Epilogue of crime and punishment
Crime and punishment themes
Dounia put implicit faith in his carrying out his plans and indeed she could not but believe in him. The entire dialogue turns on the process whereby the truth of Raskolnikov's identity becomes known not only to Sonja but to himself as well. But that in the end these visits had become a habit and almost a necessity for him, so that he was positively distressed when she was ill for some days and could not visit him. Five months after Raskolnikov's confession, he was sentenced. The author tells us that Raskolnikov feels as though he were being dragged along now mechanically and irresistibly. At first they found Sonia's letters dry and unsatisfactory, but later on they came to the conclusion that the letters could not be better, for from these letters they received a complete picture of their unfortunate brother's life. These stories also granted Raskolnikov some leniency during sentencing, since they attested to his goodness of character. Plus, Raskolnikov rescued not one but two little kids from a burning building and has the burns to prove it. He thought of her. Tragedy is contemporaneous with the City and with its legal system.
She did not try to win their favour; she rarely met them, sometimes only she came to see him at work for a moment. The sentence however was more merciful than could have been expected, perhaps partly because the criminal had not tried to justify himself, but had rather shown a desire to exaggerate his guilt.
Crossroads in crime and punishment
Not a word passed between Raskolnikov and her on the subject, but both knew it would be so. Oh, sceptics and halfpenny philosophers, why do you halt half-way! Apparently, Raskolnikov is fairly healthy. Moreover, it is in the very nature of the tragic model that its central ethical problem involve a conflict between a primitive and a modern system of beliefs, and that the primitive system prevail in the end. All of Dostoevsky's greatest heroes, from the underground man to the Karamazovs, come from broken families, from families in crisis, or seem to have severed all ties with a family that is never even mentioned. The final picture is this. Her feelings, her aspirations at least…. But that is the beginning of a new story--the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. And the central aspect of this conflict is the question of freedom. All barriers are broken and everything is transgressed. They were continually making plans for the future; both counted on settling in Siberia within five years at least. Sonia and he at last set off. It is sufficient to recall his antagonism towards his radical contemporaries in the 's, towards writings like Chernyshevskij's "Anthropological Principle in Philosophy, " that great, muddled assault on human freedom, towards the scientism of the nihilists, in short, towards any view which used the findings of modern science to reduce man to a cog in the mechanism of nature and thus deprive him of his individual freedom of action.
The second week after Easter had come. Raskolnikov had been very dreamy for a few days before. Again it was a warm bright day.
But he could not think for long together of anything that evening, and he could not have analysed anything consciously; he was simply feeling. They were both pale and thin; but those sick pale faces were bright with the dawn of a new future, of a full resurrection into a new life.
Epilogue of crime and punishment
He suffered too from the question: why had he not killed himself? She knew and had no doubt that he loved her beyond everything and that at last the moment had come. Unwilling to let go of this belief, he is again forced to confront his mediocrity in the realm of the subconscious. What terrible agonies and privations some of them, the tramps for instance, had endured! But the Christian logic understands suffering as a means to an end, not as a finality, and thus departs from the tragic form at this point, adding its own final stage, namely rebirth. The most ordinary trades were abandoned, because everyone proposed his own ideas, his own improvements, and they could not agree. Praeger, And, just as the Greek hero seems in part led by forces beyond his control to commit the ambiguous act that later brings him great suffering, so it is with Raskolnikov. Oh, how happy he would have been if he could have blamed himself! It is easy to see how the pattern fits Raskolnikov, for, as I pointed out earlier, Raskolnikov's Christian acceptance of suffering is dependent on the understanding which grows from Sonja's teachings and from Svidrigajlov's suicide.
Why, he had been ready a thousand times before to give up existence for the sake of an idea, for a hope, even for a fancy. There could be no doubt of the abnormal and poverty-stricken condition of the criminal at the time. All fell on him at once in a fury.
The lawyers and the judges were very much struck, among other things, by the fact that he had hidden the trinkets and the purse under a stone, without making use of them, and that, what was more, he did not now remember what the trinkets were like, or even how many there were.
And the same suggestion that the act was committed somehow in a way that escaped Raskolnikov's control is present in those Utopian Socialist statements that attribute the crime to environmental factors " "low ceilings and close rooms oppress the soul and mind!
Sonia and he at last set off.
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