Raskolnikov and razumikhin relationship poems

The theme of Family in Crime and Punishment from LitCharts | The creators of SparkNotes

Everything you ever wanted to know about Dmitri Prokofitch Razumihin in Crime It is this connection, this special link to these special people, that seems to. After checking up on Raskolnikov, Razumikhin visits the two women, first by may be a comment on the connection between a criminal mindset and madness, . Analysis, related quotes, theme tracking. In fact, as Raskolnikov withdraws from his family, Razumikhin appears to take over his duties and, later, marries.

After appeals elsewhere failed, Dostoevsky turned as a last resort to the publisher Mikhail Katkovand sought an advance on a proposed contribution.

Dostoevsky, having carried on quite bruising polemics with Katkov in the early s, had never published anything in its pages before. In a letter to Katkov written in SeptemberDostoevsky explained to him that the work was to be about a young man who yields to "certain strange, 'unfinished' ideas, yet floating in the air".

From then on, Crime and Punishment is referred to as a novel. I didn't like it myself. A new form, a new plan excited me, and I started all over again. Because of these labors, there is now a fragmentary working draft of the story, or novella, as initially conceived, as well as two other versions of the text.

These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the final plan, involving the shift from a first-person narrator to the indigenous variety of third-person form invented by Dostoevsky. It coincides roughly with the story that Dostoevsky described in his letter to Katkov and, written in the form of a diary or journal, corresponds to what eventually became part 2.

Here I was in the right—nothing was against morality, and even quite the contrary, but they saw otherwise and, what's more, saw traces of nihilism I took it back, and this revision of a large chapter cost me at least three new chapters of work, judging by the effort and the weariness; but I corrected it and gave it back.

  • Raskolnikova: Rodion Romanovich’s Struggle with the Woman Within
  • Crime and Punishment by Fyodor Dostoevsky.

Milyukov [12] Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, "one possibility is that his protagonist began to develop beyond the boundaries in which he had first been conceived". This shift was the culmination of a long struggle, present through all the early stages of composition.

Frank says that he did not, as he told Wrangel, burn everything he had written earlier.

Crime and Punishment by Fyodor Dostoevsky. - ppt video online download

Anna Snitkina, a stenographer who later became Dostoevsky's wife, was of great help to him during this difficult task. Isolated and antisocial, he has abandoned all attempts to support himself, and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawn-broker.

On the pretext of pawning a watch, he visits her apartment, but remains unable to commit himself. Later in a tavern he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth.

Marmeladov tells him about his teenage daughter, Sonya, who has chosen to become a prostitute in order to support the family. The next day Raskolnikov receives a letter from his mother in which she describes the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov.

To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya's situation. Raskolnikov is enraged at his sister's sacrifice, feeling it is the same as what Sonya felt compelled to do.

Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it. In a state of extreme nervous tension, Raskolnikov steals an axe and makes his way once more to the old woman's apartment. He gains access by pretending he has something to pawn, and then attacks her with the axe, killing her.

He also kills her half-sister, Lizaveta, who happens to stumble upon the scene of the crime. Shaken by his actions, he steals only a handful of items and a small purse, leaving much of the pawn-broker's wealth untouched. Due to sheer good fortune, he manages to escape the building and return to his room undetected. Part 2[ edit ] In a feverish, semi-delirious state Raskolnikov conceals the stolen items and falls asleep exhausted. He is greatly alarmed the next morning when he gets a summons to the police station, but it turns out to be in relation to a debt notice from his landlady.

When the officers at the bureau begin talking about the murder, Raskolnikov faints. He quickly recovers, but he can see from their faces that he has aroused suspicion. Fearing a search, he hides the stolen items under a building block in an empty yard, noticing in humiliation that he hasn't even checked how much money is in the purse. Without knowing why, he visits his old university friend Razumikhin, who observes that Raskolnikov seems to be seriously ill.

Finally he returns to his room where he succumbs to his illness and falls into a prolonged delirium. When he emerges several days later he finds that Razumikhin has tracked him down and has been nursing him.

Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor about the status of the police investigation into the murders: He angrily tells the others to leave as well, and then sneaks out himself. He looks for news about the murder, and seems almost to want to draw attention to his own part in it.

He encounters the police official Zamyotov, who was present when he fainted in the bureau, and openly mocks the young man's unspoken suspicions. He returns to the scene of the crime and re-lives the sensations he experienced at the time. He angers the workmen and caretakers by asking casual questions about the murder, even suggesting that they accompany him to the police station to discuss it. As he contemplates whether or not to confess, he sees Marmeladov, who has been struck mortally by a carriage.

He rushes to help and succeeds in conveying the stricken man back to his family's apartment. Calling out for Sonya to forgive him, Marmeladov dies in his daughter's arms. It is these everyday occurrences that reveal the concerns and personal conflicts Raskolnikov struggles with, of which the dramatic and violent act of murder is only a symptom.

Within this subtext the psychological discussion comes forward since Raskolnikov remains in denial of the associations his mind readily establishes between himself, his misery, and that of others. The reader is then able to address individual questions such as the relationship of Raskolnikov to the waifs who reappear in vignettes throughout the novel. The pauses occurring as Raskolnikov invents their histories and speculates their futures argue the significance of these marginal characters.

While Marsh asserts the constant description of the female from the point of view of the external, male gaze, she does not discuss the projection of the male self that this objectification creates 3. I assert however, that this is merely a denial of qualities intrinsic to our humanity—qualities that are not necessarily gender-specific such as empathy or spirituality.

This denial also allows for the female object to be exploited, abused, and dismissed. Throughout the course of the novel it is apparent that Raskolnikov is only able to find himself, or to complete himself through an association with the female characters of this book, be it the anonymous waifs, Sonya, or his sister.

The harshness of reality is embodied in their labors and suffering, as these women are the reality of the realist novel. Degeneration and the Female Victim [15] The women who fall victim to poverty and find themselves on the street are often either completely disregarded or scorned by passers-by who blame the women for allowing fate to lead them to the streets.

Not surprisingly, the rise of modernity with its subsequent urban overcrowding and increased poverty led to philosophical and scientific investigations of the same. The breakdown on social and cultural levels was thought to cause individual decay, both moral and physical, often leading such to extremes in the individual as madness and even suicide. The reader must then evaluate female condemnation as a matter of context.

Most of the women are represented playing roles, as their lives have been reduced to their assignments accordingly. Necessity has created a space of dichotomous characters who, while pious, are whores, while well-meaning are murderers, and while desperate are ridiculous. His attention is always drawn to female figures on the street, to Dunya, to Sonya, to the likely fate of little Polenka.

Such a repetition of figures and their accompanying histories are not to be read as elements that remain separate from Rodion Romanovich.

He is deeply affected by them as indicated by both the pauses taken to describe them and by the various emotionally charged fainting spells that follow each episode. While he is an observer of the city around him, he is also, and more importantly, a part and product of it.

Hunger, delirium and fever do more than just highlight the significance and importance of the body with its functions and needs, but infantilize him. As victim, Raskolnikov relies constantly upon the charity and care-taking of his mother and sister, Nastasha, and even his landlady. In an almost motherly role, his friend Razumikhin feeds him, dresses him and tries to provide him with opportunities. His sister has accepted a proposal of marriage in order to save herself and their mother from abject poverty.

Raskolnikov receives this news with a confused emotional response of anger, hatred, resentment and sadness. When he cries, it is not for their fate, but for his own and at his own failures: Almost all the time that Raskolnikov was reading this letter his face was wet with tears, but when he came to the end it was pale and convulsively distorted and a bitter angry smile played over his lips. Dostoevsky 33 The confusion of emotions is clear in this passage as he both smiles and cries, is angry and devastated.

This letter forces him into a reality he had been in denial of: The history of Dunya and their mother can be reduced to the situation of thousands of women in and around the city trying to earn their keep and failing. With a good employer, she may have had a more desirable situation than the factory worker, one that shielded her against the shock of urban life.

To begin with, she seemed to be very young, no more than a girl, and she was walking through the blazing heat bare-headed and without gloves or parasol, waving her arms about queerly.

Her dress was of a thin silken material, but it also looked rather odd; it was not properly fastened, and near the waist at the back, at the top of the skirt, there was a tear, and a great piece of material was hanging loose. A shawl had been flung round her bare neck and hung crooked and lopsided. He came up with her close to the bench; she went up to it and let herself fall into a corner of it, resting her head against the back and closing her eyes as if overcome with weariness.

Looking closely at her, Raskolnikov realized at once that she was quite drunk. It was a strange, sad sight; he even thought he must be mistaken. Before him he saw the small face of a very young girl, of sixteen, or perhaps only fifteen or so, small, pretty, fair-haired; but the face looked swollen and inflamed. The girl seemed to have little understanding of her surroundings; she crossed one leg over the other, displaying more of it than was seemly, and to all appearances hardly realized that she was in the street.

Dostoevsky This young girl has been seduced and raped. She tried to save herself from the pursuits of her previous employer, Svidrigailov, and instead has found herself agreeing to marriage in order to avoid poverty.

The downward spiral that begins with the violation this wandering girl has just survived is not an exclusively female fate; Marmeladov serves as a counterpoint to all of the young women as he too cannot escape the cycle into which he has fallen.

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The description of her costume suggests the evils of capitalism and its associated impiety. This costume also foreshadows the religious epiphany to come as Tucker notes its astounding similarity to the description in Revelation This ostentatious costume carries its own message of sin and debauchery, compounding the message of use, abuse, and substitution that its condition implies.

At the genesis of his need to commit his crime however is the need for enough money to get through his studies. She wears clothing inherited from her also anonymous predecessor. She is reduced to the position of a monkey, an animal attached to the organ grinder for the amusement of the passers-by. The young girl with the organ grinder is experiencing just one of the many phases of the desperation that her life will lead to.

What is the nature and tone of the discussion between Dounia and Raskolnikov? What is ironic about it? Describe the person who follows Sonia. Which one do you agree with most? Which one do you agree with least? What is troubling Raskolnikov about his crime, the murder? Who inquires about Raskolnikov, and what does he tell Raskolnikov when Raskolnikov confronts him? What does Raskolnikov dream about?

Discussion Points Why has Svidrigailov come to visit Raskolnikov? Does Raskolinkov believe in ghosts and the afterlife?

Why or why not? What are your thoughts on the subject? During their conversation, Svidrigailov continuously hints that he and Raskolvikov are alike. How are they alike? What is the gossip that Luzhin shares regarding Svidrigailov? What is his motive for sharing it? How does Luzhin try to slander Raskolnikov?

Crime and Punishment (Audio Connoisseur Edition)

What are the results? Why does he feel this way? What does this feeling foreshadow? Raskolnikov goes to visit Sonia in section four, chapter four. Summarize their conversation and discuss its significance. Raskolnikov goes to see Porfiry in section four, chapter five. Discussion Points How does Luzhin slander Sonia?

What is his motive? What does Svidrigailov promise to do? Should Raskolnikov follow it? What does Raskolnikov vow to do to Svidrigailov? To whom is Svidrigailov engaged? Explain the circumstances surrounding the engagement. What happens between Svidrigailov and Dounia? Why does she lay down the pistol? Why does he stop his pursuit of her? What does Svidrigailov do to redeem himself? What do they suggest about him? When Raskolnikov confesses to Dounia, what is his attitude regarding his crime?

What does this suggest about him? What does Raskolnikov do before going to the police station to confess his crime?

How do people react? Why was he given it? Do you agree with it? Why is this significant? For example, if Raskolnikov were similar to Dante making the journey through Hell, who would be Virgil? Who would be Beatrice? You go back to nothing.