CRIME & PUNISHMENT - Dostoevsky & Women

She implores him to confess his crime and remain loyal to him throughout the course of events. She even follows him to Siberia where she tries to help him pass on the peace and humility necessary for his atonement. Sonya represents the ideal of obeying God's law initiatory and man's will second to Raskolnikov. She is selfless, unlike himself who believed he could tell apart matters into his avouch muckles and thus set himself above or away from society, "She is all self-sacrifice and sharing, literally giving her body for the interest of loved ones?From an early point on in the novel, then, Raskolnikov is localize to attach to her an idealized communitas, just as he attach the ideal of the bronze man to Svidrigaylov. He sees in her the most(prenominal) concentrated expression of a principle (i.e., nonwill, yielding to higher(prenominal) authority [God] as judge over what happens in life, straight-out compassion)," (Anderson, 1986: 59).

Sonya is also a catalyst of Raskolnikov that allows him to see the best split of herself as something that he strives to attain for himself. However, he is cautious and teetotal in what he allows to occur or be change between Sonya and himself. When they argon talking about God and who deserves to pass away and who to die, he tells Sonya that God will not save her family. To this she replies that in that respect is only one power she would be nothing without and that is God, "What would I be without Him," (Anderson, 1986: 61

Dostoevsky, F. Crime and Punishment. Oxford Univ. Press, NY: 1995.

Bakhtin, M. Problems of Dostoevsky's Poetics. Univ. of atomic number 25 Press, MINN: 1984.

Lizaveta plays an important function in the novel as well. She is contrasted with Alena, who together, for Raskolnikov, are the personification of his opposing choices, "Alena and Lizaveta are not only characters in their own right, but embodiments of the polar choices confronting Raskolnikov himself: on the one hand ruthless self-interest, on the other selfless humility.

They are reflections of the two antithetical types of humanity posed in Raskolnikov's article-the tyrant as hero, and the ordinary person as victim," (Dostoevsky, 1995: xviii). By becoming self-asserting, Raskolnikov chooses to force out the good part of himself and also Lizaveta. Lizaveta is more crucial than Alena in function though, because it is her murder that Raskolnikov feels the need to confess to Sonya the most. This is because he senses in her, like he does in Sonya, the higher parts of his macrocosm that he cannot get attuned with. Sonya and Lizaveta are linked in his top dog and in the novel, "Sonya is quite specifically linked to Lizaveta. The two women stimulate exchanged crosses, and the bible from which Sonya reads the symbolic story of the raising of Lazarus was minded(p) her by Lizaveta. The identification of Sonya with Lizaveta is in Raskolnikov's mind before his worrying dream and re-enacting of the murder of Alena-an Alena who refuses to die," (Dostoevsky, 1995: xix). In a similar manner, wickedness cannot begin to die in Raskolnikov, nor humility and peace take its place, before he confesses to Sonya.

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