It can be said that a person's disposition is determined by the state of his living space, and it is no secret that the environment greatly influences the character of a person. This idea is taken to the extreme in Fyodor Dostoyevsky's Crime and Punishment, a novel in which cramped apartments, hot, stuffy air, and crowded streets dictate the mood and personality of the characters. Dostoyevsky places particular importance on the plays and how the characters react to different living conditions. Additionally, Dostoyevsky uses images from the plays to provide deeper insight into each character's personality and motivations, thus intensifying the theme of isolation in the novel. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay Raskolnikov's room, a disorderly and oppressive place, is often linked to his madness and blamed for his isolation. The first thing he says about his apartment is that it looks “more like a closet than a bedroom” (1). He even admits: “I sat in my room like a spider. You've been in my lair, you've seen it: the low ceilings and the cramped room bother the soul and the spirit: yet I wouldn't come out! I wouldn't do it on purpose" (386). This tiny, cramped room is directly related to how Raskolnikov isolates himself from others, as he lives like a hermit both physically and mentally. Additionally, the fact that his room to be dark, messy and unlivable testifies to his mental state; How could one live in such a room without tending to have a disordered and dark psyche This is particularly brought to the reader's attention when Sonia visits him to? the first time, and he confronts her with: "Why are you looking at my room like that? My mother just said it's like a tomb" (223). it also shows that Raskolnikov is hostile, defensive and insecure about his situation. The same emotions apply not only to his living conditions but also to his mental state: he tends to be defensive and show off. unsure of his reasoning and theories. Raskolnikov is particularly defensive about his crime, as he refuses to accept the fact that he is mentally ill and refuses even to accept the possibility that he has sinned. But what is interesting is that Raskolnikov himself recognizes the connection between his room and his isolation, for upon his return, “Raskolnikov entered his small room and stood in the middle of it. Why had he come back here? and in tatters, paper, dust - he knew everything by heart - never, never had he felt so terribly alone" (393). Dostoyevsky deepens this symbolism by showing how Raskolnikov reacts to other plays and others environments For example, when Raskolnikov was in the midst of a nervous breakdown, he began to think about "the smell of cigars in an unfamiliar tobacco shop, a tavern room, a rather dark back staircase, all wet with dirty water and." littered with eggshells - all this “meanwhile there was an oppression within him” (254) Not only are these stifling situations the first things that come to his mind, but they also emphasize the oppressive environment. which may have driven Raskolnikov to madness This madness is obvious to everyone around him, and many of them accuse Raskolnikov of mental illness. For example, Razumihin says to Raskolnikov: “judging by your actions. stupid, disgusting and inexplicable, and by your recent behavior towards your mother and your sister, only a madmancould treat them as you did; so you must be crazy” (408). . This madness, his refusal to connect with everyone, is clear throughout the novel. His guilt and mental disorder are even more evident when Raskolnikov is summoned to the police station and is immediately struck by the oppressive atmosphere there. He thinks: "It's a shame there's no air here; it's stifling; it makes the head dizzier than ever, and the mind too!", then he says: fainted.(92). This scenario shows that the isolation and oppressive atmosphere seriously affects his mental state. This also proves that his feeling of overwhelm is only partly due to the real air; a lot of it has to do with the situation itself. In tense situations, Raskolnikov frequently comments on the stifling air – a direct representation of the suffocating pressure of his guilt and the relationships in his life. He then becomes so absorbed in his own isolation and suffering that he no longer even wants to be around others. This is manifested through his strange behavior in his relationships, particularly his relationships with Dounia and his mother. For example, when he abandons them, he says: "Perhaps everything will come back, but now if you love me, abandon me, otherwise I will begin to hate you" (291). This conscious separation from others only intensifies his mental problems. Raskolnikov is not the only character whose bedroom represents his behavior; many of the novel's supporting characters convincingly show that their rooms reflect their personalities. For example, Porfiry's office "was a room neither large nor small, furnished with a large desk - a suitably well furnished room, with a closed door, beyond doubtless there were other rooms" (309) . His medium-sized, well-furnished room conveys a positive image of Porfiry as an intelligent, wealthy but modest man. Its practical furniture implies a practical man. But what's interesting about this description is that "there were undoubtedly other pieces", implying that there is more to Porfiry than his face value. Indeed, Porfiry reveals himself to be a deep and intelligent man. Opposite to Porfiry's room, the reader discovers Sonia's room. Barely furnished and incredibly humble, Raskolnikov describes “a small chest of drawers made of raw wood, as if lost in a desert. That was all there was in the room” (293). Sonia's meager accommodation gives the perfect image of her character: a religious girl who has faith in everything even if she has nothing. Another positive character, conveyed by his living conditions, is that of Razumihin. When Raskolnikov stops by Razumihin’s party, Raskolnikov notes that “Razumihin’s hall was quite large; the company was composed of fifteen people” (178). This highlights the connection in Razumihin's life: a big room full of people represents an open mind and a big heart, full of friends. For example, when Raskolnikov left Dounia and Pulcheria, “from that evening Razumihin took his place among them as son and brother” (292). Razumihin actually ends up being the only one who truly accepts the connection with the others, and so he ends up being the happiest. On the other end of this spectrum, however, is Katerina Ivanovna. After her failed dinner, “Amalia Ivanovna went wild in the room, shouting, lamenting and throwing everything she came across to the floor” (375). This does not represent Katerina's character, but rather the suffering that ultimately ends her life. Because Katerina blames others instead of accepting her suffering and moving on, Katerina suffers until her last breath. The destruction of his apartment adds a final note to the destruction of his life, his character and.