Razumikhin, a dear friend of Raskolnikov (Rodion), symbolizes a justifiable escape route for Raskolnikov, as he takes his place as the brother of Dunya and the son of Pulcheria. When Raskolnikov makes the decision to leave his family, he states to Razumikhin that he must take his place. The conviction that Raskolnikov does not desire to be weighed down by his own family is further portrayed when he enters Sonya’s room. He clarifies to Sonya that they are both extremely similar – given that they were both able to transgress – and must start a new life together.
Razumikhin was continuously seen as the right choice for Sonya, and as this is portrayed to Rodion, Raskolnikov believes he can now leave his family without feeling ashamed. Razumikhin continuously cared for Raskolnikov in his illness, and as this compassion enters both Sonya’s and Pulcheria’s heart, they become willing to accept Rodion as a replacement – ultimately freeing Rodion from his proclaimed impediment.
Character Analysis on Luzhin
Luzhin, a portrayed antagonist, illustrates the extent of pompous thought, as he believes the Raskolnikovs would not have ostracized him if he had showered them with a plethora of gifts. Luzhin feels that he was too affluent to be denied by a destitute individual, such as Dunya. He continues to illustrate this absurd notion as he attends the memorial service for Marmeladov.
Given that Luzhin does not sympathize for the bereaved family, he briefly interrupts in an attempt to gain Dunya’s acceptance back. However, Luzhin plays his last cards when he falsely accuses Sonya of pilfering one-hundred rubles. After this incident, Luzhin acknowledges that he will never win Sonya back and leaves the story plot; his bombast attitude and character confirms him self- centered adversary.
Analysis on how Raskolnikov’s confession leads to redemption from Nihilism
During the meeting between Raskolnikov and Sonya, Rodion reveals that he murdered the Ivanovna’s – representing his return to normality. When Raskolnikov first confesses to Sonya, he mentions that his intentions did not rise from poverty. Instead, he states “I was ambitious to become another Napoleon; that was why I committed a murder.”
Given that Rodion was willing to confess to Sonya, it portrays him as an individual who dropped previous depraved notions and assumed a more righteous base. He no longer believed he was superior to other individuals and in contrast, began to believe that he was of destitute class. Rodion was a long way from feeling complete remorse, but since he confessed, it conveys him as a more moral individual. Leaving his notions of keeping the murder a secret – in congruence to Sonya’s notions-, Raskolnikov decides to publicly state that he is the criminal.
The pendant cross, which Sonya gives to Rodion, symbolizes a transition from Nihilism to Christianity. When Raskolnikov reveals the truth to Sonya, the beliefs of Nihilism begin to disappear. The Nihilist view in believing in nothing transcends to the belief in repentance to alleviate his ill-punishment.
Raskolnikov’s further rejection of his previous ideals is illustrated when he breaks through his alienation from all humans by establishing a connection with Sonya. Once an individual driven off of decadence, Rodion soon turns to redemption and realizes he is similar to all other humans; a representation that Russian Nihilism has been refuted and denounced for its degrading consequences.
Analysis on how Svidrigailov’s generosity frees Sonya from duty as caretaker
When Svidrigailov speaks to Sonya upon Katerina’s death, he portrays that he will assume Sonya’s obligation of being a caretaker, thus freeing her from her moral commitment. When Raskolnikov first mentioned to Sonya that he and she should leave together, Sonya felt remorse for what would happen to Polia and her other siblings. However, once Svidrigailov states he has plenty of money and would be willing to place the Marmeladov children in an orphanage, her notions of degenerating ideas begin to leave her mind.
Sonya believes that not only would this suggestion be better for the children, but also better for herself as she would be given the opportunity to further herself and escape from a depraved life. She would no longer have to continue living through prostitution, and instead would alleviate her well-being and begin a new life with Rodion.
The extent of Svidrigailov’s offer is continuously conveyed and is also seen as quite similar to Razumikhin’s replacement of Raskolnikov. As both instances symbolize a key to an entrapped cage, the benefactors include those experiencing destitution. The prospect to leave past experiences and denouncements is envisioned and the view of hope is enlarged.
Svidrigailov is a sensible individual and would regret not utilizing the ten thousand rubles in an ameliorating fashion. He failed in his attempt to be loved by Dunya, so in consequence, drives to aid Sonya and her unfortunate family. Svidrigailov was previously depicted as an insane and untrustworthy character, but upon his support of the Marmeladov’s his conveyed demeanor begins to extinguish; his generosity and kind actions are instead illuminated.
Dostoevsky, Fyodor. Crime and Punishment. Trans. Constance Garnett. New York: Modern Library, 1950.