Humanity in Crime and Punishment
In Crime and Punishment, Fyodor Dostoyevsky created an unforgettable novel of haunting intensity. With its sustained focus on the emotions and thoughts of its young protagonist, Rodion Raskolnikov, Dostoyevsky's novel provides a harrowing portrait of human error and misfortune. Dostoyevsky had originally intended to write an account of murder from the perspective of the murderer himself. As he worked on the project in November 1865, however, he concluded that such a perspective might be too limited, so he chose an omniscient, third-person narrative mode instead. Yet traces of the original design remain: much of the novel offers direct insight into Raskolnikov's impressions and experiences. One of the ways in which Dostoyevsky allows the reader intimate access into his protagonist's mind is by describing Raskolnikov's dreams. Early in the novel, for example, Raskolnikov has a vivid dream in which he sees himself as a young boy accompanying his father on a visit to the grave of a younger brother who died in infancy. On the way to the grave, Raskolnikov and his father witness an enraged peasant beating an old, overburdened mare. The young boy is horrified to see how the peasant whips the horse across the eyes. Finally, the peasant kills the horse with an iron crowbar, and the shocked child runs over to kiss the horse's bloody muzzle. It is after he awakens from this dream that Raskolnikov utters aloud for the first time his plan to take an axe and smash open the old pawnbroker's skull. Clearly, Raskolnikov's vivid dream has brought to the surface his unexpressed, murderous intentions.
Dostoyevsky's treatment of this dream has additional significance, however. Some dream analysts might argue that every character in one's dream represents some aspect of the dreamer's personality or impulses. Therefore, not only does the figure of the murderous peasant evoke Raskolnikov's own murderous urges, but also, the figure of the murdered horse might represent some part of the dreamer. Indeed, Raskolnikov's crime not only has the effect of killing the pawnbroker and Lizaveta in a physical sense, it also has the effect of killing Raskolnikov himself in a spiritual sense. Long after the murder he would tell Sonya: "I killed myself, not that old creature!" Having "died" at the moment when he killed the pawnbroker and Lizaveta, Raskolnikov is faced with the challenge of being restored to "life," and much of the novel records his struggle with this problem.
Raskolnikov's interactions with Sonya play a significant role in this process. During the meeting in which he confesses his crime to her, Raskolnikov's conduct and words have the effect of creating a kind of psychological or emotional reen-actment of the original murder. Just as Raskolnikov feels that he killed himself when he murdered the pawnbroker, so too must he now have a second victim: the innocent Sonya takes the symbolic place of the innocent Lizaveta. The unconscious aim of Raskolnikov's behavior during this scene is to see how Sonya handles the dreadful experience. Will she be devastated by her recognition of Raskolnikov's crime, or, on the contrary, will she find a way to go on living and thus serve as a model for Raskolnikov himself? Her religious faith and her love for Raskolnikov serve as a potent force for the criminal's regeneration.
Dostoyevsky's treatment of the theme of death and regeneration makes distinctive use of religious imagery , from the Gospel account of the raising of Lazarus (first mentioned to Raskolnikov by Porfiry Petrovich and then read aloud by Sonya to Raskolnikov) to the final scene of the novel, which takes place soon after the Christian holiday of Easter. During that final scene, Raskolnikov feels a surge of overwhelming love for Sonya, as if his soul has undergone a sudden cleansing or purification. Dostoyevsky's description of this moment emphasizes its religious dimensions. He writes that Raskolnikov and Sonya experience "a perfect resurrection into a new...
(The entire section is 6,792 words.)