Completion Note

Something I noticed as I completed Crime and Punishment was the glaring similarity between Raskolnikov's situation and the situation of Dostoevsky himself. For example, in a previous post I mentioned Dostoevsky's imprisonment and initial death sentence. At the last minute, he was pardoned from execution and sentenced to four years imprisonment (and four years military service) instead. Early in the novel, he mentioned that Raskolnikov feeled like "a man sentenced to death who had suddenly and unexpectedly been pardoned" (Dostoevsky, ). Another connection to Dostoevsky's life experience is made when, in Raskolnikov's final moments before confession to the police, it is mentioned that "there are two ways open for Rodion Romanych; a bullet in the head, or Siberia". (Dostoevsky, 500). These were literally Dostoevsky's terms of imprisonment (after being pardoned from 'a bullet in the head', he was sentenced to eight years in 'Siberia'). His sentence is almost identical to Dostoevsky's (eight years in a Siberian labour camp). Raskolnikov's spiteful seclusion from people is also analogous to Dostoevsky's 14 year period of secluded writing (the exact same time Crime and Punishment was written). This is further evidence that Dostoevsky based Rodion Romanovich Raskolnikov on himself.

Politics, Philosophy and Failure in Crime and Punishment

Nothing is so burdensome and heavy on the characters in Crime and Punishment than the ever-looming presence of failure, wasted potential and disappointment. This is a key underlying theme in the novel, something that keeps every action of the characters in context. It serves mostly to illustrate the fall from greatness and nobility to misery and wretchedness, which (in an ongoing metaphorical sense) reflects the way Raskolnikov is transforming as a character. We learn early on in the novel that Raskolnikov was once a student of law at a university (which university is not mentioned, it is simply referred to as 'the university'). However, due to his financial situation, he was forced to drop out. Although he remains intelligent, his reasoning seems somewhat flawed, and he operates based on idealism and philosophy rather than practical reasoning. When he confesses his crime to Sonya (the only character Raskolnikov has a meaningful relationship with), his reasons he gives her are more political and philosophical than logical. He claims he could have supported himself at the university if he had truly desired to, and that he "turned spiteful" (Dostoevsky, 417), and so refused to work and became reclusive. As a result, he had much time to think, which he refers to as his job early in the novel. He thinks politically, reasoning that all great men must have broken old laws to forge the future of mankind, and all great men, even those "who are a tiny bit capable of saying something new - by their very nature cannot fail to be criminals" (Dostoevsky, 260). He attempts to justify himself before Sonya, claiming he "only killed a louse, Sonya, a useless, nasty, pernicious louse!" (Dostoevsky, 416). He even refused to take any money for himself, hiding it under a rock in an alleyway. This act, not even robbing the old crone for himself, demonstrates his political and philosophical motives. In the epilouge, as he sits in a Siberian prison, he is infuriated with himself for confessing, insisting that these great men who "seized power for themselves, ought to have been executed at their very first steps. But those men endured their steps, and therefore they were right, while I did not endure...but had gone and confessed" (Dostoevsky, 544).

Another classic example of the concept of failure in the novel is Katerina Ivanova, widow to the late Marmeladov (who was trampled by a carriage earlier in the novel). She was born into a noble family, and married an official (Marmeladov). However, Marmeladov became a drunkard and spent most of the family's money, sending them into crushing poverty. While Katerina has been slowly dying of consumption throughout the novel, her madness and malady finally come to a head when she was evicted from her apartment by her foolish German landlady after an outburst of rage at her husband's funeral. She is reduced to forcing their children (who are very small) to dance and sing in the streets, cruelly beating and berating them for not doing it properly. Katerina also forces them to sing in french, "so people will see at once you're a nobleman's children, and it will be much more moving." (Dostoevsky, 430). She also convinced herself that her husband was a noble man, who "died in service" (Dostoevsky, 428), which epitomizes her pathetic downfall. The ultimate tragedy with Katerina, however, is her failure to achieve her dream, which was to start an institution for noble girls. When asked by Raskolnikov about it, she responds "An institute, ha, ha, ha! Castles in Spain!...No, Rodion Romanych, the dream is over! Everyone's abandoned us!" (Dostoevsky, 429). Eventually, Katerina falls on the street while reducing her children to tears, and dies in the arms of Sonya and Raskolnikov.

All the misery Raskolnikov observes around him only adds to the pressure he feels from his suspectors and circumstances. Earlier I mentioned Raskolnikov's dream, with the nag being beaten to death for being unable to run. Metaphorically speaking, Raskolnikov is the nag and all this suspectors and enemies are the drunkards in his back, while the horrid failures and deaths of those whom he cares for are the drunkards lashing him in the eyes.

Use of Religion as Solace

As Mentioned in a previous post, Dostoevsky was a deeply christian man. This comes through as an underlying theme in the novel, with most characters possessing fervent faith. This leads to the character's sometimes unreasonable actions and foolish behaviour ("Holy Fools" [Doestoevsky, 324], as Raskolnikov calls them, even though he claims to "literally believe...in the raising of Lazarus" [Dostoevsky, 261]). For example, at the time of Marmeladov's death in his wretched hovel, surrounded by his filthy, sick family, the doctor firmly insists there is nothing that can be done and leaves Marmeladov to die. Before he leaves, however, he ensures there is a priest present to conduct final ceremonies for Marmeladov. The characters in Crime and Punishment use religion as a falling ground for thier weakness, and the fact it is an organized religion allows for a sense of belonging amoung its followers (nearly every character in the novel, with a few in particular). Another example of this use of this reliance on religion is the character of Sonya. Her unwavering faith is something Raskolnikov (the protagonist) admires, but at the same time holds almost a contempt towards. When he reminds her of the reality and gravity of her situation, she irrationally falls back on religion. For example, when Raskolnikov explains to her that her siblings will become beggars and prostitutes when her mother dies (which will be soon), she refuses to believe it, repeating that "God won't allow it!" (Dostoevsky 320). She genuinely beleives that god can save her siblings from their fate, and her from hers, to which Raskolnikov spitefully responds that "maybe there isn't any god" (Doestoevsky, 321). This encounter ends with Sonya famously handing Raskolnikov her cross she wears around her neck, which he takes. This now causes him to feel as though he must answer to god, and is a major shift in his evolution as a character. His actions of evasion and deception now become those of guilt and morality. (Pardon the pun) He feels as though he must be punished for his crime.

If one knows anything about the circumstances of Crime and Punishment (19th century Tzarist Russia), one would know that the class gap was quite large- with the rich being quite rich and most being quite poor. This is frequently noticed throughout the novel, with characters often being described as having little or no money, and living in filthy excuses for homes. The only ones that seem to be rich are government "officals", such as Pytor Petrovich (Raskolnikov's sister's fiancee). The circumstances of these characters truly is something to be pitied, and due to the relative lack of scientific discovery at the time, it is understandable that these characters would cling to thier faith and look to divine figures for aid. Their prayers, though, often go unanswered, leaving poverty, death, and sickness.

The ultimate religious theme, though, is Raskolnikov's faith versus his political ideals (his belief that some individuals are superior and have the right to 'remove' degenerates from society), His almost nihlistic behaviour versus the christian morals he once followed. The resulting internal struggle (as is such a prominent theme in the novel) due to Raskolnikov's conflict of belief is an interesting concept to behold.

Internal destruction

The theme of Crime and Punishment is not initially obvious (though the title is fairly explanitory), but subtly hinted at throughout the novel through metaphoric events and the strange actions of Raskolnikov. His actions are interesting becuase the reasons for them are not thoroughly explained at the time of thier happening; one must keep in mind Raskolnikov's crime and how it affects him. The theme of the novel could be considered what happens to a guilty man over time. For example, before Raskolnikov has commited the murder, he becomes drunk and falls asleep in a ditch. He dreamt(more like a remembered repressed memory)of a traumatic event in his childhood, in which several drunkards were viciously beating a horse to gallop (which was in no shape to walk, let alone gallop). They begin to lash it in the eyes with whips, and continually whip it until it succumbs to the beating and dies in agony. Raskolnikov (about 8 years old) throws himself on one of the drunkards and hits him with his tiny fists until Raskolnikov's father pulls him away. This event could be considered analogous to Raskolnikov's current situation. If we were to look at it metaphorically, Raskolnikov could be considered the horse, and the drunkards "beating" him could be all those who suspect and put pressure on him for the murder. These could include people like Lieutenant Ilya Petrovich, an abbrasive policeman who suspects him, and Porfiry Petrovich, a detective of sorts who asks Raskolnikov various questions about an article he's written regarding wether or not some men are superior to others and have a right to break the law. Raskolnikov points out to Profiry that the "extraordinary" (Dostoevsky, 259) man has the right "to allow his conscience to step over certain obstacles, and then only in the event that the fufillment of his idea -sometimes perhaps salutary for the whole of mankind - calls for it." (Dostoevsky, 259). He is subtly refering (unbeknownst to the men in his company [Razumikhin, Profiry, and Zamyotov]) to his encounter with the old pawnbroker, providing self-validation of sorts by attempting to convince others (but really himself) that people (like the wretched crone) deserve to die and noble "extraordinary" men (whom he considers himself to be) have a right and duty to end them. He goes on to compare this to the scientific progress of Newton and Kepler, saying "if, as the result of certain combonations, Kepler's or Newton's discoveries could become known to people in no other way than by sacrificing the lives of one, ten or a hundred or more people who were hindering the discovery, or standing in its path, then Newton would have the right, and it would be even his duty to remove those ten or a hundred people, in order to make the discoveries known to all mankind." (Dostoevsky, 259-260). He also compares his ideas to the actions of great men such as Napoleon were criminals of sorts, seeing as they had to break old laws to form new ones and reform their worlds, and that bloodshed should not be shyed away from if it will further the cause. Raskolnikov's encounter with Profiry is particularly interesting, because later in the conversation Profiry asks Raskolnikov what he would do if the criminal were caught, and his answers are unexpected, and are either a ploy to remove suspicion or deep-seeded feelings of guilt. When asked "what if we do catch him?" (Dostoevsky, 264), he responds with "Serves him right." (Dostoevsky, 264). Profiry then asks him about the killer's conscience, to which Raskolnikov famously responds "Whoever has one can suffer if he acknowledges his error. It's a punishment for him - on top of hard labour" (Dostoevsky, 264). This quote sits atop my blog, though translated slightly differently. Another "drunkard" (metaphorically beating raskonlikov) could be Pytor Petrovich, Raskolnikov's to-be brother in law, who is a wretched gossip and is well into his forties (Raskolnikov's sister is much younger). Raskolnikov told Petrovich how he felt about the wedding, asking him "is it true that you told your fiancee, at the same time you recieved her consent, that you were glad she was poor..because it's best to take a wife up from destitution, so you can lord it over her afterwards and reproach her with having been her benefactor?" (Dostoevsky, 152). Petrovich did indeed write the letter, and responds agrily by hotly leaving Raskolnikov's apartment and sending his mother a letter requesting he not be present at their wedding.

These characaters and the way they add pressure to Raskolnikov is realistic and, thanks to good writing, the reader knows (or, in some cases, suspects) how the protagonist feels, and how he evolves and changes because of this. The theme is not so much stated as it is felt - By the protagonist and the reader. Another part of the theme of this novel could be the baseness and vileness of men; how they truly behave and how their actions influence others to terrible things, which is also felt through the actions of these supporting characters.

The Evolution of a Criminal's Mind

One of the most interesting aspects of Crime and Punishment is the evolution of the characters, particularly Raskolnikov (the protagonist) and Razumikhin (best friend to Raskolnikov. Could also be considered foil to Raskolnikov. Razumikhin's outgoing personality, as well as his caring and good nature is heavily contrasted by Raskolnikov's general misanthropy and loathing of most who come into his company, sometimes including Razumikhin. These two characters are somewhat analogous of Alceste and Philinte in Moliere's The Misanthrope). As with many Russian works, there are lengthy segments where the character ponders and contemplates thier feelings and surroundings. The use of these segments is similar to the use of soliloquies in plays, revealing the true thoughts and shifts in the character's personality, and why they happen. As I move into defending the classicity of the novel, I will mention the beleivability with which Dostoevsky has crafted the characters (especially Raskolnikov and Razumikhin), and while they evolve into different people, their reasons for becoming so are slowly and credibly revealed through their mental soliloquys of sorts. For example, when Raskolnikov overhears two men in a tavern discussing the loathsome and wretched character the old pawnbroker is, the way she treats her meek and complacent sister, her fraudulent methods of pawning, and how they would happily "kill and murder that cursed old woman...without any remorse" (Dostoevsky, 64), Raskolnikov is taken aback. He has been pondering the thought as well, and wonders "why precisely now did he have to hear precisely such talk and thinking when....exactly the same thoughts had just been conceived in his own head?...This negligible tavern conversation had an extreme influence on him in the further development of the affair; as though there were indeed some predestination, some indication of it..." (Dostoevsky, 64). Raskolnikov now has it firmly planted in his mind that he will be the one end this old crone's wretched life. Once he finally commits the murder, however, his character as we know it is plunged into disarray, as many contemporary murder story killers' are. For the first few days after he commits the crime, he is filled with insurmountable paranoia, which is exposed when he is called to the police station (on an unrelated matter). As he leaves, he mutters to himself "The villans! they suspect me!' His former fear again came over him entirely, from head to foot" (Dostoevsky, 106). This changes to an almost arrogance, demonstrated when he meets with a man by the name of Zamyotov (with whom he is acquainted) in a tavern. During the conversation, Raskolnikov mentions the murder, and how easily he could have done it and, in incredible detail, how he would have done it. One would think he would avoid the topic altogether to avoid suspicion, but he presses on. "What if it was I who killed the old woman and Lizaveta?" (Dostoevsky, 165), he says, causing Zamyotov to go "white as a sheet" (Dostoevsky, 165), until he evades suspicion by turning into a spiteful joke, saying to Zamyotov "Admit it that you believed it! Right? Am I right?" (Dostoevsky, 165), to which Zamyotov responds "Not at all! Now more than ever I don't!" (Dostoevsky, 165). This gradually takes the form of some kind of guilt, demonstrated when Raskolnikov visits the apartment where he committed the murder in the dead of night, saying to the workmen renovating the apartment "There was a whole pool of blood...Is there any blood?" (Dostoevsky, 172). They frequently ask him what his business there is, and what kind of man he is, to which he frequently responds "Let's go to the police, I'll tell you there" (Dostoevsky, 172). This guilt is fully formed when he sees his friend Marmeladov (a drunk whom he met in a tavern early in the novel), lying in a mangled heap in the street after being run over by a carriage. While the crowd seems complacent, dismissing him as a foolish drunk, Raskolnikov frantically carries him home, offering to pay for a doctor himself (despite being more or less broke). When he gets his friend to his home,and lays Marmeladov before his wife and children, he realizes it is far too late to help him, and he will surely die. When Marmeladov dies of his injuries in the crowded and filthy apartment, Raskolnikov does a noble and unexpected thing. He turns to Katerina, Marmeladov's wife, and says "...We became friends. Permit me now to assist - to pay what is due to my deceased friend. Here are twenty roubles, I think-and if this can serve to help you then I, in short, I'll come again- I'll be sure to come, maybe even tomorow. Goodbye!" (Dostoevsky, 186). The 20 roubles he gave to Katerina were his last. He likely feels that through his nobility and generosity, he is redeeming himself for his crime.

Razumikhin is a different story. While his good nature and caring, particularly towards his friend Raskolnikov, is demonstrated through his loyalty and care to him throughout Raskolnikov's illness (he felt sick after commiting the murder for several days), and despite Raskolnikov's short fuse and ingratitude, Razumikhin never gave up on his friend. Initially, the character of Razumikhin seems relatively simple and concrete, not as deep and metamorphic as Raskolnikov's at least. But when Razumikhin throws a party with his uncle and becomes drunk, he reveals much to the reader. That night, Raskolnikov's sister and mother come to visit him, on account of his sister (who is young and beautiful) being married to a rich official in his forties. Raskolnikov heavily disapproves of this, believing that she is doing it for the financial need of the family rather than her own wishes. As Razumikhin and Zossimov (a doctor, another friend of Raskolnikov) leave the apartment, they have a frank (drunken) conversation that reveals much. They both are in love with the girl, Avdotya, and they each exchange speeches of how little a chance they have with her and how better suited the other is to woo her. This whimsical evening of drunkenness and pretty girls is contrasted by Razumikhin's feeling of self loathing and self pity when he wakes up the following morning, "Preoccupied and serious" (Dostoevsky, 210). He quotes the famous latin saying, en vino la veritas(in wine the truth), meaning that one's true character comes forth when one is enibriated. The truth, he says "that is all the filth of this envious, boorish heart! And was such a dream in any degree permissible for me, Razumikhin? Who was I compared with such a girl-I, a drunken brawler and yesterday's braggart!"(Dostoevsky, 211). This sudden shift in character is completely unexpected and reveals that Razumikhin is not all that he seems. Of course, this is all revealed through the "mental soliloquies" I mentioned earlier.

All this serves to reinforce the idea of how people's innermost feelings affect their behaviour, and the secrets people keep slowly eat away at their character until it is a whole new character altogether. People are seldom exactly what they seem.

Additional information

Dostoevsky was a devout Eastern Orthodox Christian. He was prasied as a "prophet" in Soviet Russia due to religious propoganda rather than artistic qualities, for which he was heavily criticized. One of his critics was Vladmir Nabokov, who claimed "he is a rather mediocre writer who produced wastelands of literary platitudes". For all his flaws, however, he was highly respected by the literary community. Frederic Nietzsche called him "The only psychologist from whom I have anything to learn" in 1887. Thousands attended his funeral in 1881, hailing him as a "significant literary hero".

Dostoevsky wrote Crime and Punishment after returning from five years exile in Siberia. H e was sent to a Tsarist forced labour camp known as "Katorga" - equivalent to the Soviet "Gulag". Unlike most prisoners, though, he did very little manual labour, spending most of the time working for the prison chancery and infirmary.

Although sentenced to death in Katorga for outspoken opposition to the Tsar, Dostoevsky's sentence was lowered to four years in prison and four years of military service. Despite being raised comfortably and attending boarding school, Dostoevsky's post-imprisonment life was a far cry from his affluent adolescence. He lived now among the poor in urban St. Petersburg. At the end of his service and imprisonment in 1858, he began a 14 year period (his "mature" period) of writing. During this time, he produced five of his greatest novels; The House of the Dead (1862), Notes From The Underground (1864), Crime and Punishment (1866), The Idiot (1868), Devils (1871).

Dostoevsky's mother died while he was a teenager, and he became distant from his domineering father. He did, however, develop a close relationship with his brother, Mikhail, although they went to separate boarding schools later on (Dostoevsky was originally educated to become an engineer). His tragic hero in Crime and Punishment, Rodion "Royda" Romanovich Raskolnikov, is likely based on himself towards the end of his life. Upon returning to St. Petersburg following his prison sentence, his life was in disarray; He had lost his brother whom he had grown so close to in 1864, and his first wife in that same year. come 1865, he also, very similarly to Raskolnikov, owed many people a lot of money and could not afford his bills or meals. This was the same time he created the concept for Crime and Punishment, so it is not at all surprising that the character was created the way he was.