Crime and Punishment Literary Analysis

On a hot and sultry day in July, Rodion Romanovitch
Raskolnikov, an energetic understudy, slips past his landlady to whom he is
enthusiastically paying off account holders, and wanders inconsistently towards
an old and terrible pawnbroker, Alyona Ivanovna. He has cut himself off from
everyone and other than pulls back from a human lead. His little storeroom of a
room, his commitments, and his overwhelming destitution dishearten him to the
point of rendering him unequipped for going to classes or coaching his
particular understudies.

While in travel to the pawnbroker’s, he essentially can
scarcely envision how he will play out some evil movement. He similarly
understands that his thoughts are dumbfounded, to some degree in light of the
way that he had eaten in every practical sense nothing for two days.
Notwithstanding the way that he was a strikingly handsome youthful individual,
he dresses so wretchedly in garments that no one would see his covered direct.

It was not far to the pawnbroker’s home — “correctly
seven hundred and thirty” paces. After arriving, he is from every angle
sickened with the entire methodology and watches his means to be terrible and
defiling. The old pawnbroker is cautious about opening the door, and when she
does, she appears left and to a great degree old, with sharp, pernicious eyes
and ghastly oil in her hair. Raskolnikov uncovers to her he has something else
to pawn, and they bargain over the cost, but he needs to recognize her offer
since “he had no place else to turn.” As he leaves, he reveals to her
that he has something more vital to pawn and he will bring it later. He leaves
in a state of over the top agitating.

Analysis

In any novel as great as Crime and Punishment, the purposes
of enthusiasm of the early or at an opportune time areas will twist up
perceptibly central to the interpretation of the entire novel. In this initial
area, Raskolnikov is seen restricted from everyone; later, he even feels
ungainly around his mother and sister. And in the Epilog when Raskolnikov is in
prison in Siberia, he felt isolated and repulsed from his related prisoners:
“. . . He felt that awful unbridgeable chasm which lay among him and the
others. .as if he and they had a place with different races.” Both in this
initial area and the Epilog, Raskolnikov avoided everyone. All through the
novel, he will begin a talk with an individual and out of the blue for no
reason; he will leave and disengage himself further.

This initial segment moreover focuses on his remarkable
dejection and his little, limited apartment suite. Routinely in the midst of
the novel, these physical issues will be used to clarify his crimes and his
wiped out terrified feelings that are attributed to the grimness of his room
and his nonattendance of sustenance.

Rather than his physical condition, this particular
appearance is exceptional; notwithstanding the way that he is wearing garments,
he is still especially handsome, thin, “very much worked with beautiful
diminish eyes and diminish darker hair.” Too as often as possible, even
today, specialists routinely depict Raskolnikov as physically ruined and
deformed — a ghastly Mr. Hyde or a shocking dissident. Not at all like other
mind-blowing researchers, for instance, Dickens, whose keen characters are
depicted in disagreeable terms, Dostoevsky does the correct opposite — he
displays Raskolnikov as physically appealing with a specific end goal to keep
any possible view that the abnormality of his crime is affected by a physical
misshapening. Strikingly, the physical magnificence of the character stands out
significantly from the abnormality of the crime.

In the end, Raskolnikov will create a twofold character,
fluctuating between two extremes. For example, he is making such careful
courses of action for the crime, notwithstanding going so far as to check the
number of paces from his space to Alyona Ivanovna’s apartment suite. However,
in the exceptionally center of his attentive arranging, he is then again bothered
by the detestability and peculiarity of the crime and that his entire
game plan is shocking and corrupting. But even with these appalling thoughts,
he continues making arrangements for the murder.

Plus, his plans have not yet been finished up. He knows
about his crime just on a basic level, a reality that will later breeze up
perceptibly essential to his recovery when he attempts to uncover his
inspirations to Sonya toward the completion of the novel. In this way, the
per user must be set up for backward reactions including Raskolnikov’s mind, and
what may show up an abnormality elsewhere is here used to clarify his twofold
(or split) character. His visit to Alyona Ivanovna’s demonstrates the two his
repulsiveness to his game plan and his game plans for its execution.

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