Sorry, this paragraph is quite long. Thanks all! --Lev
This return to the crossroads, though a step in the right direction of true life-affirmation, still falls prey to a dependence on external morality because of Raskolnikov's unwillingness to find some greater meaning in his actions than simple conformity to the symbolic law. Coming to a crossroads of sorts as he walks through the Haymarket, Raskolnikov's journey to the police station to confess is abruptly halted as "he knelt in the middle of the square, bowed to the earth, and kissed that filthy earth with delight and happiness" (Dostoevsky 525), and yet his intention to confess is yet again distracted by the social order, the "talk and commentary" which "held Raskolnikov back" (Dostoevsky 525). The conditions of this second experience at the crossroads are clearly different from the first: here, Raskolnikov actually bows down, actually begins to confess his crime, and has finally come to a long series of realizations about himself and the meaning of his transgressions. Yet this second attempt at public confession still devolves into mere reconciliation with the law, ethically distinct from true repentance, as Raskolnikov seems only to be remembering "Sonya's words" (Dostoevsky 525), as she's "the one who was sending [him] to the crossroads" (Dosteovsky 522). Though his actual motives in going to confess are unclear, Sonya's influence is clearly key in his decision, as he justifies his actions to her by saying that it was "you yourself [who] wanted me to go...and your wish will be fulfilled" (Dostoevsky 523). At no point does he mention some greater moral or personal justification for confessing, until somewhat later when asked the reason for his confession. Raskolnikov tells that "it was sincere repentance," yet the narrator comments that "there was something almost crude about it all" (Dostoevsky 536). This distinction is made quite clear with the onset of Raskolnikov's sickness, when he describes his crime as "a simple blunder that could have happened to anyone" (Dostoevsky 543 emphasis in original). Both the emphasis used in this sentence and recognition that Raskolnikov’s crime wasn’t unique to him demonstrate how Raskolnikov hasn’t yet really changed through confession. What Raskolnikov desires is "repentance—burning repentance, that breaks the heart,” for “torments and tears—that, too, was life" (Dostoevsky 544). But in the aftermath of his confession, Raskolnikov’s intentions are revealed to be impure, for in reconciling himself with the law he has not found meaning or affirmed his life—he lives merely “in order to exist” (Dostoevsky 543). All this seems to suggest that genuine repentance is a powerfully personal matter: not simple confession or punishment, but rather a recognition of one’s wrong and a desire to move past it.
A last similarity between the illnesses of Raskolnikov and Svidrigailov is the constant state of delirium in which they exist whilst sick. Raskolnikov dreams that he his surrounded by people who “look at him, threaten him, arrange something among themselves, laugh and tease him” (Dostoevsky 269). Although there are people present in the room during his sickness, it is obvious that Raskolnikov, overly paranoid in his feverish state, has twisted their purposes and demented their demeanors in his mind. Furthermore, in describing his own mental state, Dostoevsky says, “he agonized, suffered… moaned, fell into a rage, or into terrible, unbearable fear” (Dostoevsky 270). Raskolnikov’s illness has forced him to fantasize about the happenings in his room and become nauseated with his own fearful, irritated feelings. Svidrigailov’s illness leads him into a similar state of semi-awareness in which he constantly is following in and out of consciousness. When lying in his room in the hotel, Svidrigailov notices, “something… scurried unpleasantly over his leg; … Trembling with feverish chill, he bent down to examine the bed—there was nothing” (Dostoevsky 1038). Svidrigailov undoubtedly and vividly feels a mouse scurrying up and down his body; yet, it is obviously proven to be a dream when he awakes from his agitated state. Later, Svidrigailov dreams that he has found a 5-year-old girl and given her shelter from the cold by wrapping her in a blanket in his bed. However, when he lifts the blanket to check on her, he finds that the girls eyes, “look over him with a fiery and shameless glance, they beckon to him, they laugh” (Dostoevsky 1045). The hallucinations of the two men serve to draw a further parallel between their illnesses. Additionally, Raskolnikov’s dream revolves around his paranoid feelings, implying worry and guilt about the crime he has just committed, whereas Svidrigailov’s dream is centered around a little girl attempting to seduce him, characterizing him further as pedophilic and without regret for his actions revealed to the reader over the past couple of chapters.
Sorry, this paragraph is quite long. Thanks all! --Lev
ReplyDeleteThis return to the crossroads, though a step in the right direction of true life-affirmation, still falls prey to a dependence on external morality because of Raskolnikov's unwillingness to find some greater meaning in his actions than simple conformity to the symbolic law. Coming to a crossroads of sorts as he walks through the Haymarket, Raskolnikov's journey to the police station to confess is abruptly halted as "he knelt in the middle of the square, bowed to the earth, and kissed that filthy earth with delight and happiness" (Dostoevsky 525), and yet his intention to confess is yet again distracted by the social order, the "talk and commentary" which "held Raskolnikov back" (Dostoevsky 525). The conditions of this second experience at the crossroads are clearly different from the first: here, Raskolnikov actually bows down, actually begins to confess his crime, and has finally come to a long series of realizations about himself and the meaning of his transgressions. Yet this second attempt at public confession still devolves into mere reconciliation with the law, ethically distinct from true repentance, as Raskolnikov seems only to be remembering "Sonya's words" (Dostoevsky 525), as she's "the one who was sending [him] to the crossroads" (Dosteovsky 522). Though his actual motives in going to confess are unclear, Sonya's influence is clearly key in his decision, as he justifies his actions to her by saying that it was "you yourself [who] wanted me to go...and your wish will be fulfilled" (Dostoevsky 523). At no point does he mention some greater moral or personal justification for confessing, until somewhat later when asked the reason for his confession. Raskolnikov tells that "it was sincere repentance," yet the narrator comments that "there was something almost crude about it all" (Dostoevsky 536). This distinction is made quite clear with the onset of Raskolnikov's sickness, when he describes his crime as "a simple blunder that could have happened to anyone" (Dostoevsky 543 emphasis in original). Both the emphasis used in this sentence and recognition that Raskolnikov’s crime wasn’t unique to him demonstrate how Raskolnikov hasn’t yet really changed through confession. What Raskolnikov desires is "repentance—burning repentance, that breaks the heart,” for “torments and tears—that, too, was life" (Dostoevsky 544). But in the aftermath of his confession, Raskolnikov’s intentions are revealed to be impure, for in reconciling himself with the law he has not found meaning or affirmed his life—he lives merely “in order to exist” (Dostoevsky 543). All this seems to suggest that genuine repentance is a powerfully personal matter: not simple confession or punishment, but rather a recognition of one’s wrong and a desire to move past it.
A last similarity between the illnesses of Raskolnikov and Svidrigailov is the constant state of delirium in which they exist whilst sick. Raskolnikov dreams that he his surrounded by people who “look at him, threaten him, arrange something among themselves, laugh and tease him” (Dostoevsky 269). Although there are people present in the room during his sickness, it is obvious that Raskolnikov, overly paranoid in his feverish state, has twisted their purposes and demented their demeanors in his mind. Furthermore, in describing his own mental state, Dostoevsky says, “he agonized, suffered… moaned, fell into a rage, or into terrible, unbearable fear” (Dostoevsky 270). Raskolnikov’s illness has forced him to fantasize about the happenings in his room and become nauseated with his own fearful, irritated feelings. Svidrigailov’s illness leads him into a similar state of semi-awareness in which he constantly is following in and out of consciousness. When lying in his room in the hotel, Svidrigailov notices, “something… scurried unpleasantly over his leg; … Trembling with feverish chill, he bent down to examine the bed—there was nothing” (Dostoevsky 1038). Svidrigailov undoubtedly and vividly feels a mouse scurrying up and down his body; yet, it is obviously proven to be a dream when he awakes from his agitated state. Later, Svidrigailov dreams that he has found a 5-year-old girl and given her shelter from the cold by wrapping her in a blanket in his bed. However, when he lifts the blanket to check on her, he finds that the girls eyes, “look over him with a fiery and shameless glance, they beckon to him, they laugh” (Dostoevsky 1045). The hallucinations of the two men serve to draw a further parallel between their illnesses. Additionally, Raskolnikov’s dream revolves around his paranoid feelings, implying worry and guilt about the crime he has just committed, whereas Svidrigailov’s dream is centered around a little girl attempting to seduce him, characterizing him further as pedophilic and without regret for his actions revealed to the reader over the past couple of chapters.
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