Character Analysis Arkady Svidrigailov 4 page

Luzhin's nastiness comes when he reminds Dunya of his noble "resolve to take her in spite of evil rumors about her," and even though he is completely convinced that the stories are wrong, he taunts her with the rumors. Luzhin's total horror comes later when he so desperately tries to frame the innocent Sonya so as to prove himself superior to Raskolnikov.

Summary and Analysis Part 4: Chapter 3

Summary

Luzhin refuses to believe that such a magnificent prize as Dunya could possibly escape him. "In his dreams, he was already her lord and master," and he plans to use her mainly to forward his own career.

Meanwhile, Rodya tells his sister that Svidrigailov wants to see her and make her a present of 10,000 rubles. This offer puzzles everyone, and they decide to avoid all contact with him. Razumihkin offers a plan whereby they can all profit from the 3,000 rubles left to Dunya by Marfa Petrovna. He wants to open a small printing firm that will cater to publishing translations.

Rodya suddenly announces that he must leave. He asks pardon of his mother but insists that he is not well. As he leaves, Razumihkin follows him. Rodya is able to darkly communicate a strange secret by "some hint," and Razumihkin allows Rodya to go.

Analysis

Rodya's sudden announcement to his family that he must be alone emphasizes again the truth of his theory that crime isolates one from society, and that crime contributes to illness: "I wanted to tell you it would be better if we parted for a short time. I feel ill. I am not at peace. . . Leave me, leave me alone. . .I want to be alone; for me altogether, it's better. Don't make inquires about me. When I can, I will come of myself or . . .I will send for you. . .but if you love me, give me up. . .otherwise, I feel I shall begin to hate you."

Rodya is able to make Razumihkin know that he is implicated in the crime in some fashion. Here, then, Razumihkin's function in the novel becomes settled; he is to look after Rodya's mother and sister, thereby leaving Raskolnikov free to depart and work out his own guilt.

Summary and Analysis Part 4: Chapter 4

Summary

"Raskolnikov went straight to. . .where Sonya lived." His appearance there agitates and frightens Sonya. Rodya is stunned at how her apartment reeks of poverty and at how thin she is. As they sit together, Rodya questions her about her landlord Kapernaumov, about her profession, and then about her relationship to Katerina Ivanovna. Even though Sonya was ashamed and embarrassed with his questions, she answers with simplicity and innocence.

He then paints a horrible, depressing future life for Katerina and the children. He taunts her with the thought that Katerina will soon die — she is coughing up blood now — and the children will be left without anything. He taunts her with her inability to save any money. He taunts her with the thought that Polenka will probably have to enter also into a life of prostitution. To all of these taunts, Sonya responds with despair and dismay, and maintains that "God will not allow it to be so." To Raskolnikov's taunt that perhaps there is no God, Sonya's suffering increases because she cannot conceive of life without God.

At this point, Raskolnikov suddenly bows down to Sonya and kisses her foot, and says "I did not bow down to you, I bowed down to all the suffering of humanity." And he shocks Sonya by telling her that he did his sister honor by seating her to his sister, "not because of your dishonor and your sin but because of your great suffering." He asks her to explain how "such shame and such baseness can exist in you side by side with other feelings, so different and so holy?" Rodya then realizes that there are only three options open to her: suicide, the madhouse, or abandonment into total debauchery.

He spots an old worn Bible on the dresser, and he is surprised to learn that it was a gift from Lizaveta who was her good friend and she has had a requiem said for Lizaveta. He asks her to read to him the story of the raising of Lazarus. She hesitates because she did not want to read to an unbeliever, but slowly and carefully, she read the story for both of them.

After she finishes reading the story, Raskolnikov tells her how much he needs her and asks her to join him and go the same road with him because they both have transgressed against life — that is Sonya has transgressed against her own self, and he has taken life. As he is about to leave, he tells Sonya that if he comes tomorrow, he will tell her who killed Lizaveta.

At the end of the chapter, we discover that Svidrigailov has been standing and listening in the room, an empty one between his room and Sonya's. He so thoroughly enjoyed their conversation that he brings a chair so as to be more comfortable for their meeting in which Raskolnikov has promised to reveal the murderer.

Analysis

Raskolnikov's visit to Sonya in her lodgings is in preparation for his later confession. Dostoevsky's theory that "suffering leads to salvation" and that through suffering man's sins are purified (or expiated) are now brought into the foreground. It now becomes apparent that Raskolnikov is attracted to Sonya because he sees in her the symbol and the representative of "all the suffering of humanity." Even though she is thin and frail, she can carry a very heavy burden. Thus Raskolnikov will test her further to see how much she can bear. Since she is capable of "great suffering," he torments her with taunts such as the death of Katerina, the possibility that Polenka will be forced into prostitution, and the distressing state in which she now lives. These taunts are used to test her ability to suffer intensely and ultimately to see if she will be capable of withstanding Raskolnikov's confession. Will she be able to take his suffering upon herself and help him to "bear his own cross"?

Earlier in the novel, Porfiry Petrovitch has asked Raskolnikov if he believed in the raising of Lazarus from the dead. Now he asks Sonya to read him that same story. Thus the two principal redemptive figures, Porfiry and Sonya, are both connected through the same biblical episode. A further note of coincidence is that the story is read from the Bible that belonged to Lizaveta, the woman he did not intend to murder. The story of Lazarus is pertinent mainly in the general outline rather than in the specific detail. Raskolnikov, like Lazarus, died one type of death as a result of the crime; in other words, his crime isolated him from society and from his family to the point that he is figuratively dead. Through Christ, Lazarus was raised from the dead and became one of the living. Now through Sonya, Raskolnikov hopes to again assume his place among the living. Therefore, both stories are of people who were separated from the living and through some incredible miracle were restored to the living. The incredible aspect of the Lazarus story also appeals to Raskolnikov. The raising of Lazarus is considered one of the greatest miracles that Christ performed. In a lesser aspect, that story is one of suffering, of great suffering that was alleviated by the miracle of restoring life. Therefore, if Sonya can restore Raskolnikov to life, his suffering will be alleviated. And finally, note that Lazarus had been dead for four days before Christ performed the miracle. Likewise, it has been four days since Raskolnikov's crime.

After the reading of the story of Lazarus, Raskolnikov tells Sonya that "I have come to you because I need you." She does not understand at that moment, but he maintains that she will understand later, if not rationally then intuitively. He knows that their "paths lie together" and that they need each other as fellow sufferers to "take the suffering on ourselves."

Raskolnikov sees in Sonya one who has also transgressed against life and asks her to join him so that we "may go our way together." In asking even Sonya to join him, he symbolically breaks out of his isolation caused by the crime. Also he begins to deny that aspect of this theory that advocated the extraordinary man must stand alone and apart from all other people. But still, he has one reservation: Sonya is too much of a "religious fanatic."

Summary and Analysis Part 4: Chapter 5

Summary

The day after his meeting with Sonya, Raskolnikov performs the unpleasant task of going to the Criminal Investigating section of the police department to officially file a claim to his two pawned items. He is filled with intense dread because he hated Porfiry "with an intense, unmitigated hatred" and was afraid his hatred might betray him. He is kept waiting for a long time and gets very nervous and edgy.

Porfiry receives Raskolnikov very cordially and acts as though it is a pleasant social visit, forgetting that a person is not kept waiting so long for a social visit. Raskolnikov tries to keep the meeting formal and business-like; in fact, he keeps threatening to leave unless Porfiry comes to the point and examines him in an official way. Nothing, however, seems to deter Porfiry from performing his duties his own way, and he is determined to talk about all types of subjects, especially theories about crime and crime detection.

As he talks about this and that, he paces constantly about the room and stops frequently at the door and listens to see if perhaps someone is still there. His pacing makes Raskolnikov more nervous. The interview continues for so long and is filled with so much chatter, along with irrelevances, that finally Raskolnikov loses his patience and tells Porfiry that he realizes the type of "cat and mouse game" he is playing. Raskolnikov then asserts that if he is suspected of being the murderer of "that old woman and her sister Lizaveta," then he demands to be arrested immediately or allowed to leave. "If you find that you have a legal right to prosecute me or arrest me, then do it! But I will not permit anyone to laugh in my face and torment me."

To detain Raskolnikov, Porfiry reveals that he knows many unusual things about Raskolnikov, such as his trip to the scene of the crime when he rang the doorbell and asked to see the blood. Porfiry also explains his technique: He can always arrest a person, but he prefers a suspect to have his own time to think over his crime. In Raskolnikov's case, Porfiry says that he likes him and wants to help him in a friendly manner, but Raskolnikov rejects his friendship and is about to leave when Porfiry reminds him of a little surprise that is behind the door in the room. Before he can unlock the door, something strange and unforeseen occurs.

Analysis

Earlier, Porfiry's technique was called a "cat and mouse game." This now becomes clear to both the reader and to Raskolnikov. First, Raskolnikov is kept waiting unnecessarily; then he is exposed to incessant chatter and more chatter; and then there is the hint of some secret evidence hidden in the room. In all these cases, Porfiry does have the upper hand, and Raskolnikov is at his mercy.

The meetings in the last two chapters show us that Raskolnikov goes from Sonya who will redeem him emotionally through her sufferings to Porfiry who will try to redeem Raskolnikov intellectually. This second redemption is more difficult since Raskolnikov's existence now is based upon the validity of his theory.

Porfiry presumably knows more than he reveals. He could arrest Raskolnikov at any time, but doesn't because he does have a "sincere liking for him" and if he arrested Raskolnikov now, Raskolnikov would never realize the error of his theory. Religiously, confession of sin is the beginning of redemption and Raskolnikov must be left alone to confess.

Summary and Analysis Part 4: Chapter 6

Summary

This chapter is told "afterwards. . .Raskolnikov recalled it this way." There was an unexpected amount of noise and the unexpected arrival of several subordinates. Porfiry is very annoyed that his plans have been interrupted, but a prisoner (Nikolay, the house painter at the scene of the crime) was brought in, and he confessed to the murder of Alyona and Lizaveta. This confession is an overwhelming surprise to both Porfiry and Raskolnikov, neither of whom expected it. Porfiry is so vexed that he is not logical and he refuses to believe it, but recovering quickly, he dismisses Raskolnikov and reminds him that they will see each other again.

Raskolnikov leaves and goes home where the strange man who had once so mysteriously appeared and called him a murderer comes and explains that he was hidden in the closet in Porfiry's office. He apologizes for calling Raskolnikov a murderer and for the trouble he has caused him. With the confession by Nikolay and the apology of the stranger, Raskolnikov resolves to make a new struggle for life.

Analysis

This six-page chapter is the shortest one in the novel. It recalls Raskolnikov's view of the incident in Porfiry's office where the house painter, Nikolay, confesses to the murder. Ironically, as Porfiry is later to know, Nikolay belongs to an unusual religious sect that emphasizes the importance of suffering for the sins of others, and his desire to suffer is the exact thing that has already been recommended for Raskolnikov.

After the porter comes to apologize for falsely accusing Raskolnikov, he decides to "make a fight for it" — a new determination to live and surpass the stupidity of his crime.

Summary and Analysis Part 5: Chapter 1

Summary

The morning in Luzhin's rooms, he still thinks of his unfortunate break with Dunya and his thoughts are interrupted by his roommate, Lebezyatnikov, who sees himself an advanced thinker. They discuss ideas important in Russia at this time.

The discussion eventually comes around to Sonya, whom Luzhin wants to see. Luzhin insists that his roommate remain during the interview. Luzhin questions Sonya about the financial conditions of the family and about the stability of Katerina Ivanovna, who is telling people that Luzhin is going to arrange for a pension for her. Luzhin makes it clear that he has no influence, but he tells Sonya he would like to try to get some type of fund started for the widowed Katerina. To show his good intent, he gives Sonya a ten-ruble note.

Analysis

Most of this chapter is a digression that allows Dostoevsky to examine some of the prominent advanced ideas of the time — ideas that were influencing such people as Raskolnikov and to a much lesser degree, the simplistic Lebezyatnikov, whom Dostoevsky depicts as an advanced liberal and a comic rube. Basically, these discussions show Dostoevsky's extreme dislike and distrust for the radical young men who are too influenced by new ideas. The foolishness of Lebezyatnikov is supposedly the foolishness of any person who adheres so closely to the "advanced ideas."

Regarding the development of the plot, this chapter merely sets up the proper machinery for Luzhin's attempt to frame Sonya.

Summary and Analysis Part 5: Chapter 2

Summary

At Katerina Ivanovna's, the funeral party is just beginning. The dinner was given so as to "do like other people." The party far exceeds Katerina's means to pay, but she insisted on inviting everyone, even her landlady, Amalia Fyodorovna Lippewechsel, whom she dislikes intensely; Lebezyatnikov who once beat her; and Luzhin whom she does not know.

When Katerina notices that many people, especially the more genteel and influential lodgers, turned down her invitation, she blames it on her landlady and begins to act disdainful and haughty around her. Sonya is quiet, very nervous, and apprehensive, but Raskolnikov says nothing. Then as the party progresses, Katerina becomes openly critical and then hostile toward the landlady as though she was responsible for all the misfortunes in Katerina's life. Finally, pandemonium breaks loose and the entrance of Luzhin prevents an open fight.

Analysis

In this chapter, Katerina's behavior predicts her forthcoming eviction and her death. She cannot control herself, and she is also spitting blood. Her behavior is irrational as in her open prejudice against her landlady, Amalia Ivanovna Lippewechsel, a person of German origin who (in some translations) speaks in a heavy German syntax. Katerina's irrational dislike stems from a long standing conflict between native Russians and members of the German working class who settled in Russia but seldom learned the Russian language.

While Raskolnikov is physically present at this party, his real presence is unobserved; that is, he is no more than another visitor. His importance will be in the chapter when he witnesses Luzhin's disgraceful and vicious attempts at blackmailing Sonya.

Summary and Analysis Part 5: Chapter 3

Summary

Katerina Ivanovna is excited to see Luzhin, thinking he has suddenly become her savior, but she is struck dumb when he disclaims all knowledge of her father and he stands disdainfully apart from her and avoids her as much as possible.

Luzhin then announces the purpose of his visit; he has come to see Sonya. Shortly afterwards, Lebezyatnikov appears at the back of the room and remains quietly there. Luzhin explains loudly to Sonya how he had exchanged some securities for rubles, and that when she left the room after their interview, a one-hundred ruble note was missing. He carefully explains that he had just counted the money and one of the notes is now missing. He accuses Sonya of black ingratitude and demands that she return the money. Sonya denies the charge, and Katerina immediately comes to her defense. Luzhin threatens to send for the police, but tells Sonya that if she will return the note, he will forget everything. Katerina then becomes enraged and screams for someone to search her. As Katerina begins frantically to turn Sonya's pockets inside out, a hundred ruble note falls out of one of the pockets. Sonya still denies the theft, and the landlady orders them from the house.

Lebezyatnikov steps forward and accuses Luzhin of being a vile, evil person. He tells how he saw Luzhin slip the hundred-ruble note into Sonya's pocket while she was standing in his room, amazed at the fact that he had given her ten rubles. Luzhin denies the accusation, and Lebezyatnikov is at a loss to explain why Luzhin acted as he did.

At this moment, Raskolnikov steps forward and explains how Luzhin was rejected by his sister and he tried to alienate him from his family by implicating Sonya. At this time, Luzhin leaves as quickly as possible, but someone throws a glass at him. The glass misses Luzhin, but it hits the landlady who in turn orders Katrina out of the house. Sonya could endure no more and "she gave way to hysteria" and hurried home. Raskolnikov follows her wondering what she can say now about her predicament.

Analysis

From the wild, frantic scene in Chapter 2, we move to a quieter but more intense chapter where we see Luzhin's attempt to frame Sonya. His elaborate preparations to prove her to be a thief indicate his desperation, his vileness, and his amoral stance. His attempt to disgrace her is only so as to cast aspersion upon Raskolnikov, thereby hoping to prove to Dunya that he was right in his judgment about Raskolnikov's relationship to Sonya. He is ultimately the most despicable person in the novel, and this scene proves that Raskolnikov was right in strongly opposing Dunya's marriage to him.

Sonya leaves before the horror of the scene is over. When she goes to her own room to escape Katerina's hysteria, Amalia Ivanovna's anger, and the general air of disillusionment, she intuitively knows that Raskolnikov will follow her. Note that Raskolnikov watches Sonya's behavior and concludes that "she was capable of bearing everything. . .with patience and serenity."

Summary and Analysis Part 5: Chapter 4

Summary

On his way to see Sonya, Raskolnikov wonders if it is absolutely necessary to tell Sonya who killed Lizaveta. When she meets him, she had indeed been waiting for him and she pleads that he not talk to her the way he did yesterday — "there is enough misery in the world." But Raskolnikov ignores her plea and immediately reminds her of the things that he had said yesterday.

Over her protests, Raskolnikov asks her a hypothetical question — that is, between Luzhin and Katerina, which one should be allowed to go on living? Should Luzhin live and continue committing acts of evil and hate crimes and causing the imprisonment of people like Sonya and the deaths of Katerina and the children? Or should Katerina Ivanovna go on living? "How do you decide? Which of them should die?" Sonya refuses to answer saying "I can't know God's intentions? Why do you ask such questions that have no answer? Who am I to judge who shall live and who shall not?" As Raskolnikov asks these difficult questions, Sonya realizes his suffering and asks what is troubling him.

Raskolnikov reminds Sonya that he had promised to tell her today who killed Lizaveta. To Sonya's frightened response, he first asks her to guess and then tells her to "take a good look at me." Somehow the dreadful knowledge is communicated to Sonya and all of her suffering suddenly becomes magnified. She shrinks from Raskolnikov. Recovering immediately, she flings herself on her knees in front of him, crying out: "What have you done, what have you done to yourself?. . . .There is no one, no one unhappier than you in the whole world."

A sudden feeling of tenderness floods Rodya's heart and softens it, and he asks Sonya: "Do not forsake me." and she vows she will "Never, forsake you, nowhere! . . . I will follow you wherever you go. . . I will even follow you to prison." At the mention of prison or Siberia, Raskolnikov recoils, and his haughty attitude returns.

When Sonya asks him how he could bring himself to do such a thing, Raskolnikov offers explanations ranging from his poverty to his Ubermensch theory. Each of his reasons is rejected so that Raskolnikov never successfully explains his crime. After many attempts to explain the crime, he turns to Sonya and asks "tell me what to do now?" She requests him "Go at once, this very minute, stand at the cross-roads, bow down, first kiss the earth which you have defiled [desecrated] and then bow down to the whole world and say to all men aloud, 'I am a murderer!'"

When Rodya questions this, she tells him again: "Accept suffering and achieve atonement through it." Rodya hedges still and asks Sonya if she will come and visit him in prison, and as she affirms that she will, she offers him the cypress-wood cross that was once Lizaveta's. He reaches for it, but decides it would be better if he accepted it later, and Sonya agrees: "When you accept your suffering, you shall put it on."

Date: 2015-01-11; view: 1014