Downfall and Salvation in Crime and Punishment

In the novel "sin and punishment", the so-called "extraordinary" theory plays an important role. Raskolnikov, oppressed and psychologically abused people think that they are not bound by the laws of the common people. It is this creed that makes him believe that he has the right to murder Alyona Ivanovna. In the nineteenth century, an extraordinary humanistic theory spread. Supported by philosophers Georg Hegel and Friedrichnitz, there are two main ideas on this topic.

In "crime and punishment", Raskolnikov is a thesis, a symbol of goodwill, Svidri Gallov is evil and pain, the opposite of the microcosm and reality. In this case, the battle of good and evil will be saved or integrated - Sonya, this is the representative and key of the rescue of Raskolnikov. This method can also be seen from the main concentration of Dostoevsky. In this respect, a crime can be regarded as a symbol of good intentions. Raskolnikov killed Alyona as she was showing evil in society. Because her death is blessing and good for the world, he believes his crime is reasonable.

Punishment can be regarded as a painful reality. Only when he committed a crime Raskolnikov noticed that everyone was in fact suffering. What is important is not to avoid this pain but to overcome it. Redemption can be seen as a result of redemption and pain termination - crime and punishment. This analysis also shows Hegel's theoretical view as the novel moves linearly. Sin (thesis) contains the first part of the novel, punishment (opposite) is shown in Sections II-VI, and salvation (synthesis) is introduced into the conclusion. Friedrich Nietzsche (1844-1900) does not believe in the suffering of all people.

Crime and punishment have obvious starting points. The novel is organized in six parts. The concept of "essential duality" in "sin and punishment" has been commented and suggests that the book has some degree of symmetry. Edward Wasiorek believes that Dostoevsky is a skilled craftman who is familiar with the official model of his art. Among the dominant, reasonable and proud Raskolnikov: IV-VI department, emerging "unreasonable" humble Raskolnikov. The first half of the novel shows a gradual death of the first rule of his personality; in the second half of the year, the principle of the new rule was gradually born. The key to change is in the middle of the novel.