Modern Criticism
Professor Aubrey
Rough Draft
Redemption in Crime and Punishment
One of Fyodor Dostoevsky’s greatest accomplishments is creating a book that masterfully intertwines sociological ideals and an in depth psychological analysis while still writing a truly great piece of literature. The novel being Crime and Punishment, which explicitly describes the protagonist Rodin Romanovich Raskolnikov’s fluctuating mental state as he commits a brutal crime, becomes tortured by guilt, and finally turns himself in. But what makes
Crime and Punishment such an enticing novel? It is the psychological analysis and transformation of a criminal, the symbols used throughout the story, the sociological and philosophical voices and terms that underline the whole novel, and most importantly it is the idea of redemption. I will argue that Dostoevsky uses all these elements to create a captivating novel, one that follows the journey of the protagonist as he fights within himself throughout the book.
Through the characters and themes in his Crime and Punishment, Dostoevsky argues that a person can become redeemed by submitting to one’s suffering, especially on another’s behalf.
Dostoevsky in this, offers a path to redemption for the audience.
Crime and Punishment follows a poor impoverished student living in the poor town of St.
Petersburg, who believes himself to be extraordinary and above the people he is subjugated to
1 surround himself with. He has a theory that extraordinary people have the right to commit crimes and even murder people that are below them. This theory carries on throughout most of the book.
Due to this theory Raskolnikov plots to kill and rob the pawnbroker, Alyona Ivanovna. He succeeds in the murder of the old pawnbroker and her sister but after the murder grows ill from deliria and paranoia. Due to this paranoia he grapples with whether if he should confess to his crimes or not, this feeling of what to do carries on throughout the novel. Later, he witnesses the death of Marmeladov, he then gives Marmeladov’s widow almost all the money he has.
Raskolnikov also meets Sonya, who is the daughter of Marmeladov, he feels for her, since she has been forced to prostitute herself for money by her step mother. Sonya becomes a symbol for redemption for Raskolnikov and he promises to tell her who murdered the pawnbroker. Once
Raskolnikov finishes another interview with Porfiry, he is the officer who is investigating the murder case and also has suspicions that Raskolnikov is the murderer, he decides he will tell
Sonya he is the one who murdered the two women. After he tells her of his crimes she hopes that he will confess to the murders and seek religious redemption, she even vows to go to Siberia with him, which is where he would spend his sentence. At first Raskolnikov does not want to confess but after much deliberation and guilt he goes to the police station and confesses to the crimes. Raskonikov then goes to Siberia to spend his prison sentence, Sonya follows him there.
In the end of the book Raskolnkov realizes he is in love with Sonya and that once his sentence is over he will be a better man for her, and in such is reborn.
Dostoyevskys masterful psychoanalysis of the main character Raskolnikov as well as several other characters is a key part of Crime and Punishment. The major focus of this novel is a deep exploration in the minds of a criminal and the ones closest to him. The inner world of
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Raskolnikov, with all of its deliria, fear, and despair, is the heart of the story. Many critics agree with this, one saying:
But Raskolnikov is not the only important character, Dostoyevsky explores the lives of
multiple individuals and uses them as key parts to the structure of the story. Through the
internal monologues, the author does a psychological exploration of the different
characters. This gives a better understanding of the characters and why they do all that
they do. The use of interior monologue also reveals the soul that is divided and a split
personality. (Uwasomba, 7).
Two characters that are opposite in personality to Raskolnikov are Dunya and Razumikhin.
Dunya being Raskolnikovs sister and Razumikhin being his friend. These two characters do not share Raskolnikovs nihilistic views and instead are symbols of kindness and compassion.
Another extremely important character in the book is Svidrigailov, he is one of the most enigmatic characters in Crime and Punishment and is known as the true criminal of the novel.
What is so very important of Svidrigailov is that he mirrors Raskolnikovs thoughts and worst actions, he is also argued to show the most existentialist way of life, not caring about anyone elses’ freedom but his own. One critic calling him Raskolnikovs “Dostoyevsky double; meaning a figure deliberately paralleling that of the main character, confronting him with an answering image of his own mind” (Bloom, 4). Another critic shares that same view saying “Svidrigailov is the phantom, the Fata Morgana, of what the inadequate Raskolnikov would like to be: a sinister presence, a will of steel. Svidrigailov-pervert, raper, uxoricide succeeded in passing beyond good and evil." (Squires, 821). These critics are essentially saying that Svidrigailov is the true representation of Raskolnikovs theory, of one being extraordinary and being able to commit crimes freely. Raskolnikov hates Svidrigailov, possibly because he is everything that
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Raskolnikov fails to be. And of course the most important character to many besides
Raskolnikov himself is Sonya. Sonya is known as the character who helps Raskolnikov into his confession and ultimate redemption. Sonya illustrates important social and political issues that were of concern to Dostoevsky, such as the treatment of women, the effects of poverty and the importance of religious faith. She also is an important part of the theme of with suffering one can be redeemed. Since she was forced to prostitute herself for money, she symbolizes that even the deepest of transgressions can be redeemed through ones suffering and faith.
Another important psychological element in Crime and Punishment are the dreams had by Raskolnikov and Svidrigailov. In Raskolnkovs first dream, many believe it is a warning for what is to come if he commits the crime, one critic agrees with this by saying “represented in the first dream by the beating of the mare into which, Raskolnikov subconsciously realizes, his life will develop if he perseveres in his determination to kill the pawnbroker. The dream is the last attempt by his subconscious to hold out to him a way of life opposite to that to which his reason and will have committed him” (Gibian, 985). Another critic argues that Raskolnikovs and
Svidrigailokvs dreams intertwine with each other, I believe this just further cements the statement of Svidrigailovs and Rakolnikovs similarities. In the article Uwamsoba says
“Svidrigâiloff’s hallucination, dreams and suicide comprise one of Crime and Punishment’s most powerful sequences. Dostoyevsky, in an attempt to show the relationship between Raskolnikov and Svidrigâiloff, seems to bring the dreams Svidrigâiloff had on his last night into correspondence, if not wholly exact with those Raskolnikov had had earlier” (Uwamsoba, 147).
Many say that it is the dreams had in the book that show the true meaning of the story. As according to Freud “dreams occupy a special place in Psychoanalysis, they are indispensable. It is the dream in part which symbolically directs our attention to the meaning of the story”.
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It is also important to note the underlying themes that run throughout this story. The ideas of nihilism, Christianity and existentialism are apparent and it is necessary to understand the importance of these philosophies and ideals. Firstly, it is clear from the start of the book, that the protagonists’ negative outlook on the world could mirror a nihilistic point of view, one that could also be compared to Nietches theory of the “superman”. What does this mean exactly? Nihilism rejected family and societal bonds as well as emotional and aesthetic concerns in favor of a strict materialism, to think in a purely rational manner is to think only with logic. Morals, emotions, and feelings do not coexist with the purely rational thought associated with nihilism. Most agree with this statement, one critic saying:
Raskolnikov is carved in the image of the Nietzchean metaphysical rebel who has pushed
things too far to a nihilistic end. To Nietzche, the superman commits crime or does
anything for self-gratification, and not for humanity. Raskolnikov is confronted by a
world without mercy, faith, hope, charity, justice, or purpose (Uwasomba, 145).
It is clear that Raskolnikov a nihilist; unsentimental for most of the novel, he cares nothing about the emotions of others. However, at the end of the novel, as Raskolnikov discovers love he sheds his nihilistic view. Through this action, the novel condemns nihilism as empty and instead shows a different path for the protagonist, one that is not devoid of love and emotion. it can be shown that Dostoevsky attempts to stop nihilism from becoming a part of Russian culture by showing contradictory emotions and actions within such rational thinkers as Svidrigailov and
Raskolnikov. In the end, Dostoevsky shows that human emotions cannot be ignored and irrationalism is necessary.
After throwing away his nihilistic theories, Raskolnikov begins to turn to Christianity,
Sonia is a big influence on his Christian redemption. A very important symbol that shows
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Raskolnikovs transformation, is the cross that Sonya gives to him before he goes to the police station to confess. The cross symbolizes Jesus’ sacrifice for the sins of his people. It shows not that he has been redeemed but that he has begun to recognize his sins. Many other critics agree with the importance of traditional symbolism in Crime and Punishment. In a passage by George
Gibian, he states the importance of the symbolism and compares many different elements such as saying “water is to Dostoevsky a symbol of rebirth and regeneration”. In this passage it shows
Gibians ideas on the apparemce of traditional symbolism:
Traditional symbolism, that is, symbolism which draws on images established by the
Christian tradition and on those common in Russian non-Christian, possibly pre-Christian
and pagan, folk thought and expression, is an important element in the structure of Crime
and Punishment. The outstanding strands of symbolic imagery in the novel are those of
water, vegetation, sun and air, the resurrection of Lazarus and Christ, and the earth
(Gibian, 982).
Furthermore, Sonya being the one who gives him the cross has significance “take it ... it's mine! I tell you it's mine!" she reassured him. "We will suffer together. Together we will bear the cross!"
(Dostoyevsky, 402). When she says this she gives of herself to bring him back to humanity, and her love and concern for him will ultimately save and renew him. An article by John Bartlette confirms this argument when he says “In Crime and Punishment, Dostoevsky uses the character of Sonia Marmalade, whose first name means wisdom, not solely to illustrate God's mercy toward a fallen woman but to have her redeem both herself and Raskolnikov through God's mercy” (Barthelette).
After understanding the philosophy and Psychology behind Crime and Punishment we can now discuss the meaning and purpose behind the novel. While Crime and Punishment can be
6 interpreted in many different ways, I will argue that the main purpose is to show that through ones suffering one can be redeemed, and that Raskolnikov himself ultimately does redeem himself with the help from Sonia specifically, as shown in previous paragraphs. I believe that
Raskolnikovs own personal mental torture is his punishment throughout the book, it shows he is not past redemption and still does have a conscience, it is his schizophrenic nature that makes him suffer from paranoia and delusion, making it hard for him to choose the right or wrong path, but it does not make him irredeemable and in the end he fails in his previous theory of the
“superman”, one article agrees with this by saying:
the man who, obsessed with his own deification, engaged in a daring experiment which
he deemed emblematic of "freedom and power, but above all power finds himself unable
to make good his claim and pass his test. Trapped in what he calls his cowardice,
unnerved by the humiliating realization of the failure of his project, his pride
disintegrating, Prisonlike submits to Sonia's Christly mediation and gives himself up to
the police (Rudicina, 3).
In this passage the critic is reinforcing my statement by saying that Raskolnikov fails in his previous thesis of being able to kill without remorse or consequence and instead after much paranoia and deliria he submits to Sonias idea of restitution and confesses to his sins.
There are, of course, many other ideas on the meaning behind Crime and
Punishment and it is important to hear other writers’ theories regarding the book. In A socio- psychological exploration of Fyodor Dostoyevsky’s crime and punishment the critic, Chijioke
Uwasomba, states that in Crime and Punishment “The writer appears to be saying that the world is meaningless as it is full of injustice, exploitation and other forms of inequities” (Uwamsoba,
147). While I do agree with this statement I believe that the critic is missing a vital part of the
7 meaning behind Crime and Punishment, I do think that Dostoyevsky is trying to highlight the injustice in the world around us, consequently saying that often life can seem meaningless. But I only think this is half of the meaning. While Dostoyevsky may be trying to highlight many issues and inequities in Russia at that time, he is also saying that suffering may be inevitable but through ones’ suffering can be a path to regeneration and a new more meaningful life, as seen with Raskolnikovs trials and tribulations throughout the story. Paul Squires also argues that
“Raskolnikov's confession is one of the world's psychological masterpieces. He confessed in order to rid himself of a burden; not because he repented, however. Prison finally meant to be "in freedom" (Squires, 821). I partially do agree with Squires, prison definitely did mean freedom, by freedom Squires is saying that Raskolnikov has finally freed his mind from all of the delusions and paranoia he is plagued with throughout the novel because of the crime he committed. Subsequently of course he does feel freedom from finally confessing his sins. But I do not agree with Squires in regards to saying that he did not repent, while after the confession
Raskolnikov may go back and forth with right and wrong, it is in the epilogue where you will really see the change in him and why I believe he is ultimately redeemed.
In my opinion the epilogue of Crime and Punishment is the reason that truly shows
Raskolnikov wanting to redeem and now can start a new life and journey, it states
That is the beginning of a new story, though; the story of a man's gradual renewal and
rebirth, of his gradual transition from one world to another, of his acquaintance with a
new reality of which he had previously been completely ignorant. That would make the
subject of a new story; our present story is ended. (Dostoyevsky, 522)
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I believe that this shows that Raskolnikov has finally found redemption, the reason he decides on this new path is when he finally realizes his true love for Sonia, it is her that truly makes him a better man.
The epilogue is a very controversial topic upon critics, many defend it by saying it is necessary to show Raskolnikovs true turning point and redemption while others disagree. There are really two issues at hand when concerning the Epilogue: firstly, whether the epilogue is actually necessary at all, and secondly, if it is necessary, whether Raskolnikovs confession and ultimate redemption is a genuine one. Konstantin Mochulsky is one critic who does not believe the protagonists redemption to be a true one and goes on to say that Raskolnikovs promised regeneration a "pious lie"(Mochulsky, 312). Philip Rahv agrees with Mochulsky, maintaining that Sonja's faith offers no solution to Raskolnikov, Rahv also attacks the Epilogue as implausible. Supporters of the Epilogue are virtually unanimous in their belief in the sincerity of
Raskolnikov's conversion. Their arguments tend to concentrate on the Christian elements, as I have spoken of previously, in the Epilogue as completing trends and patterns established earlier in the novel. Two critics that agree with this statement would be Maurice Beebe, who states that
"the ending is artistically and psychologically inevitable because the basic motive of regeneration is the same as the underlying motive for the crime" (Beebe, 158). George Gibian also deems it necessary by saying the Epilogue is “necessary in order to complete religious symbolism developed earlier in the novel” (Gibian, 536).
Dostoevsky does an excellent job of manipulating the reader into caring for the main characters of the book and even identifying with them. In spite of Raskolnikovs mental instability and the dreadful nature of his crime, the reader is still able to relate on some level even with all his mental issues. Crime and Punishment is a book that intertwines many themes
9 and concepts while not being too convoluted and keeping a strong story line. But it is not just a story of a murder and the punishment that ensues, it is the inner working of the mind of a confused man and the philosophies that run throughout the book being that of Freudian, Marxian,
Christian, and existentialist voice. By using all of these elements Dostoyevsky creates a compelling and enticing novel that shows a clear path to redemption through the life of
Raskolnikov and the other main characters.
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Bibliography
Beebe, Maurice. “The Three Motives of Raskolnikov: A Reinterpretation of Crime and Punishment.” College English, vol. 17, no. 3, 1955, pp. 151–158., www.jstor.org/stable/495737.
Bloom, Harold, ed. Crime and Punishment: Christianity and Existentialism New York: Chelsea House Publishers, 1988. Print.
Barthelette , John. "The Redeemed Prostitute In Dostoevsky's Crime and Punishment And Other Works." N.p., n.d. Web. 26 Apr. 2017.
Dostoevsky, Fyodor. Crime and Punishment. N.p.: n.p., 1866. Print.
"Dostoevsky in Crime and Punishment, " in the Norton Critical Edition of Crime and Punishment, ed. George Gibian (New York: Norton, 1975), pp. 244-258.
Gibian, George. “Traditional Symbolism in Crime and Punishment.” PMLA, vol. 70, no. 5, 1955, pp. 979–996., www.jstor.org/stable/459881.
Mochulsky, Dostoevsky: His Life and Works, trans. Michael Minihan (Princeton: Princeton University Press, 1967), p. 312.
Rudicina, Alexandra F. "Crime and Myth: The Archetypal Pattern of Rebirth in Three Novels of Dostoevsky." PMLA: Publications of the Modern Language Association of America, vol. 87, no. 5, 1972, pp. 1065-74. MLA International Bibliography,
Squires, Paul C. "Dostoevsky's Doctrine of Criminal Responsibility." Journal of Criminal Law and Criminology 5th ser. 27.6 (1937): 820-23. Web.
Uwasomba, Chijioke. "A socio-psychological exploration of Fyodor Dostoyevsky’s crime and punishment ." Educational Research and Review 4 (2009): 1-7. Web.
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