Crime and Punishment By Fyodor Dostoevsky



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Crime and Punishment

By Fyodor Dostoevsky


English III Hrs/AP/IB


Name___________________________________

Novel Study Questions

1. Cite incidents from the novel to illustrate Raskolnikov’s dual nature.

2. Identify doubles or pairs of characters who share similar or contradictory traits and discuss how these doubles add believability and suspense to the novel.

3. Discuss the extent to which Raskolnikov believes that his decision to commit the crime, and the resulting consequences of that crime, are the result of predetermination or fate.

4. Cite incidents from the novel illustrating the following theme: A man can be rehabilitated through the power of reconciliation, repentance, and love.

5. Point out and explain religious symbols, imagery, and/or themes in the novel including:

• the number 3

• the story of Lazarus

• Sonia’s cross

6. Point out the significance of the color yellow discuss what it may represent in Crime and Punishment.

7. Recognize and point out instances of irony in Crime and Punishment.

8. Discuss the importance of dreams in the novel to foreshadow future actions and to give insight into the minds of the characters.

9. Relate incidents from the lives of the female characters in the novel that illustrate the Following.  Be sure to address the SIGNIFICANCE of this element

• hardships the women must face in this era and the strength required to endure them.

• the willingness of the female characters to sacrifice themselves for others and to forgive the sins of others.

10. Discuss the extent to which Raskolnikov’s relationship with the female characters aids his rehabilitation.  Discuss what symbolism/ allusion is apparent in these relationships.

11. Discuss the theme of rebirth/ regeneration in the novel.  Consider how each of the following contributes to the development of this theme:

• love

• prayer


• repentance / confession

• punishment / suffering

• forgiveness / redemption

12.  Analyze the apparent connection between imprisonment and a kind of spiritual freedom.

13. Address the symbolic significance of the characters of Sonya, Dunya, Luzhin and Svidrigailov.

14.  Point out the ways Dostoevsky uses Svidrigailov’s nihilistic lifestyle and Lebeziatnikov’s nihilistic views to express his dislike of nihilism.

15.  Discuss the ways in which Raskolnikov and Dounia are alike and why only one of them is able to kill.
16.  Analyze the symbolic role of nature/ trees and plants/ water in the novel.  Discuss the role of the city.
17.  Examine the symbolic significance of heat in the novel.
18. Explain the significance of dreams in the novel.
19. Discuss the motif of madness in the novel.
20. Analyze the structure of the novel. Why is the epilogue included?
21. Analyze the point of view/ narrative technique.
22. Why is the phrase “to and fro” continuously used throughout the novel? Find examples and then analyze.
23. Is the fate of Raskolnikov related to the fate of Russia. Explain.
24. Analyze the use of spaces in the novel: liminal spaces, crossroads, stairs, etc.
Biography: Fyodor Dostoevsky

When Fyodor Mikhailovich Dostoyevsky wrote Crime and Punishment in the mid-1860s, he was already a well-known author. Nonetheless, he lived in near-poverty and was plagued by gambling debts. Born in Moscow in 1821, he was the second child in a family that eventually consisted of seven children. The family's life was unhappy: Dostoyevsky's father, a doctor, ruled the family with an iron hand; his mother, a meek woman, died when the boy was sixteen. Young Dostoyevsky developed a love of books and enthusiastically read Russian, French, and German novels. However, his father insisted that Dostoyevsky study engineering, and from 1838 to 1843 Dostoyevsky trained in this subject at the military engineering academy in St. Petersburg. During this time the elder Dostoyevsky was murdered by one of his serfs, an incident that had a profound impact on Fyodor.

In the mid-1840s Dostoyevsky embarked on a literary career, writing several short stories and novellas, including "The Double" (1846). The concept of the "double" — the notion that a person may have a divided personality, symbolized by a good or evil "twin" — surfaced in several of his later works, including Crime and Punishment. His early published works brought Dostoyevsky some recognition. In 1848 Dostoyevsky joined a group of radical intellectuals (known as the "Petrashevsky Circle" after their leader Mikhail Petrashevsky). The group discussed literary and political ideas and advocated reforming the autocratic tsarist government. Dostoyevsky and several of his friends were arrested for treason, tried, and sentenced to death. Just as they were lined up in front of the firing squad, a messenger arrived with news that the tsar had commuted the death sentence to a term of hard labor in Siberia. Dostoyevsky later alluded to this event in Crime and Punishment and in other books. (It is believed that the authorities intended a mock execution all along.) During his five years in prison, Dostoyevsky came to know many of the prisoners, the great majority of whom were ordinary criminals rather than political prisoners. Through his dealings with them, the writer developed an understanding of the criminal mentality and the Russian soul. His political views also changed. He rejected his earlier pro-Western liberal-socialist ideas and instead embraced a specifically Russian brand of Christianity. His prison experiences provided the material for his later book The House of the Dead (1861).

After his release from prison camp in 1854, Dostoyevsky had to spend several more years in Siberia as an army private. He returned to St. Petersburg in 1859 and resumed his literary career. In the early 1860s he traveled extensively in Western Europe. However, he was troubled by personal misfortune, including the death of his wife and his brother, with whom he edited a literary journal. He also was afflicted by epilepsy, a condition little understood at the lime. Moreover, he was unable to control his compulsive gambling habit, and he found himself on the brink of poverty. His writing during this period was stimulated not only by an intense desire to express important ideas but also by a need to earn money. In 1864 he wrote Notes from Underground, whose narrator is a self-confessed "sick ... spiteful ... unattractive man," an embittered character who resents society. Immediately after this book, Dostoyevsky started work on Crime and Punishment (1865-66), regarded as his first true masterpiece. Important Russian critics hailed the work, and Dostoyevsky was acclaimed as one of Russia's most significant writers and thinkers. However, he still faced financial ruin, and the next year he wrote, in just one month, a novella called The Gambler in order to pay his debts. He subsequently married the stenographer to whom he had dictated the work, Anna Snitkina. She helped reform his life, and they lived abroad for several years. Foremost among his later novels are The Idiot (1869), The Possessed (also translated as The Devils, 1871), and The Brothers Karamazov (1880). With Crime and Punishment, these books express the essence of Dostoyevsky's social and moral philosophy and his insight into human character. In the last decade of his life, Dostoyevsky finally gained critical acclaim, social prestige, and financial security. He died in St. Petersburg in 1881.

Dostoyevsky's reputation and his influence remain strong to the present day. Virtually all his books have been translated into English and are in print. His insights into the complexities of human psychology anticipated the theories of Sigmund Freud and other early psychologists. (Indeed, Freud acknowledged Dostoyevsky's importance in this field.) Later novelists as diverse as Robert Louis Stevenson, Franz Kafka, Albert Camus, and Iris Murdoch all drew inspiration from Dostoyevsky's themes and characters, while Aleksandr Solzhenitsyn carries on with Dostoyevsky's unique brand of Russian nationalism and Christianity. Filmmakers Ingmar Bergman and Woody Allen have also acknowledged a debt to Dostoyevsky in their views of human nature. Some scholars have gone so far as to claim that Dostoyevsky's view of the Russian character and politics prophesied the Russian Revolution and the terrible deprivations that Russia suffered under Soviet Communist rule in the twentieth century. With his contemporary Leo Tolstoy, Dostoyevsky is today regarded as one of the two greatest nineteenth-century Russian novelists and indeed as one of the most important novelists of any nation or period.
Themes in Crime and Punishment

On the surface, Crime and Punishment belongs to the popular genre known as the crime novel. A young man (Raskolnikov) commits a murder and then tries to conceal his guilt and evade arrest. In the end he confesses, is arrested, and is sent to prison, where he begins a process of spiritual regeneration. The novel's suspense arises not only from the question "what will happen next?", but from Dostoyevsky's close and relentless examination of the murderer's psyche. Dostoyevsky is more interested in important philosophical questions than in the technical police procedures of bringing a criminal to justice. He is also interested in the criminal's motives, which are ambiguous. The title indicates Dostoyevsky's interest in opposites and in the duality of human nature. The nature of guilt and innocence, the role of atonement and forgiveness, and the opposition of good and evil (and God and the Devil) all play an important thematic role in the book. While Dostoyevsky also examines social and political problems in the Russia of his day, his concerns are universal.



Guilt and Innocence
In large part, Crime and Punishment is an examination of the guilty conscience. For Dostoyevsky, punishment is not a physical action or condition. Rather (much as in Milton's epic poem Paradise Lost), punishment inherently results from an awareness of guilt. Guilt is the knowledge that one has done wrong and has become estranged from society and from God. From the very beginning of the novel, Raskolnikov (whose name derives from the Russian word for "schism") suffers from this estrangement. In murdering the pawnbroker, he seeks to prove that he is above the law. But his crime only reinforces his sense that he is not a part of society.

Although she is a prostitute, Sonya is the embodiment of innocence. Her motive in becoming a prostitute was not one of lust. Indeed, in all of the novel, there is no indication that Sonya has any lustful or sexual inclination. On the contrary, she is embarrassed by, and ashamed of, her profession. In Dostoyevsky's eyes, she is not guilty of any transgression. She does what she does out of sheer necessity, not out of any base instincts or any hope for personal gain.

In contrast with Sonya's sense of shame over the life she leads, Pyotr Luzhin is shameless in the way he manipulates Raskolnikov's sister and mother (Dunya and Pulkheria Aleksandrovna). He is guilty of emotional blackmail as well as of fraud. Arkady Svidrigailov is an even more "guilty" character. Luzhin's crimes are calculated, whereas Svidrigailov's crimes result from his complete surrender to his evil nature. Rather than facing up to his guilt and its consequences, as Raskolnikov does, Svidrigailov partially acknowledges his guilt but evades the consequences by committing suicide. Although Raskolnikov is the central figure of Crime and Punishment, Dostoyevsky suggests that Raskolnikov may not quite be the book's most guilty criminal. Svidrigailov and Luzhin are also guilty of criminal misdeeds, and they are less open than Raskolnikov to the possibility of redemption.

Atonement and Forgiveness
The theme of atonement and forgiveness is closely related to that of guilt and innocence. As Dostoyevsky's title suggests, punishment is the only logical and necessary outcome of crime. Punishment, however, does not mean merely a legal finding and a sentence of imprisonment. In Dostoyevsky's view, the criminal's true punishment is not a sentence of imprisonment. Nor is legal punishment the definitive answer to crime. The criminal's punishment results from his own conscience, his awareness of his guilt. However, he must not only acknowledge his guilt. The criminal must atone for it and must seek forgiveness.

Raskolnikov at first tries to rationalize his crime by offering various explanations to himself. Foremost among these is his "superman" theory. By definition, the superman theory denies any possibility of atonement. The superman does not need to atone, because he is permitted to commit any crime in order to further his own ends. Raskolnikov also rationalizes his crime by arguing that the old pawnbroker is of no use to anyone; in killing her, he is ridding the world of an unpleasant person. Driven by poverty, he also claims that he wants to use her money to better his position in life. In the course of the book, he comes to realize that none of these excuses justifies his crime.

Raskolnikov's reasons for fearing arrest are equally complex. It is clear, however, that without the example and the urging of Sonya, he would not be able to seek forgiveness. He finds it remarkable that when he confesses his crime to her, Sonya immediately forgives him. She urges him to bow down before God and make a public confession. This act of contrition, she believes, will enable him to begin to cleanse his soul.

Svidrigailov is aware of his own guilt, but he does not seek forgiveness. Unlike Raskolnikov, he does not believe in the possibility of forgiveness. In giving money to Sonya and others, he attempts a partial atonement for his sins. However, even these gestures are motivated partly by base self-interest. Because he is spiritually dead, he feels that the only atonement he can make is to commit suicide.



Ubermensch ("Superman")
Part of the motive for Raskolnikov's crime comes from a theory that he has developed. In an essay that he publishes, Raskolnikov argues that humankind is divided into two categories: ordinary people, and geniuses or supermen. Ordinary people must obey the law, but "supermen" — of whom there are very few in any generation — are entitled to break existing laws and make their own laws. Raskolnikov cites the French emperor Napoleon as the epitome of the superman type. He argues that Napoleon rose to power by overstepping the laws that govern ordinary people. Napoleon made his own laws and achieved his goals by killing tens of thousands of people in wars. Because Napoleon was a genius, Raskolnikov reasons, he was not regarded as a criminal. On the contrary, he was hailed as a hero. Early in Crime and Punishment, Raskolnikov has become obsessed with the notion that he himself is a "superman." Therefore, he thinks, he is not subject to the laws that govern ordinary people. (In the original Russian text, Dostoyevsky frequently uses a word that means "overstepping" or "stepping over"—that is, transgressing. This word is closely related to the Russian word for "crime" (prestuplenie). Raskolnikov decides to murder the pawnbroker Alyona Ivanovna partly to prove that he is a superman. However, his indecision and confusion throughout the novel indicate that he is not a superman. Moreover, in the course of the novel, Dostoyevsky seeks to prove that there is no such thing as a superman. Dostoyevsky believes that every human life is precious, and no one is entitled to kill.

Dostoyevsky's formulation of the superman theory (through Raskolnikov) clearly anticipates the ideas developed by the German philosopher Friedrich Nietzsche in the 1880s. For Nietzsche, the superman and his "will to power" were supreme ideals. Christianity stood in the way of the superman, and Nietzsche scorned Christianity as a "slave morality." Dostoyevsky's view of the superman is absolutely opposed to Nietzsche's. For Dostoyevsky, following the "superman" theory to its natural conclusion inevitably leads to death, destruction, chaos, and misery. Rather than seeing Christianity as a "slave mentality," Dostoyevsky views it as the true vision of the human place in the world and of the human relationship with God. In Dostoyevsky's view, all people are valued in the eyes of God.

Other Elements

Narrative
Crime and Punishment is written in the third person. However, Dostoyevsky's narrative focus shifts throughout the novel. Crime and Punishment is widely credited as the first psychological novel, and in many passages, Dostoyevsky is concerned with the state of mind of the central character, Rodion Romanovich Raskolnikov. In these passages—including those that relate Raskolnikov's brooding, the murder itself, and his encounters with the inspector Porfiry Petrovich—Dostoyevsky puts us inside Raskolnikov's head. We view the action from Raskolnikov's viewpoint and share his often-disordered and contradictory thoughts. These passages read more like a first-person confession than a detached third-person fictional narrative. At the same time, he describes exterior events with clear realism. Critics have pointed out that Dostoyevsky is essentially a dramatic novelist. He does not so much tell a story as enact it. Crime and Punishment is full of dramatic scenes, of which Raskolnikov's murder of the pawnbroker is only one. There are also a number of dramatic confrontations between characters. Dostoyevsky's characters rarely have calm discussions; rather, they have fierce arguments and verbal duels. Generally (but not always) Raskolnikov is at one end of these confrontations. At the other, in various scenes, are his friend Razumikhin, his sister and mother, his sister's corrupt suitor Luzhin, the police investigator Porfiry Petrovich, the innocent prostitute Sonya, and the cynical landowner Svidrigailov. These duels and pairings help to illustrate the idea of the double, discussed further below.

Setting
The action of the book takes place in St. Petersburg, the capital city of Russia, in the summer of 1865. (The brief epilogue is set in Siberia.) Crime and Punishment is a distinctly urban novel. In choosing a definite urban setting, Dostoyevsky was paving new ground for Russian fiction. His Russian predecessors and contemporaries such as Gogol, Turgenev, and Tolstoy generally set their stories on country estates. In confining the action of his novel entirely to St. Petersburg, Dostoyevsky was emulating the English author Charles Dickens, who set his well-known stories in the British capital, London. Moreover, St. Petersburg is not just a backdrop, but it is an inherent part of the novel. Dostoyevsky recreates St. Petersburg's neighborhoods and its streets, bridges, and canals with great realism. In his narrative, Dostoyevsky does not give the full street names, but uses only abbreviations. (In the very first paragraph, for example, he refers to "S—Lane" and "K—n Bridge.") Readers who were familiar with St. Petersburg would probably have been able to identify most of these specific locations, as modern scholars have done.

Much of the action takes place indoors, generally in cramped tenement apartments. With these settings, Dostoyevsky creates a tense, claustrophobic atmosphere. For example, in the weeks before he commits the murders, Raskolnikov has been lying in his tiny room and brooding. He retreats to this room after the murders, occasionally leaving his lair to wander the city's streets.

Most of the book's main characters are not natives of St. Petersburg, but have come to the city from Russia's far-flung rural provinces. Thus, they are not at ease in this urban setting. Provincial Russians might normally regard the capital city, created by Peter the Great as Russia's "window on the West," as a place of opportunity. However, for Raskolnikov, Katerina Ivanovna, Svidrigailov, and other characters, the city turns out to be a destination of last resort, a place where their diminished expectations are finally played out. (Svidrigailov remarks that "there aren't many places where there are as many gloomy, harsh and strange influences on the soul of man as there are in St. Petersburg.") This sense of the city as a dead-end is emphasized by the settings. The apartments where Raskolnikov and the Marmeladovs live are so small that there is scarcely enough space for a small group of visitors. Moreover, at several points in the novel, characters are threatened with eviction and fear that they will wind up on the streets. Near the end of the book, Katerina Ivanovna and her children beg on the streets by singing and dancing.

Most readers tend to think of Russia as a "winter" country, with lots of snow and cold weather. Dostoyevsky contradicts these expectations by setting his story during an unusual summer heat wave. The heat and humidity add to the general sense of discomfort that pervades the narrative. They also reflect and reinforce the feverish state that afflicts Raskolnikov throughout the book.



Structure
Crime and Punishment is divided into six parts plus an epilogue. Each part is broken further into several chapters. For the most part, each chapter centers around a self-contained dramatic episode. Much of this episodic structure is attributable to the fact that Crime and Punishment was written for serialization in a magazine. Magazine readers wanted each installment to be complete in itself and to contain colorful incidents. Many chapters end with the sudden, unexpected arrival of a new character. By introducing such developments at the end of many of the chapters, Dostoyevsky maintained a high level of suspense. He knew that his readers would be curious to know what would happen in the next chapter and that they would look forward to the next installment. Moreover, an unresolved complication at the end of a particular chapter would also stimulate Dostoyevsky to write the next chapter. This method of writing helps account for the numerous abrupt shifts in the plot focus.

Coincidence
Like many other important nineteenth-century novelists, Dostoyevsky does not hesitate to use coincidence to advance the plot. Indeed, many of the crucial developments in Crime and Punishment depend on sheer coincidences that seem highly unlikely to the modern reader. However, coincidence was an accepted literary convention of the period. Dostoyevsky does not attempt to explain away his coincidences, but on the contrary he simply states them as matters of fact. He uses this technique as a shortcut to bring together certain characters and set up dramatic situations.

While he is walking down the street, Raskolnikov comes upon the scene of an accident. The accident victim turns out to be Marmeladov, a drunken civil servant whom he had met earlier in the novel. Marmeladov has been run over by a horse-drawn carriage. Raskolnikov takes charge of the situation and has Marmeladov carried home, where the injured man dies. This coincidence leads to Raskolnikov's first meeting with Marmeladov's daughter Sonya, who has turned to prostitution to support the poverty-stricken family. Drawn to Sonya by her meek nature and pure heart, Raskolnikov will later confess to her. In another coincidence, Sonya turns out to have been a friend of Lizaveta. This disclosure serves to increase Raskolnikov's sense of guilt and further points up Sonya's selflessness.

It is also purely coincidence that the scheming Luzhin happens to be living temporarily in the same building as Katerina Ivanovna. This makes plausible his appearance at Katerina's funeral party and his attempt to frame Sonya for robbery. Later, Svidrigailov just happens by coincidence to be renting the apartment next door to Sonya's apartment. Thus, he is able to overhear Raskolnikov's murder confession. Svidngailov's awareness of Raskolnikov's guilty secret helps set into motion another chain of events. There are many more such coincidences in the course of the story. That such coincidences involving a relatively small number of characters would occur in a large city like St. Petersburg is almost unbelievable. However, Dostoyevsky's narrative has such dramatic force that the reader is able to overlook the implausibility of these coincidences.

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