The dualism of Raskolnikov's character in Crime and Punishment (Dostoyevsky, 13). Derived from the Russian word for "schism", Raskolnikov's name itself evokes his split personality. Raskolnikov's dichotomous personality is revealed primarily in his reaction to his crime, his treatment of his mother and sister, his relationship with Sonya, and his attitude toward human contact. The "extraordinary man" side of Raskolnikov's personality shows us the destructive nature of egocentrism, from which he ultimately manages to escape, thanks to the softer and emotional side of his personality.Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Even though Raskolnikov constantly tries to rationalize and justify his crime, the murder oppresses him with a feeling of revulsion as he realizes the folly of his selfish "extraordinary man" theory. Raskolnikov considers himself part of an elite echelon of "supermen", who possess the unofficial right to commit a crime, if the act benefits humanity. He “[allows] his conscience to overcome certain… obstacles” and places himself above social mores, committing intentional murder primarily in order to prove his theory (Dostoyevsky, 308). Raskolnikov's subconscious, however, recognizes this erroneous reasoning and a feeling of loathing towards himself begins to form in his mind. Raskolnikov manages to consciously justify his theory; however, his semi-conscious daydreams show that, somehow, he is aware of his moral failings. One of Raskolnikov's daydreams is an incident from his childhood. He dreams of the murder of a mare by drunken peasants. As a child, Raskolnikov mourned the horse's suffering. His compassionate reaction to this brutal act speaks to his deep ambivalence about committing murder. The suffering he experiences in this reverie can be interpreted as an indicator of his eventual repentance for the crime he has committed. In another dream, Raskolnikov's murder victim returns to haunt him in his dream. In this dream he tries to kill the old lady but this time his blows have no effect. We see, once again, that the murder scene haunts Raskolnikov's unconscious. The old lady refusing to die in his dream suggests that Raskolnikov instinctively senses the flaws in his theory. Later, in Siberia, Raskolnikov dreams of a society infected by a terrible virus that makes people violent and aggressive while giving them the illusion of being morally correct. We know that Raskolnikov is a victim of this kind of "plague" and the spread of this plague to humanity is described as some kind of catastrophe in Raskolnikov's dream. This dream suggests that Raskolnikov recognizes his own psychological illness and the chaos that accompanies his theory of "extraordinary men." Dostoyevsky implies that Raskolnikov's internal struggle to "cross" the accepted moral line of conduct is futile since it is impossible to ignore the sanctity of life and humanity through selfish pursuits. Dostoyevsky implies that Raskolnikov's internal struggle to "cross" the accepted moral line through selfish pursuits is futile since ultimately the softer, more emotional side of Raskolnikov's personality is stronger and reminds him of the consequences of ignoring the sanctity of life and humanity. alternates between isolation and an intense need for human contact due to his dichotomous personality. From the beginning, “Raskolnikov’s soul [is]… affectedby a dark feeling of alienation… [of] infinite solitude” (Dostoyevsky, 126). His theory of the “extraordinary man” separates him from “ordinary” people and forces him into solitude. However, this alienation becomes considerably more acute as he commits his crime; “at that moment he felt as if with a pair of scissors he had cut himself off from everything and everyone” (Dostoyevsky, 140). As the novel continues, we find Raskolnikov trying to reintegrate himself into the social fold. At one point he finds the isolation so oppressive that he begs Polenka, Katerina Ivanova's granddaughter, to love him and pray for him. Polenka's simple kiss, a simple gesture of love, leads Raskolnikov to declare: "life was still possible...his life had not died with the old woman" (Dostoyevsky, 227). Raskolnikov's desire for Polenka's kiss and prayers is evidence of the emotional side of his personality. Although his darker side forces him to withdraw from society, his more human side suffers from his self-imposed isolation and ultimately forces him to seek human contact. The destruction that self-centeredness causes in his soul is challenged by the human contacts he makes, such as Polenka's kiss, and this leads him to believe that he can still escape this destruction. Raskolnikov is painfully torn between devotion to his mother and sister and an inexplicable dislike for their mere presence. Nonetheless, their unwavering support helps sustain him despite his ailing mind and conscience. In the eyes of his mother and sister, Raskolnikov was always “the center of all their hopes.” Indeed, his mother often “did nothing other than live in the expectation… of quickly receiving a letter from her beloved Rodia” (Dostoyevsky, 641). Raskolnikov's self-centeredness rejects his family's oppressive dependence on him. Additionally, Dunya's decision to marry Luzhin to help the family makes Raskolnikov feel unable to provide for them, which angers Raskolnikov. It is possible that Raskolnikov becomes angry because his inability conflicts with his belief that he is an extraordinary man destined to benefit the human race. At one point, we see him reflect on his ambivalence towards his family, stating, "...how I loved them!" Why do I hate them now? Yes, I hate them physically…” (Dostoyevsky, 327). However, Raskolnikov certainly possesses brotherly feelings, as he categorically protects Dounia both from "prostitution" by marrying Luzhin and from Svidrigailov, who seems evil and immoral. In fact, Raskolnikov is more dependent and attached to his family's support than he realizes. He doesn't understand that their devotion to him is part of what sustained his belief in life and kept him from committing suicide. It is also important to note that although Raskolnikov persists in denying his wrongdoing in connection with the murder, he begins the path of repentance by first acknowledging that "he had made [his mother and sister] unhappy” (Dostoyevsky, 618). This recognition marks the beginning of Raskolnikov's acceptance of his guilt. During a meeting with his mother near the end of the novel, Raskolnikov states that “[he] always loved her… [and he] will never stop loving her” (Dostoyevsky, 613). Raskolnikov's regret for causing his family to suffer demonstrates his human desires and the potential he has to escape self-centeredness and embrace humanity. Raskolnikov's ambivalence is best represented in his relationship with Sonya, whose selflessness becomes the key to his salvation. Nowhere is Raskolnikov's duality more evident than in his conversations with Sonya. He alternates between many emotions while talking to her.,.

Essay / The dualism of Raskolnikov's character in Crime and Punishment (Dostoyevsky, 13). Derived from the Russian word for "schism", Raskolnikov's name itself evokes his split personality. Raskolnikov's dichotomous personality is revealed primarily in his reaction to his crime, his treatment of his mother and sister, his relationship with Sonya, and his attitude toward human contact. The "extraordinary man" side of Raskolnikov's personality shows us the destructive nature of egocentrism, from which he ultimately manages to escape, thanks to the softer and emotional side of his personality.Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Even though Raskolnikov constantly tries to rationalize and justify his crime, the murder oppresses him with a feeling of revulsion as he realizes the folly of his selfish "extraordinary man" theory. Raskolnikov considers himself part of an elite echelon of "supermen", who possess the unofficial right to commit a crime, if the act benefits humanity. He “[allows] his conscience to overcome certain… obstacles” and places himself above social mores, committing intentional murder primarily in order to prove his theory (Dostoyevsky, 308). Raskolnikov's subconscious, however, recognizes this erroneous reasoning and a feeling of loathing towards himself begins to form in his mind. Raskolnikov manages to consciously justify his theory; however, his semi-conscious daydreams show that, somehow, he is aware of his moral failings. One of Raskolnikov's daydreams is an incident from his childhood. He dreams of the murder of a mare by drunken peasants. As a child, Raskolnikov mourned the horse's suffering. His compassionate reaction to this brutal act speaks to his deep ambivalence about committing murder. The suffering he experiences in this reverie can be interpreted as an indicator of his eventual repentance for the crime he has committed. In another dream, Raskolnikov's murder victim returns to haunt him in his dream. In this dream he tries to kill the old lady but this time his blows have no effect. We see, once again, that the murder scene haunts Raskolnikov's unconscious. The old lady refusing to die in his dream suggests that Raskolnikov instinctively senses the flaws in his theory. Later, in Siberia, Raskolnikov dreams of a society infected by a terrible virus that makes people violent and aggressive while giving them the illusion of being morally correct. We know that Raskolnikov is a victim of this kind of "plague" and the spread of this plague to humanity is described as some kind of catastrophe in Raskolnikov's dream. This dream suggests that Raskolnikov recognizes his own psychological illness and the chaos that accompanies his theory of "extraordinary men." Dostoyevsky implies that Raskolnikov's internal struggle to "cross" the accepted moral line of conduct is futile since it is impossible to ignore the sanctity of life and humanity through selfish pursuits. Dostoyevsky implies that Raskolnikov's internal struggle to "cross" the accepted moral line through selfish pursuits is futile since ultimately the softer, more emotional side of Raskolnikov's personality is stronger and reminds him of the consequences of ignoring the sanctity of life and humanity. alternates between isolation and an intense need for human contact due to his dichotomous personality. From the beginning, “Raskolnikov’s soul [is]… affectedby a dark feeling of alienation… [of] infinite solitude” (Dostoyevsky, 126). His theory of the “extraordinary man” separates him from “ordinary” people and forces him into solitude. However, this alienation becomes considerably more acute as he commits his crime; “at that moment he felt as if with a pair of scissors he had cut himself off from everything and everyone” (Dostoyevsky, 140). As the novel continues, we find Raskolnikov trying to reintegrate himself into the social fold. At one point he finds the isolation so oppressive that he begs Polenka, Katerina Ivanova's granddaughter, to love him and pray for him. Polenka's simple kiss, a simple gesture of love, leads Raskolnikov to declare: "life was still possible...his life had not died with the old woman" (Dostoyevsky, 227). Raskolnikov's desire for Polenka's kiss and prayers is evidence of the emotional side of his personality. Although his darker side forces him to withdraw from society, his more human side suffers from his self-imposed isolation and ultimately forces him to seek human contact. The destruction that self-centeredness causes in his soul is challenged by the human contacts he makes, such as Polenka's kiss, and this leads him to believe that he can still escape this destruction. Raskolnikov is painfully torn between devotion to his mother and sister and an inexplicable dislike for their mere presence. Nonetheless, their unwavering support helps sustain him despite his ailing mind and conscience. In the eyes of his mother and sister, Raskolnikov was always “the center of all their hopes.” Indeed, his mother often “did nothing other than live in the expectation… of quickly receiving a letter from her beloved Rodia” (Dostoyevsky, 641). Raskolnikov's self-centeredness rejects his family's oppressive dependence on him. Additionally, Dunya's decision to marry Luzhin to help the family makes Raskolnikov feel unable to provide for them, which angers Raskolnikov. It is possible that Raskolnikov becomes angry because his inability conflicts with his belief that he is an extraordinary man destined to benefit the human race. At one point, we see him reflect on his ambivalence towards his family, stating, "...how I loved them!" Why do I hate them now? Yes, I hate them physically…” (Dostoyevsky, 327). However, Raskolnikov certainly possesses brotherly feelings, as he categorically protects Dounia both from "prostitution" by marrying Luzhin and from Svidrigailov, who seems evil and immoral. In fact, Raskolnikov is more dependent and attached to his family's support than he realizes. He doesn't understand that their devotion to him is part of what sustained his belief in life and kept him from committing suicide. It is also important to note that although Raskolnikov persists in denying his wrongdoing in connection with the murder, he begins the path of repentance by first acknowledging that "he had made [his mother and sister] unhappy” (Dostoyevsky, 618). This recognition marks the beginning of Raskolnikov's acceptance of his guilt. During a meeting with his mother near the end of the novel, Raskolnikov states that “[he] always loved her… [and he] will never stop loving her” (Dostoyevsky, 613). Raskolnikov's regret for causing his family to suffer demonstrates his human desires and the potential he has to escape self-centeredness and embrace humanity. Raskolnikov's ambivalence is best represented in his relationship with Sonya, whose selflessness becomes the key to his salvation. Nowhere is Raskolnikov's duality more evident than in his conversations with Sonya. He alternates between many emotions while talking to her.,.

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