Character Analysis Arkady Svidrigailov 2 page

Raskolnikov's thoughts about crime and psychology reveal his theory that the failure of any crime lies not so much in the impossibility of concealing the crime, as in the criminal himself. "Every criminal, at the moment of the crime, is subject to a collapse of will-power and reason. . . ." Thus, later, Raskolnikov, after murdering Alyona, has a failure of will when he leaves the apartment door wide open, allowing Lizaveta to enter and forcing Raskolnikov to kill her also, and when he arrives at the pawnbroker's a half an hour late.

Finally, the reader should keep in mind that painters are in the flat below; and later Raskolnikov will faint at the smell of paint. There is also an interminably long ringing sound of the bell — a sound that returns to him in his illness.

Summary and Analysis Part 1: Chapter 7

Summary

As soon as the door was opened a crack, Raskolnikov forced his way into the pawnbroker's. She is frightened, and he gives her the pledge that he had wrapped so carefully, telling her that it is a silver cigarette case. As she laboriously unwraps the package, he removes the axe and, while her back is turned, he hits her with the butt end of the axe. He then strikes her again and again with the blunt end of the axe. Very carefully, he lays the axe down by the body and begins to search through her pockets for keys.

While searching for the keys, he notices that Alyona Ivanovna wears two crosses, one of cypress wood and one of copper. He then finds some keys and a small leather purse stuffed very full and he takes them. As he searches the rooms, he finds all sorts of gold and silver items, but he suddenly hears footsteps in the entranceway. He discovers Lizaveta standing over her murdered half sister. Raskolnikov immediately takes the axe and with Lizaveta staring at him in utter horror, he strikes her with one heavy blow "with the sharp edge just on the skull and splits at one blow all the top of her head." This "second unpremeditated murder" makes him want to completely abandon the entire project. After the second murder, he begins to think of confessing and immediately begins to cleanse the blood from his axe, hands, and clothes.

As he is ready to leave, the doorbell rings. Two individuals wait outside for their appointments with Alyona Ivanovna. As they try the door, they realize that it is locked from the inside. One leaves to go get the porter and then when the other leaves for a moment, Raskolnikov slips out and hides in the empty, newly painted room just below the pawnbroker's flat. When the murder is discovered, he slips out unnoticed and returns to his own room, where he replaces the axe in the porter's lodge and then falls into a state bordering on unconsciousness.

Analysis

Part One ends with the murder of Alyona. But in the dual murder scene, note that Alyona is murdered with the blunt side of the axe and as though one stroke were not enough to kill her, he then bludgeons the body with further strokes. In contrast, the murder of Lizaveta is quickly finished by a swift stroke of the sharp side of the axe. In this dual murder, he has killed one person who is mean, wicked, and cold (Alyona) and the murder was premeditated so as to prove a theory to himself. In the second murder, Lizaveta, who is warm, friendly, humane, gentle, and compassionate is instantaneously killed and her murder was not premeditated. Thus in a figurative manner, the two murders represent the two aspects of Raskolnikov's character. The importance here is that later Raskolnikov seldom thinks of the murder of Lizaveta but is troubled about the murder of Alyona because the death of the old louse is directly correlated to the validity of his theories, and Lizaveta's murder was accidental.

As soon as he completes the murder and as he is standing in the midst of the carnage, his first thought is "to abandon everything" and "to give himself up." This is the first of many thoughts of confession that will continue until the actual confession at the end of Part Five.

Covered with blood, he notices a bucket half full of water and he begins to wash his hands and the axe. This elaborate cleansing ritual foreshadows his future redemption and salvation.

When Raskolnikov is trapped by two people who have independently arrived at about the same time and as they are determinedly and incessantly ringing the doorbell, he thinks of confession, motivated by the horror and fear that he is already feeling, for the second time.

Along with this ringing, and because he has hidden in a room freshly painted, Raskolnikov will later be plagued by the smell of fresh paint. For example, when his landlady has him summoned to the police office, the smell of fresh paint there contributes to his fainting spell.

Part One ends with the murder and Raskolnikov's illness. The crime occupies only one part of the book; the remainder of the novel will deal with the punishment.

Summary and Analysis Part 2: Chapter 1

Summary

After the murder, Raskolnikov collapses into a deep sleep. Upon awakening, he is terrified; he has slept for so long that he fears that he is going mad. He remembers the items that he had stolen and his failure to hide them or to lock the door of his flat — this was madness. As he hides the items, he begins to wonder if his punishment is already beginning and after a few stirrings and attempts to hide his loot in a hole in his room, he surrendered himself to mingled sleep and delirium.

Again he awakens to Nastasya's pounding. The porter is with her and he hands Raskolnikov a summons to report to the police. Nastasya does not want him to move since he has had a fever since the day before. As he dresses, he is repulsed by the thought of wearing the bloody socks, but since he has no others, he is forced to do so. On the way to the police station, he thinks that he might just confess it all and be done with it: "I shall go in, fall on my knees, and tell the whole story."

When he reaches the police station, he is almost overwhelmed by the "sickening smell of fresh paint. . .from the newly decorated rooms." The small crowded rooms, the lack of fresh air, the confusion as to why he is there, and the intolerable waiting make him feverish. Finally, he discovers that his landlady is suing him for back rent. As Raskolnikov is told of his offense, he goes into a rather lengthy explanation of his relationship to his landlady and of his engagement to his landlady's daughter. The police instruct him to sign an I.O.U. and release him. As he signs the paper, he overhears the police discussing the murder of Alyona Ivanovna and Lizaveta, and he faints. When he recovers, he hurries home thinking that the police suspect him of the murder.

Analysis

In a novel with six parts and an epilogue, one can easily argue that the first part is a prologue because only that part is devoted to the crime and the remaining parts are devoted to the punishment that begins immediately with his hatred of the blood on his clothes and especially on his socks, and the loss of his ability to retain complete control over all of his faculties.

Crime therefore is a demanding, troublesome matter that becomes a colossal nuisance. And crime is accompanied by various types of illnesses — with Raskolnikov, it is expressed in his temperature, his inability to function normally, and his dread of the very blood that he has just shed. When it is necessary to put on the bloody socks, his repulsion indicates his dread of or living with his murder. This scene contrasts well with the later scene when he is splattered with blood from the death of Marmeladov. In this later scene, he had no qualms about touching blood per se.

When he receives the police summons, his mind is in such a state of agitation that he forgets that Nastasya had told him earlier that his landlady was going to have him summoned.

As he approaches the police station, he thinks of confessing for the third time. At the police station, he needs to confess something; therefore, he tells of the most intimate event in his past life, that is, the engagement to his landlady's daughter. He even confesses that she was not attractive. This is the fourth time he considers confession, and his engagement to the landlady's daughter shows his empathy with suffering humanity. Shortly after this his fifth thought of confession follows when he thinks that he should confess everything: "to get up at once, to go up to Nikodim Fomitch, and tell him everything." The tenseness and fear of being summoned to the police station for the murder prompt these thoughts of confession.

At the end of the chapter, Raskolnikov's fainting spell is a result of the tension caused by the summons; the oppressive smell of the new paint, which reminds him of the murder scene; the crowded conditions with its lack of fresh air; and finally the discussion of the murder of Alyona Ivanovna. This fainting spell will later become a cause of suspicion and will be used by Porfiry.

Summary and Analysis Part 2: Chapter 2

Summary

Upon leaving the police station, Raskolnikov is afraid that the police have searched his room, but he soon sees that no one has entered his room. He empties all of his "loot" into his pockets and plans to hide it somewhere. After walking a long way, he finds himself in a park. He moves a huge rock aside and hides his stolen goods under the rock.

He remembers that he had promised himself that he would visit his friend Razumihkin the day after the murder and he goes to his room. Raskolnikov says that he has come to ask for lessons, but after a while he suddenly changes his mind and leaves amid Razumihkin's entreaties to know where he is going and where he is living. Raskolnikov ignores him and leaves.

Raskolnikov walks absent-mindedly toward the river and is almost run down by a coach and is actually struck with a whip by a coachman. As he stands rubbing his back, he suddenly feels someone thrust money into his hand because he looked so much like a beggar. He immediately throws the money away.

When he returns home, he dreams that the police officer Ilya Petrovitch is beating his landlady. He is awakened by Nastasya who realizes that he is sick and who goes to get him some water just as he collapses into unconsciousness.

Analysis

At the beginning of the chapter, Raskolnikov is determined to get rid of all of Alyona's things. At first he wants to throw them into the canal so all traces would be gone, but then he walks through the park and hides them safely under a large stone. During all this activity, he never bothered to examine the items in order to determine their value. This failure to count his theft suggests that the murder was not committed either for need of money or for the purpose of helping mankind by using the money.

Earlier, he had maintained that he would go to Razumihkin's after he had committed the crime. This act of murder, if he can ignore it, would therefore make him a superior (extraordinary) person. But he is also in need of human contact. We later find out that part of Raskolnikov's theory about crime is that it isolates one from human contact. But once he arrives at Razumihkin's, he recognizes this need for society to be a weakness, that the Ubermensch must be able to stand completely alone. He must be above and beyond wanting, needing, or receiving any sympathy or help. It was a weakness on his part to go, and, as he recognizes this weakness, he immediately leaves Razumihkin's room. This same view will also separate him from his mother and sister because the Ubermensch must be able to stand alone and shun human contact, especially human sympathy.

The pathetic and confused state of Raskolnikov's condition is illustrated by his stumbling in front of a coach and being struck with a lash and then being mistaken for a beggar. This beating and the subsequent charity function as ironic contrasts to Raskolnikov's theory. It shows him to be one of the weak who are subjected to these indignities rather than being one of the extraordinary men who are above the need of help.

Summary and Analysis Part 2: Chapter 3

Summary

Raskolnikov remains in a limbo between consciousness and delirium for several days during which Nastasya and Razumihkin take care of him. When he awakens, he discovers a stranger in his room. The stranger has come to deposit with him 35 rubles that his mother has sent to him. Raskolnikov tries to refuse the money, but Razumihkin insists that he take it and still protesting, he signs an acknowledgment of the receipt of the money.

Razumihkin chides Raskolnikov because he has been so detached and distant from his landlady, who is after all, very shy and very nice. Razumihkin reveals that he has been able to cajole the landlady into being of great service to them. He tells also of the good attention by Dr. Zossimov who has been in constant attendance to him. He tells how Zametov, the police chief, has also visited him, and when Raskolnikov is upset, Razumihkin explains that Zametov only wanted to get to know him. He also tells how Raskolnikov has been almost neurotic about clutching his dirty socks while he was unconscious. Raskolnikov is bewildered by all of the attention being paid to him.

As Raskolnikov goes back to sleep, Razumihkin takes some of the money and goes out to buy new clothes for Raskolnikov, and with the help of Nastasya, they put his new clothes on him.

Analysis

Raskolnikov's illness supports his own theory in which he states that either illness or disease give rise to crime or crime is always accompanied by something akin to disease. Raskolnikov's state of illness, his psychotic desire to hold his bloody socks, his fever, and his delirium indicate the beginnings of his punishment.

Raskolnikov's attempt to reject the money again expresses his view that the Ubermensch (or extraordinary man or superior man) should not be obligated to anyone; he must be absolutely independent of everyone.

Zametov's visit and interest in Raskolnikov has absolutely nothing to do with his crime — instead, he is concerned about the complaints and summons that Raskolnikov's landlady has registered against him. The easy and affectionate way in which Razumihkin is able to handle Raskolnikov's landlady again emphasizes Raskolnikov's isolation and abnormality because of his failure to see with what ease he could have controlled her, thus obviating the summons from the police — a summons that ironically is served concurrent with the crime.

The recovery from the illness and the new clothes symbolically suggest that Raskolnikov will now begin his path towards recovery, redemption, and salvation.

Summary and Analysis Part 2: Chapter 4

Summary

Dr. Zossimov appears to check up on his patient's progress. Razumihkin is eager to know if Raskolnikov can attend a function he is having that night for his old uncle from the provinces. Also Zametov, the chief clerk, will be there along with Porfiry Petrovitch, the examining magistrate and "a graduate of the College of Jurisprudence."

As Zossimov and Razumihkin talk of the arrest of two painters for the murder of Alyona and Lizaveta Ivanovna, unlike his usual lethargic self, Raskolnikov is intensely interested in this discussion. Razumihkin is very firm in his stand that the painters could not have committed the crime and makes an elaborate defense of their innocence. Zossimov notices that the discussion excites Raskolnikov and thinks that this interest in the crime suggests that he is regaining an interest in life.

Analysis

This chapter introduces the character of Porfiry Petrovitch, who will become Raskolnikov's adversary and actually his friend even though Raskolnikov will not admit the latter.

The essence of the chapter is Razumihkin and Zossimov's discussion of the murder and the arrest of the house painters for the murder. The entire discussion excites Raskolnikov so much that Zossimov thinks that he is almost recovered from his illness. Razumihkin's strong defense of the painters becomes ironic when later, in Part Four, Nikolai, one of the painters, confesses to the crime (albeit a false confession).

The long and difficult explanation of the crime — a discussion that involves many new names and theories of guilt that later prove false — must be viewed as some sort of filler for the newspaper in which the novel was being serialized.

Summary and Analysis Part 2: Chapter 5

Summary

Dunya's fiancé arrives at Raskolnikov's room dressed to the hilt ("starchy and pompous") and introduces himself as though everyone already knows who he is. As Luzhin makes feeble and awkward attempts to explain who he is, Raskolnikov remains sullen and silent. When Luzhin tells of the living accommodations he has made for Dunya and Pulcheria Alexandrovna, everyone immediately recognizes the apartment as "a disgusting place — filthy, stinking, and what's more, of doubtful character." Luzhin excuses this because he is also new in town and does not know his way around. Then, when Luzhin tells that he is living with Lebezyatnikov, a name that Raskolnikov had heard from Marmeladov in an unfavorable light, the trend of the conversation returns to the murder.

Razumihkin announces that the police are "examining all who have left pledges with her [Alyona]." As soon as the conversation can be turned to Luzhin's engagement, Raskolnikov accuses him of trying only to make Dunya feel indebted to him. Luzhin protests that Raskolnikov's mother has misrepresented him. At this point, Raskolnikov threatens to "send him flying downstairs" if he ever mentions his mother again and orders him to "go to hell." As Zossimov and Razumihkin notice this sudden outburst, they also notice that Raskolnikov takes an immense interest in the murder.

Analysis

The arrival of Luzhin is not propitious at this time. First, it is the end of Raskolnikov's illness; second, it interrupts the discussion about the murders; third, Raskolnikov has already developed a dislike for him from his mother's letters; fourth, Luzhin arrives at Raskolnikov's cramped and small quarters dressed in clothes too new, too formal, too pompous, and his behavior is snobbish, patronizing, and condescending. And then, fifth, when he tells of the living quarters he has obtained for his fiancée and her mother, he reveals himself as a cheap, penny-pinching miser. According to Razumihkin, the hotel is "a horrible place, dirty and stinking, and its character is suspect." Our future exposure to Luzhin reveals that Raskolnikov is entirely correct in his violent dislike for the man, who will later stoop to utter villainy in accusing Sonya of stealing from him and trying to frame her and disgrace her.

Raskolnikov also learns that Porfiry is examining all of those whose pledges were left with Alyona Ivanovna. If he had thought everything out before murdering the pawnbroker, he would have taken time to search out and destroy his own pledge, affirming once again that Raskolnikov committed murder before he had "all of the details worked out." He also realizes that he must take the initiative and go himself to confront Porfiry, his perceived antagonist.

Summary and Analysis Part 2: Chapter 6

Summary

Alone, Raskolnikov immediately dresses in his new clothes, takes all the money that is left over from the purchase of his new clothes, and escapes from his room. He walks towards the Hay Market, where he encounters a 15 year old to whom he gives five kopecks. He is furthermore drawn toward a saloon in search of human fellowship. He then remembers the horror of being confined to living on a square yard of space all his life: "only to live, to live no matter how — only to live." He then resolves to live life whatever it may be.

He leaves the saloon and enters a clean restaurant where he asks for the newspapers of the last five days, beginning with the day of the murder and followed by the days of his illness. While he is reading the papers, he meets Zametov, the minor official in the police department and a friend to Razumihkin.

As the two begin a conversation, Raskolnikov begins to taunt Zametov telling him about his activities and motivations. He tells him that he came to the restaurant solely for the purpose of reading about the murder of the old pawnbroker. In fact, he confesses his extreme concern about the entire episode. When Zametov explains how the police are all wrong in the manner they are conducting the case, Raskolnikov begins to resent the implication that the crime was obviously performed by an amateur. As a result of this resentment, he offers what he thinks would be a perfect way of committing the crime and how one should go about hiding the money and the jewels. Raskolnikov's explanations and suggestion that he might be the one who murdered the old pawnbroker and her half sister disturbs Zametov who dismisses it as an aftermath to Raskolnikov's illness.

Outside, he runs into Razumihkin and he tells him of his annoyance at being followed. "I don't want your kindness. . .I may be ungrateful, perhaps I am mean and base, only leave me alone, all of you, for God's sake leave me alone!! Leave me alone!" Razumihkin is so shocked at this outburst that he allows Raskolnikov to go his own way and immediately realizes that the outburst is part of Raskolnikov's illness.

After Raskolnikov has escaped, he goes to a bridge where he is a witness to a woman's attempt to drown herself. He realizes that he was going to attempt the same thing and then becomes disgusted with himself for even thinking about it. He then returns to the scene of the crime. He is amazed to find the entire apartment being repainted. It no longer looks the same as when he was last in it. He then goes to the doorbell and begins to ring it, listening and remembering the "hideous and agonizingly fearful sensation he has felt when he was trapped after the crime." When the painters demand to know what he is doing there, he tells them to come with him to the police station and he will tell everything. At the end of the chapter, he is fully resolved to go to the police himself and confess everything.

Analysis

As noted earlier, by dressing in his new clothes and accepting the money from his mother, Raskolnikov is ready to move in the direction of redemption. On his walk, his first act is to give five kopecks to a 15-year-old street singer, an act of human compassion. In another incident, he gave a wench begging for 6 kopecks a total of 15 kopecks. Feeling his own compassion, his thoughts turn to living even if he is "confined to a square yard of space it is better than immediate death" — a thought that becomes a motif which he rejects or accepts according to his desire to live.

When he enters a cafe to have tea, he asks for the newspapers of the last five or six days. Throughout Europe, cafes always have newspapers and often the latest magazines for their customers to read, and Raskolnikov takes advantage of this custom to request the papers of the last five or six days when he was anti-social and then ill. Here in the cafe, he meets Zametov and thinks of confession for the sixth time. This time, however it is a type of real confession: "Now I will declare to you. . .no, better, I'll confess," but the way the confession is made makes Zametov see it only as a result of Raskolnikov's delirium and sickness. His explanation follows exactly the same steps that he had taken himself in committing the crime. At the end of the explanation, Raskolnikov asks "And what if it was I who murdered the old woman and Lizaveta?"

The confession, however, is not as readily dismissed by Zametov as Raskolnikov believes, and later it is used as part of Zametov's suspicion against Raskolnikov.

Raskolnikov is offended when Zametov suggests that the murderer was inexperienced and rather inept. And to prove to himself that Zametov is wrong, Raskolnikov presents the exact description of how he hid the stolen property. Even though Raskolnikov is horrified at his own murder, he is still resentful that others would find fault with it.

When he meets Razumihkin again, he becomes adamant that he should be left alone, we have the manifestations of the Ubermensch who feels that he must act alone in order to establish his superiority.

When Raskolnikov goes to the bridge with the apparent intent to commit suicide, he first observes the unknown woman's attempt to drown herself and he reminds himself again of existing on "the square yard of space" and again there is the seventh thought of confession, which is motivated this time by the nearness of the suicide.

Raskolnikov's return to the scene of the crime supports the theory that crime is partly a disease since it is a neurotic desire that draws him back to the murder scene. When questioned by the painters, he offers to take them to the police station and confess all to them — the eighth time that he contemplates confession. Then standing at the crossroads, for the ninth time, he contemplates confession. This time he resolves to go in order to end the torment of doubt as to whether he is an Ubermensch.

Summary and Analysis Part 2: Chapter 7

Summary

On his way to the police station, Raskolnikov witnesses a terrible accident — a drunken man stumbles and falls under a carriage and is crushed. Amid great confusion, Raskolnikov recognizes the wounded man as Marmeladov, and he immediately takes charge and offers money to anyone who will help get him home.

When they arrive, Katerina Ivanovna becomes hysterical and cannot control her grief and anxiety — the children are hungry, they have no money for a burial, and she has no one to turn to. Raskolnikov offers consolation and again offers to pay for a doctor and other expenses. A priest is sent for, and Katerina Ivanovna also sends young Polenka to tell Sonya.

When the doctor arrives, he announces that Marmeladov will die immediately. He receives the funeral rites, and Polenka returns saying that Sonya is coming immediately. Marmeladov tries to make some apology to Katerina and to Sonya who has just arrived, dressed in the gaudy, cheap finery worn by prostitutes: "She seemed forgetful of her garish fourth-hand silk dress, indecently out of place here with its ridiculous long train and immense crinoline."

When Raskolnikov first sees Sonya, he "recognized her crushed and ashamed in her humiliation. . .meekly awaiting her turn to say goodby to her dying father." The father had never seen his daughter in her professional costume; infinite shame possessed both father and daughter.

As Raskolnikov leaves, he gives his money to Katerina Ivanovna and outside he meets Nikodim Fomitch, the police official who exclaims that Raskolnikov is splattered with blood. At Sonya's request, Polenka follows Raskolnikov to find out his name, where he lives, and to thank him. In their meeting, Raskolnikov shows great compassion for young Polenka and asks her to pray for him. He then resolves that life is still before him and he rejects any thoughts of confessing to his crime. With this thought, he goes to Razumihkin and apologizes for his bad temper. Razumihkin walks home with him and tells him of Zossimov's suspicion that perhaps Raskolnikov is going insane. When they reach Raskolnikov's place, they find his mother and sister waiting for him. Instead of returning their enthusiastic embraces, he faints.

Analysis

At the end of Chapter 6, Raskolnikov was determined to go to the police and confess. On the way, when he witnesses the death of a human being run over by a carriage, he is automatically reminded of the episode when he was hit by a carriage and brutally treated. Therefore, his indignation causes him to respond to the wounded man, who turns out to be Marmeladov. In this incident, his intellectual desire to confess is overruled by his emotional and humanitarian responses. His intellectual side is always deliberate while his emotional responses are spontaneous.

In Marmeladov's apartment, the reader is exposed to the cry of "Do you know what it means to have no place to go." Raskolnikov is therefore affected by the poverty and squalor of the place and constantly volunteers to pay for any expenses. At the end, Raskolnikov's compassion causes him to give his last 20 rubles to Katerina to help. This is the money that he has just received from his mother — money that she could hardly spare and not for him to squander on some poor family. Again, even though Raskolnikov can rationalize a murder, he cannot stand the sight of human suffering, indicating the tremendous poles of his existence.

Raskolnikov's first sight of Sonya reveals her as a person of great suffering and shame. He will later say that Sonya represents the great sufferings of all humanity. Here he is equally aware of the contrast between the absurd finery and gaudy dress required by prostitution as seen against her demure and humiliated self. He is immediately attracted to her, not for sexual reasons, but because of her great suffering.

Physically, Raskolnikov is an exceptionally handsome man, and now Dostoevsky presents Sonya as small, but very pretty with lovely hair and remarkable blue eyes.

Date: 2015-01-11; view: 1134