3. Raskolnikov defines an extraordinary man as a person who can conquer nature, laws of man, and God in his efforts to act as a superman without holding any fears or regrets from his actions. In his fever while explaining his extraordinary man theory to Sonia, Raskolnikov asserts, “that power is given only to him who dares to stoop and seize it. There’s only one thing that matters, just one thing: you have to dare!” (Dostoyevsky 398). In simpler terms, within his maniacal state of mind, Raskolnikov claims that the power is available for the taking in order to obtain control over some aspects of the world. A person that may have the title of an extraordinary man has the right to kill according to Raskolnikov. When telling Sonia about the method he undertakes in murdering the old Woman he stresses that, “I only killed a louse-useless, vile, pernicious” old woman (Dostoyevsky 396). In other words, by having the capabilities of being an extraordinary man, Raskolnikov himself technically has the right to kill or murder whoever he feels is a waste for society. Since Raskolnikov only views the world from his own point-of-view, he will undertake actions which enhance his own well-being or position in society. Therefore, the extraordinary man theory has its basis solely around Raskolnikov’s perception of the world which is dangerous for society.
After Raskolnikov evaluates the defining aspects of an extraordinary man, the more pertinent question is does he fit his own view of the extraordinary man? Since Raskolnikov does not succeed in avoiding his punishment for his murders and fails to achieve all of his goals as an extraordinary man, the truth is that Raskolnikov is not an extraordinary man. Raskolnikov expresses his doubt in his discussion about the extraordinary man theory with Sonia when he says, “don’t you think I knew that if I started cross-examining myself as to whether I had the right to this power or not, the conclusion would follow that I didn’t have the right?” (Dostoyevsky 399). Since Raskolnikov is not in the most stable state of mind when he commits the two murders, he fails to evaluate whether he himself has the rights to bean extraordinary. After his long account of his description of an extraordinary man, Raskolnikov closes his argument with, “there was just one thing I wanted to prove to you: that the Devil led me on, and then he made it clear to me I didn’t have the right, because I’m exactly the same species of louse as all the rest!” (Dostoyevsky 399). Concluding from the confessions that Raskolnikov provides to Sonia, he is indeed not an extraordinary man. Therefore, although Raskolnikov does in fact develop the extraordinary man theory, he admits himself that he does not fit his view of the extraordinary man.
4. The purpose of using Christian allegory in Crime and Punishment is to add to the affect of the social commentary this novel provides to its readers. During the time period in which this Dostoyevsky writes this novel, Russia is experiencing a time of many ideas against the establishment of the Christian religion. Dostoyevsky uses Christianity in this novel to show the path of salvation for millions of sinners. He uses murder as the most extreme example and then shows how even murder can be forgiven the “Creator and Redeemer.” By lacing the plot with allegories, Dostoyevsky almost subliminally sends the message that people can achieve redemption through religion.
One of the most noticeable allegories expresses itself in the form of Raskolnikov. Many similarities can be seen between Jesus and Raskolnikov. Both of them were poor and both of them were educated. Furthermore, both of them endured a great degree of suffering for being who they were. In addition, both of them received redemption through a metaphysical death of identity.
Examples of Christian Allegories:
“And He will say:’Come! I have already forgiven thee once… Once already I forgave thee…They sins which are many are forgiven thee for thou hast loved much…’ And He forgives my Sonia” (Dostoyevsky 21).
“…and do you believe in the goodness of the Creator and Redeemer?” (Dostoyevsky 38).
“Lord, let it be over as quick as possible!” (Dostoyevsky 89).
“Take it, my dear man, for Christ’s joy.” (Dostoyevsky 109).
“I’ll have to play the part of Lazarus…” (Dostoyevsky 237).
“And…and…and… do you believe in the resurrection of Lazarus? ‘I…I believe.’” (Dostoyevsky 237).
5. When researching this question I came across a very interesting flow chart which is pasted below.
"Whip her to death!"
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\/
BEATING
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\/
heavy load --- weak horse, female, old --- no motion
/\
|
WATCHING
/\
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little boy (Raskolnikov): "WHY?"
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| Father: "It's none of our business."
mare => drunk girl (apparent rape victim) = = = = = > Dunya (sister of Raskolnikov)
/\ /\
|| ||
"dirty old man" = = = = = = = = = = = = = => Svidrigailov
mare => Alyona (pawn broker): --a peasant yells "Take an axe to her," p. 54 --Alyona, like mare, takes many blows before succumbing
Alyona is beaten by Raskolnikov, but she is also a beater; she is said to beat her sister Lizaveta regularly. Raskolnikov has also been portrayed as a victim of Alyona. Thus the horse can represent the pawn broker lady. Furthermore, based on the fact that this is the only time Raskolnikov’s father is mentioned, it might be concluded that his father did not play a very important role in his life which can be represented in his immoral actions. Raskolnikov is frightened by his dream which is evident when he wakes “up drenched in sweat. His hair damp with sweat, he was panting…” (Dostoyevsky 57).
6. Dostoyevsky adds the epilogue at the end of the text for numerous reasons. The epilogue provides distinctly different sceneries in comparison to what Dostoyevsky provides in the previous five hundred pages of the novel. Raskolnikov continues to ponder why he ever turns himself in and confesses when suddenly, “He did not understand that this feeling might have been a token of the future break in his life, of his future resurrection, his future new view of life” (Dostoyevsky 516). Therefore, the epilogue highlights that even in the worst of times, one could find hope and resurrection even in the most unlikely situations as in Raskolnikov’s case in his murders and evading punishment throughout the duration of the novel.
By adding the epilogue to the text, it does in fact provide an internal contradiction to what one may expect from reading Crime and Punishment. Prior to the epilogue, the overall impression of the novel is to illustrate the theme that the crimes that a person commits always demands a punishment and that one could not escape punishment whether it is mental, physical, or emotional. The impression of the epilogue exhibits that one could find salvation and resurrection by acknowledging one’s sins and crimes he or she commits. In prison in the barren wasteland of Siberia, Raskolnikov, “looked at his fellow prisoners and was amazed at how they loved life, how much they treasured it! It even struck him that they valued life more in prison than they had when they were at large” (Dostoyevsky 516). This provides an amazing internal contradiction since prison usually has the appearance of punishment and suffering. Instead, in this epilogue, it is a source of relief and happiness.
This section of the novel mirrors the duality within the novel for numerous reasons. The two sides of Raskolnikov appear within the epilogue. His evil side still questions why he does not commit suicide and why he ever confesses. However, his good side emerges especially when he has his religious resurrection. Raskolnikov realizes this when he ponders for awhile and notes, “Can her beliefs not be mine, too? Her feelings and aspirations, at least” (Dostoyevsky 522). Raskolnikov realizes that although he is not the extraordinary man that he aspires to be for the most part throughout the novel, he still can live being the free man with his faith in God.
The future of Sonia and Raskolnikov is not well-defined since the novel ends on a rather vague note. Within the remaining years of Raskolnikov’s life, he would grow to accept the beliefs of Christianity in his heart and redeem his horrible sins when his death occurs.
7. In literature, a foil between characters means that they either undermine each other or support each others persona in one form or another. In Crime and Punishment, the characters Sonia and Dunia are foils of each other in regards to femininity. The purpose of this is to create an allegorical figure of the Virgin Mother who would do anything for her children. The first instance of this is seen when Raskolnikov’s mother writes, “Our Dunia can bear a lot” in reference to the suffering she has already been through in life and the suffering that she will face if the marriage is to proceed (Dostoyevsky 41). Furthermore, this idea is further brought about when Raskolnikov says to himself, “That’s what is going on here: for her brother, for her mother she’d sell herself!” (Dostoyevsky 42). This means that, like the Virgin Mother, Dunia would do anything for her family. The most important aspect of this is that Dunia represents a mother-figure to her brother. She is willing to do anything to ensure that her brother will receive a good education and succeed in life: even if it means marrying a man she does not wish to marry.
In addition, Sonia, a prostitute, exhibits the same characteristics as Dunia. She is willing to stoop that low to support her family even though her father is a drunk who will most likely waste all the money. By being a prostitute, Sonia provides for her family by giving the most important thing she possesses: her body. Even though this might be seen as an immoral profession, it parallels with the Christian allegory of suffering. Sonia suffers to redeem her family. In addition, Sonia suffers in that it is forbidden for her to even see her family because the landlady does not want anything to deal with prostitution even if it is not being carried out in her house.
These characters foil each other for many reasons. Both of them work in extremely demoralizing conditions in order to support their family. Both of them show an extreme degree of loyalty to the dominating man in their family: Dunia to her brother, Sonia to he father. Finally, both of them represent the Christian allegory of suffering for others.
8. It appears that Svidrigailov is a hedonist because he seeks pleasure; however, at the same time, it appears that Svidrigailov is a nihilist as well. He seeks pleasure through nihilism. The following excerpt shows how Svidrigailov is both at the same time; more specifically, Svidrigailov‘s opinion on Dunya.
In spite of Avdotya Romanovna's real aversion for me, and my persistently gloomy and forbidding aspect, she grew sorry for me at last, sorry for a lost soul. And when a girl's heart begins to feel pity for a man, then of course she is in the greatest danger. She begins to want to "save" him, and make him see reason, and raise him up, and put before him nobler aims, and awaken him to a new life and new activities-well, everybody knows what can be dreamt of in such circumstances. I realized at once that the bird had flown into the net of its own accord, and I began to make preparations in my turn. You seem to be frowning, Rodion Romanovich. There is no need; the affair, as you know, came to nothing. (Devil take it, what a lot of wine I'm drinking!) You know, from the very beginning I always thought it was a pity that your sister had not chanced to be born in the second or third century of our era, as the daughter of a ruling prince somewhere, or some governor or proconsul in Asia Minor. She would doubtless have been one of those who suffered martyrdom, and she would, of course, have smiled when they burnt her breast with red-hot pincers. She would have deliberately brought it on herself. And in the fourth or fifth century she would have gone into the Egyptian desert and lived for thirty years on roots, ecstasies, and visions. She is the kind of person who hungers and thirsts to be tortured for somebody, and if she does not achieve her martyrdom she is quite capable of jumping out of a window.
It is after Dunya Raskolnikov’s failure to kill Svidrigailov, his desire, that he travels to America and shoots himself. Svidrigailov’s freedom is absolute, and also is absolutely terrifying. Raskolnikov never repents, though in the epilogue he breaks down and yields to Sonya's saintliness. But it is Svidrigailov, not Raskolnikov, who runs away from Dostoevsky's ferocious ideology, and indeed runs out of the book. Furthermore, Raskolnikov does believe in something after death. He makes this conversion in Siberia where he takes up the Christian religion. Furthermore, Raskolnikov bears his suffering because he feels it is his burden; whereas, Svidrigailov suffers because it brings him pleasure.
9. One of the most important questions that revolves around Crime and Punishment is “does Raskolnikov want to be caught?” According to Raskolnikov’s “extraordinary man” theory, he should not be punished for the “crime” he commited since it was not a crime. If Raskolnikov himself does not recognize his action as a crime, then how can he want to be caight and punished for such an act? The answer is that he can not and should not receive any sort of implication for this act.
Raskolnikov himself has an entirely different perspective on his predicament. He is the outsider and for him God is dead. The godless society is one in which there are no moral requirements. For Raskolnikov killing the old woman was a means to kick start himself into existence; it was not a crime. To have not acted in the way he did would have been a crime because the life of the old woman could not stand against the value of his own life which mattered above all else. To have not killed the woman would have entailed his own existential death and this would have been reprehensible from his own point of view and according to his nihilist theory of action. Besides, the woman herself was of little worth, perhaps no worth at all; she preyed on others in a dreadful manner, she was as Raskolnikov said, a vile, noxious insect. If Raskolnikov had kept his head then he would have escaped the ordinary consequences of his act. But he confesses under the strain of knowing that his action has solved none of his problems, and this fact suggests that his nihilism is an unsatisfactory modus vivendi, indeed one that is impossible for the human individual ever to operate if he is to remain human. But his failure to overcome himself does not show that the killing of the old woman is necessarily to be condemned.
By the same beliefs, Raskolnikov was brought down. Porfiry, the magistrate in charge of the murder investigation has a domineering affect over Raskolnikov. It is this power stance that leads Porfiry to believe that Raskolnikov is the murderer. During every instance in which the two meet, there is always a conflict and Raskolnikov always feels that Porfiry is playing mind games with him in order to make Raskolnikov confess. Thus, the inner conflict within Raskolnikov combined with Porfiry domineering affect over him, leads Porfiry to Raskolnikov.
