By Richard Peace
This Casebook is a set of interpretations of Crime and Punishment. the choice not just displays previous paintings by means of significant critics within the box, but additionally newer reports. while the alternative of severe ways has been made at the foundation of protecting the novel's a number of facets: Dostoevsky's debt to different novelists within the ecu culture; his roots as a author within the so-called "Natural university" of the 1840s with its emphasis at the subject matter of town; the thematic and symbolic constitution of the radical itself; the psychology of the hero; the philosophical content material of the radical and its dating to modern proposal; the novel's spiritual measurement. This latter technique has lengthy been verified in western feedback, however the essays with which the Casebook concludes are through glossy Russian students, who research the radical within the gentle in their personal Orthodox culture.
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Extra resources for Fyodor Dostoevsky's Crime and Punishment: A Casebook (Casebooks in Criticism)
14 In the widespread discussion attending this book, critics were quick to see that the defense of Caesarism was a defense of Napoleonism, that the book was not a history but a veiled self-justiﬁcation. What is relevant to present concerns is the theory on which that self-justiﬁcation was made to hinge, the theory that superior natures are beyond the morality that binds the mediocre mass of people. 15 “Borrowing” here is not in question; rather, we see once more the close correspondence between the concerns of Dostoevsky’s novel and those of the day—indicative of a timeliness that must have struck contemporary readers and intensiﬁed the impact of the book with myriad relevancies now lost to us.
There is nothing monumental about these teeming streets and alleys except the quantity of life they contain. Raskolnikov wonders in a moment of reverie “why in all great cities men are not just impelled by necessity, but somehow peculiarly inclined to live and settle in just those parts of the city where there are no gardens or fountains, where there is most dirt and stench and all sorts of ﬁlth” (I, 6). Yet he himself is drawn to them, as if by an instinctive and obscure fellow-feeling that is a refutation of his intellectual theory about himself.
I, 1)7 40 Adele Lindenmeyr This part of Petersburg, to which Dostoevsky immediately gives a tangible atmospheric, social, and economic identity, has a powerful attraction for Raskolnikov. The magniﬁcent panorama of the capital city along the Neva River left Raskolnikov, like Dostoevsky, “with an inexplicable coldness” (II, 2). Even though Haymarket’s stiﬂing atmosphere and drunken crowds revolt him, Raskolnikov is drawn to it many times throughout the novel: “By force of habit, following the usual course of his previous walks, he headed straight for Haymarket .
Fyodor Dostoevsky's Crime and Punishment: A Casebook (Casebooks in Criticism) by Richard Peace