Character Analysis Arkady Svidrigailov 3 page

While helping with Marmeladov, Raskolnikov becomes splattered with blood. Whereas Alyona's blood on his person after the murder was a part of the cause of his delirium and was repulsive to him, this blood from helping Marmeladov makes him determined again to live. When he tells the police magistrate, Nikodim Fomitch, "I am all over covered with blood" he means this both literally (from helping Marmeladov) and figuratively (from killing Alyona) and he decides to live. And his meeting with young Polenka also influences him to live. "Life is real! haven't I lived just now? My life has not yet died with that old woman!" But with his affirmation of life, he renews his acquaintance with Razumihkin, so as to have an excuse for going personally to Porfiry rather than to the police station.

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Summary and Analysis Part 3: Chapter 1

Summary

After Raskolnikov recovers from his fainting spell, everyone seems at a loss for something to say. Without warning, Raskolnikov throws a dark cloud over everything by announcing that he is not only violently opposed to Dunya's engagement, but he also forbids her to sacrifice herself to such a scoundrel as Luzhin. He says "I may be infamous, and even so, I would disown such a sister."

Razumihkin attributes Raskolnikov's outburst to his illness and suggests that it would be better to leave him alone for the present. When Pulcheria Alexandrovna wants to remain with her son, Razumihkin points out that Dunya cannot remain alone in such dreadful lodgings that Luzhin has secured for them. When all agree, he escorts them to their lodgings, promising to return later and bring Dr. Zossimov with him. Razumihkin, is so enthralled with Dunya that at one point, he gets down on his knees in the middle of the street and kisses her hand. He has obviously formed a sudden and strong infatuation for Dunya.

Analysis

Raskolnikov's bizarre behavior is alarming to his mother, which allows the drunken Razumihkin to take charge. In this meeting, Dostoevsky is establishing a relationship between Dunya and Razumihkin so that when Raskolnikov finally confesses his guilt, it will leave him free from practical worries about his family so that he can concentrate upon his own actions and guilt.

Thus far the reader has been constantly with Raskolnikov and has seen everything from his point of view; now suddenly, he is left alone and the point of view shifts to Razumihkin and his relationship with Raskolnikov's family. Even though his actions are in a "drunken excess," both Pulcheria and Dunya are drawn to this good person.

Summary and Analysis Part 3: Chapter 2

Summary

Razumihkin awakens the day remembering everything about his talk the preceding night and he is ashamed. He now washes and dresses in clean clothes before reporting to Dunya and Pulcheria Alexandrovna. He goes to check with Dr. Zossimov who is satisfied with Raskolnikov's progress but is disturbed about his monomania concerning the painters and the murders.

Razumihkin goes immediately to Pulcheria Alexandrovna who wants to hear about her son. He tells that he has known Rodya for almost two years and that at times Rodya fluctuates between two characters. "He has been suspicious and fanciful. He has a noble nature and a kind heart. He does not like showing his feelings and he is not at all morbid, but simply cold and inhumanly callous. Really it is as though he had two separate personalities," and he fluctuates between two aspects of his character. Razumihkin then tells of Raskolnikov's past engagement to the landlady's daughter who was an invalid, queer, and positively plain if not ugly.

Pulcheria, with Dunya's permission, shows Razumihkin a letter received this morning from Luzhin. In it he writes of his involvement until tomorrow night when he will call on them. He explicitly, earnestly, and "imperatively request the Rodion Romanovitch shall not be present at our meeting." He further threatens that if his request is ignored, he shall leave. He then reports that he has seen Raskolnikov in the flat of a notorious drunk who was run over and dying, and "he gave the daughter, a notoriously ill-conducted female [that is, a prostitute] almost twenty-five roubles."

Pulcheria Alexandrovna cannot understand her son's actions as reported by Luzhin. They leave to go see Raskolnikov, but Pulcheria Alexandrovna is so frightened to see her son that she can hardly stand up.

Analysis

This chapter shows Razumihkin's intense feelings for Dunya and helps prepare the way for him to take over caring for the family while Raskolnikov is involved with his guilt. The long description of Raskolnikov emphasizes his split personality and describes his dual personality "as though he were alternating between two characters." In using such terms as "split personality," one is using a term that has not yet been coined by Sigmund Freud, but Dostoevsky was fully aware of the quirks of one's personality even though they had no label.

The mention of Raskolnikov's desire to marry the ugly, queer, invalid daughter of his landlady illustrates Raskolnikov's predilection for the weak and the downtrodden and helps to explain his later attraction to Sonya.

Luzhin's attempt to cause dissension between Raskolnikov and his mother by suggesting that Raskolnikov gave money to Sonya, a prostitute, rather than to Katerina Ivanovna, shows what a despicable character he is and how right Raskolnikov was to see this petty, ugly side of Dunya's fiancé. His request that Raskolnikov not be present at their interview is another attempt to alienate Raskolnikov from his family, thus making them more dependent on Luzhin.

The reader should further note that after being constantly with Raskolnikov, it is unusual that we have an entire chapter without his presence. It is necessary, however, so that the relationship between Razumihkin and Dunya can progress, and also prepares us for Raskolnikov's dependence on Sonya.

Summary and Analysis Part 3: Chapter 3

Summary

Dr. Zossimov reports that Raskolnikov is much better, but he is still pale, abstracted, and gloomy and looks "like a man who has been wounded or suffered intense pain." He concludes that whatever caused this collapse, they must remove these unhealthy influences.

Pulcheria Alexandrovna is so pleased to see her son that she narrates with deep emotion their fear upon arriving in St. Petersburg since Luzhin was unable to meet them. They were frightened to be alone, and she asks her son if he knows what it is like to be utterly alone. Raskolnikov then remembers Marmeladov's aloneness and tells that he has given all of the money she sent him to a poor woman whose husband was just killed. He admits that it was not right of him — that to help others a man must have the right to do so — and he had no right to squander his mother's hard-to-come-by money.

Raskolnikov then begins to feel impatient with his mother, even though he remembers how much he loves them in their absence. Pulcheria suddenly announces that Marfa Petrovna was dead and attributes it to her husband's beating her. Suddenly, Raskolnikov cannot stand their presence and "makes for the door" but is detained. Raskolnikov tells of his affair with the landlady's daughter and describes how plain she was, but even if she had been lame "or hump-backed" he "might have loved her even more." He insists that Dunya cannot marry Luzhin: "I do not withdraw from my chief point. It is me or Luzhin. If I am a scoundrel, you must not be. One is enough. If you marry Luzhin, I cease at once to look on you as a sister."

Dunya makes an elaborate justification of her engagement and then suddenly, with no provocation or reason, Raskolnikov withdraws his objections saying "Marry whom you like!" Dunya shows him Luzhin's letter, and Raskolnikov, amused by it, simply comments that Luzhin wants "to slander me and to raise dissension between us." Dunya implores Raskolnikov to come to the interview. She also invites Razumihkin.

Analysis

Pulcheria asks her son if he knows what "it is like to be utterly alone?"; this question is the recurring motif introduced first by Marmeladov, then picked up by Raskolnikov and applied to Sonya and to himself. The effect of this utterance on Raskolnikov is profound since he has just recovered from the same emotions and the same desperation.

Raskolnikov has the sudden realization that the crime, rather than making him above the ordinary man, imprisons him and isolates him from others, even his mother: "It became suddenly plain and perceptible that he would never again be able to speak freely of anything to anyone."

Raskolnikov's dual personality is emphasized again and again in the chapter. At one moment he renews his objections to Dunya's marriage to Luzhin: "If you marry Luzhin, I cease to look on you as a sister." This is his compassionate, humane side speaking now in which he sees his sister sacrificing herself by entering into an insufferable marriage. Then only a few seconds later, he suddenly reverses: "What am I making such a fuss a for? Marry whom you like." Of course, this particular reversal from compassionate to intellectual is brought about by Dunya's terrible justification of her marriage. "If I ruin anyone, it is only myself. I am not committing a murder." This statement forces Raskolnikov to realize that he committed his murder so as to see if he would be able to stand apart and above other human beings; therefore, he must assume this air of not caring whom Dunya marries.

Ultimately, the question of whether to invite Raskolnikov to the meeting with Luzhin must occur before Dunya has knowledge of the money left to her by Marfa Petrovna so that her risking her marriage with Luzhin does not involve money matters. She proves herself to be a true agent and later worthy of the love of Razumihkin.

Summary and Analysis Part 3: Chapter 4

Summary

The family conference is suddenly interrupted by the appearance of Sonya, dressed in modest simplicity, filled with embarrassment and humility. She has come at Katerina Ivanovna's insistence to entreat Rodya to be present at the funeral and refreshments afterwards. He offers her a seat and tells her he needs to speak with her. She is further embarrassed because she should not be sitting in the presence of Dunya and Pulcheria Alexandrovna. She is also in Rodya's "bedroom" and she realizes that due to the poverty of his room that Raskolnikov must have given them everything.

Dunya and her mother must leave and alone, the mother has a presentiment that there is a special meaning of some importance between Rodya and Sonya, particularly after what Luzhin had written about her. Dunya decides that Luzhin is "a wretched scandal-monger."

Raskolnikov wants to be alone with Sonya, but first he tells Razumihkin that he needs to arrange an interview with Porfiry. Sonya has to go, and as she leaves, she is followed by Svidrigailov who discovers that they live in adjoining rooms.

As Raskolnikov and Razumihkin are on their was to see Porfiry, Raskolnikov begins teasing Razumihkin of being in love with Dunya and of acting like a love-sick Romeo. Rodya points out that Razumihkin has shaved and bathed, put on "clean linen," and has "Pomatum" on his hair. They enter Porfiry Petrovitch's flat laughing loudly.

Analysis

This chapter is the most disjointed (or the least unified) of any chapter. First there is the group in Raskolnikov's small room. Secondly, we shift to a street conversation between Dunya and her mother. Thirdly, a discussion outside with Rodya, Sonya, and Razumihkin, and fourth, Sonya leaves and is trailed by Svidrigailov, and finally, a scene between Rodya and Razumihkin where Rodya teases him about being a Romeo. This rambling chapter is not at all typical of the rest of the novel.

During the time of this novel, Sonya's appearance at Raskolnikov's is a social error and for him to have her sit with his mother and sister is a tremendous breach of social class and can be construed as a deep insult to mother and sister. Raskolnikov's terrible error can be explained in that he instinctively or subconsciously knows that Sonya will become his means of salvation.

The scene with Sonya's returning to her home introduces the very important personage of Svidrigailov. Our first impression is that he is secretively trailing her for dubious reasons. He does live door to Sonya, and this nearness allows him the chance to overhear Rodya's confession to Sonya.

The chapter ends with Raskolnikov's deliberate joviality as they approach Porfiry apartment so as to deceive Porfiry, making him think all is light-hearted and healthy. This event shows the return of Raskolnikov's calm, rational powers.

Summary and Analysis Part 3: Chapter 5

Summary

Raskolnikov enters Porfiry's place trying to conceal his laughter. He is surprised to see Zametov, the chief clerk of the police department. He is then introduced to Porfiry. He tells his host of his official business: He had left Alyona Ivanovna some small items not of much value, to which he attached great sentimental value, particularly a watch left him by his father. Porfiry announced that he had indeed been expecting Raskolnikov, since everyone else who had pledges with the old pawnbroker had already made their claims.

Porfiry lets Raskolnikov know that he knew all about his pledges and they had been wrapped up carefully by the old pawnbroker and dated with his name on them. Porfiry subtly lets Raskolnikov know that he is aware of Raskolnikov's sickness, of his meeting with Zametov, and of his presence at Marmeladov's death. All these revelations disturb him, and he thinks to himself that Porfiry is playing with him, "like a cat plays with a mouse." He momentarily thinks of confessing the whole truth, especially since he feels that the police already know everything.

A discussion of the relationship of crime to one's environment ensues, which leads to Porfiry's announcement that he has read Raskolnikov's article on crime, which had appeared in a prominent magazine two months ago. Everyone, including Raskolnikov, is surprised that the article has indeed been published. Porfiry then asks Raskolnikov to explain parts of his theory in more detail, which he undertakes to do.

The essence of Raskolnikov's theory about crime as he presents it involves the duties and obligations of a class of people classified as the "ordinary people" as contrasted to the "extraordinary people." He outlines that (1) the perpetration of a crime is always accompanied by illness. Either the illness causes a person to commit the crime or else committing the crime causes one to become ill. (2) All men are divided into "ordinary" and "extraordinary." (3) Ordinary men have to live in submission and have no right to transgress the law because they are ordinary. (4) On the contrary, the extraordinary man has the right to commit any crime and to transgress the law in any way because he is extraordinary. That is not an official legal right but an inner right to decide in his own conscience whether to overstep the law or any obstacle that stands in the way of the practical fulfillment of his idea. (5) All great men would (or should) have the right to eliminate a few men in order to make their discoveries known to the benefit of all humanity. (6) All great men capable of giving something new (some "New Word") must not submit to the common law, or if they do, then this is proof that they do not belong among the extraordinary people. Being great means breaking from the common rut of ordinary laws. (7) In conclusion, men are divided into two categories the inferior (or ordinary) who can only reproduce their kind, and the superior "men who have the gift or talent to utter a new word."

After his explanation, Porfiry subtly wonders if Raskolnikov might have thought of himself as being "extraordinary" while composing or formulating this particular theory. Raskolnikov maintains that even if he did think that, he would not tell Porfiry, but he assures him that he does not consider himself to be a Napoleon or a Mahomet. Porfiry wonders then if this superior person would suffer, and Raskolnikov responds that "suffering and pain are always obligatory on those of wide intellect and profound feeling."

After hearing the explanation, Porfiry then returns to the business of the pledges and asks Raskolnikov if he remembers seeing some painters at work there. Raskolnikov feels that there is a trap here somewhere and tells that he cannot recall seeing any painters, but that someone was moving out. Razumihkin reminds Porfiry that the painters were only at work on the day of the murder and that Raskolnikov's last time there was several days before the murder. Porfiry pretends to have been confused and offers Raskolnikov his apologies.

Analysis

This chapter presents us a full view of the 35-year-old Porfiry, and it is immediately apparent that Raskolnikov has a worthy opponent. For example, in the discussion of Raskolnikov's article on crime, Porfiry wants to know if while he was composing it Raskolnikov didn't consider himself to be an extraordinary person because he has uttered a new word. That is, if Raskolnikov's theory is believed, then he must have considered himself extraordinary, even though he assures Porfiry that he is no Napoleon or Mahomet.

Even though Raskolnikov disclaims his pretensions to being an extraordinary man, nevertheless, what is new, really new and original in his theory (thus possibly making him one of the extraordinary) is that he "sanctions bloodshed in the name of conscience." That is, the great man is obligated to give to the world his new word, and if it means killing a person (or a louse) in order to do so, then the great man must do that.

Porfiry is also very clever when he asks Raskolnikov in a casual, off-handed manner if he by chance saw two painters when he went to the pawnbroker's. This is a trap, and Raskolnikov knows it is because there were no painters on the day he pawned his watch, but there were painters there on the day Alyona was murdered. Raskolnikov is clever enough to discover the trap and thus escape. His perception of this trap again shows the return of his rational powers. Consequently, Porfiry is, as Raskolnikov earlier thought, playing "cat and mouse" games with him.

If there seem to be contradictions in parts of Raskolnikov's theory, such as maintaining that the great will suffer and also later that the great must be above sympathy and dependence on the ordinary, these contradictions are not unintentional on Dostoevsky's part. Instead, it must be emphasized that Raskolnikov at the time of the murder had not worked out his theory in complete detail. The contradictions exist so that later Raskolnikov will have to justify them when he is trying to explain his crime to Sonya.

Summary and Analysis Part 3: Chapter 6

Summary

Raskolnikov and Razumihkin leave Porfiry's to meet with Dunya and Pulcheria; they discuss the implications of the conversation about the murder, and Raskolnikov is certain that he is suspected. Razumihkin is infuriated that suspicion is cast upon Rodya, and he plans to reprimand his distant relative, Porfiry.

Just as they reach the rooming house where his mother and sister are staying, Rodya parts from Razumihkin promising to return shortly. The parting is again difficult. Rodya flees to his room to search for any scraps of evidence, but he can find nothing.

As he is leaving his room, the porter points out a man who was inquiring after him. When approached, the mysterious stranger calls him "Murderer!" and leaves. Even though Rodya follows him, nothing is resolved. This episode leaves him visibly agitated and confused, and rather than going to his mother's, he returns to his room and sleeps.

Alone, he begins to examine the basis of his theory. He still believes in the nobility of the theory, but he worries about whether he might not have destroyed some of its nobility by practicing it on a disgusting object like the old pawnbroker. Napoleon was a real ruler "to whom everything is permitted," but he cannot believe Napoleon, who conquered "the pyramids" and "destroyed Toulon," would ever "crawl under a vile old woman's bed." He then realizes that he "killed not a human being but a principle." Furthermore, he feels that he may also be a louse, and he again thinks of confession.

He falls asleep and dreams that he is again striking the old pawnbroker, but this time she refuses to die. When he awakens from this dreadful dream, he notices Svidrigailov standing in his doorway.

Analysis

Again, Rodya feels crushed by Razumihkin's attentions and needs to get back to his secret world of which Razumihkin cannot be a part, and thus there is another difficult parting.

The appearance of the mysterious man who calls him a murderer is disturbing and extremely upsetting to Raskolnikov. In reality, he is the man who was present when Raskolnikov returned to the scene of the crime. He is later present when Raskolnikov returns to Porfiry's office, and he is the "hidden" fact that Porfiry keeps referring to.

After being forced to defend his theory to Porfiry and being called a murderer by the mysterious stranger, Raskolnikov is prompted by his own confusion to attempt to re-examine his theory. This re-examination reveals that he still believes strongly in the basis of his theory, but he does see that he was not good enough to execute the theory. He feels little remorse for the actual murder or death of Alyona, but instead resents the old pawnbroker as being so low that her very vileness spoils his theory. His reasoning is that if his theory is noble, it should have been tested on a noble object.

These thoughts then prompt the tenth thought of confession — this time motivated by his alternating love for his mother, yet his inability to be near her. He fears that his theory — that crime isolates a person — is working on him.

At the end of the chapter, he wonders why he always thinks of Alyona and not of Lizaveta whom he also murdered. The reason is that Alyona's murder stands for the validity of his theory. It was deliberately conceived, premeditated, and executed as a part of the theory. Therefore, his intellectual being is at stake with the murder of Alyona. But Lizaveta's murder was done out of desperation and fear and does not fit into the premeditated theory. Thus, Lizaveta's murder is no threat to his philosophical existence.

After these thoughts and hatred of the old pawnbroker, it is appropriate that he dreams of murdering the old pawnbroker again, and again, but this time he fails. It is appropriate that as he completes his dream about the murder and that at the end of this awful nightmare, the symbol of evil, Svidrigailov, appears.

Summary and Analysis Part 4: Chapter 1

Summary

Svidrigailov announces that he has come to see Raskolnikov for two reasons: First, he has long wanted to meet him, and second, he wants help in obtaining an interview with Dunya. Raskolnikov's immediate response is a negative one, and Svidrigailov begins to reveal himself freely and openly to Raskolnikov by relating many episodes of his past life. He cannot see that he has done anything wrong: He admits that once he took a riding whip to his wife Marfa Petrovna, but some women like such dominance; he admits that he did make proposals to Dunya, but many women are pleased at such attentions, and others are "highly gratified at being outraged, in spite of their pretended indignation. . .women in general love to be affronted."

This type of degenerate talk on such intimate terms prompts Raskolnikov to get up and leave at once, but his curiosity keeps him from doing so. In the midst of the conversation, Svidrigailov points out that he and Raskolnikov have a great deal in common. Raskolnikov rejects this idea, and yet he is fascinated with the talk of this admitted "vulgarian and sensualist" who is simply saturated with experiences of every kind. As Raskolnikov listens attentively and with some fascination, Svidrigailov again repeats his idea that there is "something in common" between them, a vague sense of camaraderie.

Finally, Svidrigailov announces that he wants to meet Dunya and makes her a present of 10,000 rubles so as to aid in her a rupture with Luzhin. He maintains that Dunya "is sacrificing herself, with great nobility for her family." If she does not accept his gift, she will be taking money from Luzhin anyway and would be dreadfully confined in such a cruel marriage.

Again Svidrigailov emphasizes that "there is something about you like me," and he vows if Raskolnikov does not help him arrange a meeting with Dunya, he will do so himself. As he leaves, he tells Raskolnikov that Marfa Petrovna left Dunya 3,000 rubles in her will.

Analysis

Part Four opens with the appearance of Svidrigailov to Raskolnikov. He will emerge as the epitome of the sensualist and the type of Ubermensch who is thoroughly and completely interested in the gratification of his own appetites and desires and in the assertion of his own will. He has no qualms about his activities and depends on no one. He uses his intellect only so as to aid him in obtaining sensual pleasures. In a restricted nineteenth century society, he openly discusses his sexual pleasures in a manner that identifies him as being depraved and unprincipled.

Therefore, Raskolnikov rejects his request to see Dunya because he fears this aspect of Svidrigailov and thinks that the man still has ulterior motives and designs upon Dunya. Even though Svidrigailov says that he wants to give Dunya 10,000 rubles (in today's spending value, at least fifty thousand dollars or considerably more) so that she will not have to marry Luzhin, and even though Raskolnikov believes that she is marrying Luzhin only for money, he still refuses Svidrigailov's offer of help. The mere fact that Svidrigailov makes the same point about Dunya's marriage that he had ly made, he is still offended that someone else, especially such a sensualist and vulgarian as Svidrigailov, would make that point.

Svidrigailov's repeated emphasis that there is something in common between him and Raskolnikov repulses Raskolnikov; but still he does recognize some type of affinity toward Svidrigailov, especially since the latter has made the identical point about Dunya's marriage that he had made earlier. But more centrally, the thing in common is that both men will try to assert their own will above that of others, and this aspect of the Ubermensch aligns them.

Summary and Analysis Part 4: Chapter 2

Summary

On their way to the meeting with Luzhin, Rodya explains who Svidrigailov is and says: "I don't know why, but I am very afraid of that man." He hopes Razumihkin will help him guard Dunya from Svidrigailov, and, of course, Razumihkin agrees.

They meet Luzhin outside the apartment, and at the meeting, Luzhin relates some additional stories about Svidrigailov. They include one about his supposed seduction of a 15-year-old deaf and dumb girl who later hanged herself. Another is about Svidrigailov's servant Philip who hanged himself as a result of Svidrigailov's beatings and mockery. Luzhin concludes that Svidrigailov is the most horrible, "the most depraved, the most completely abandoned to vice" of anyone he knows. Dunya's view of each episode differs; for example, she heard that the servant Philip was addicted to drugs and that the other servants were good and loyal to Svidrigailov. Luzhin is offended that his "fiancée" seemingly defends Svidrigailov. Raskolnikov reveals that Marfa Petrovna has left Dunya 3,000 rubles, which she should receive soon.

When Rodya refuses to tell about his interview with Svidrigailov, Luzhin takes it as a personal affront and pretends he has to go. When Luzhin is confronted with the lies he wrote concerning Marmeladov's death, and Sonya's position, he is trapped and resorts to innuendo about Rodya's behavior. As the argument intensifies, Luzhin becomes more horrible and insulting until finally he insults Dunya by saying he accepted her in spite of all the unpleasant rumors about her reputation. At this, Rodya laughs, Pulcheria Alexandrovna is furious, Dunya calls him a "base, malicious person," and Razumihkin threatens him physically; Dunya then orders him to go. Even as he leaves, he is conceiving of a way to disparage Rodya and Sonya.

Analysis

The chapter presents the irony of the despicable, malicious Luzhin describing the depraved sensualist, Svidrigailov, in derogatory terms. It is questionable whether Svidrigailov is guilty of all these things, and when Dunya corrects him on a couple of matters, he perceives that she is defending him. It could not be further from the truth; Dunya is merely looking at the situation dispassionately and would be fair to anyone, even Svidrigailov whom she fears and detests. However, the prevailing stories of his rape of the blind and dumb girl and his involvement in the death of the servant does contribute to his depiction as the complete amoral sensualist.

Date: 2015-01-11; view: 1429