "extraordinary man" is referred to literally throughout the book, but also notable is the subconscious effect the idea has on Raskolnikov. Sometimes Raskolnikov is not even aware of this influence. It is important to note originality, or the ability to "utter a new word," as a defining characteristic of the extraordinary man. Therefore, we must take into account the presence of similar ideas, those of Pisarev, Nietzsche, and nihilism, as these might bring to light the possibility that Raskolnikov is not original, a possibility that haunts him throughout the novel.
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.