The Importance of Raskolnikov’s Dreams in Crime and Punishment

The Importance of Raskolnikov's Dream in Crime and Punishment Scientists theorized and discussed the function of dreams, but why have not yet consensused about dreams (Pain and Nedel). Several dream theorists believe that the study of dreams does not ultimately show that dreams have real purpose or meaning. On the other hand, there is a dream expert who thinks dreams are essential for our spiritual, emotional and physical happiness. Among the "sin and punishment" of Fyodor Dostoevsky, the understanding of the main character Rodion Romanovich Raskolnikov and the reader is very important for the dream in the novel.

The dream of sin and punishment of Las Colignikov In the "sin and punishment" of Dostoevsky, the dream about Las Colignikov's mare can be used as a tool to dig him. A way of thinking to discover his inner feelings. A dream indicates that Raskolnikov is a "split" person; after all, his Russian name means "split". His personality is cruel, rash side, and has a considerate and considerate side. Through dreams and symbols, readers can project Raskolnikov and other personality to every part of a dream with sin and punishment.

Fydor Doestevsky's "sin and punishment" is a psychological study of the hero Raskolnikov. On the surface, the other letters of the novel represent different aspects of Ras Colin. The personality of Raskolnikov is expressed through the use of dual roles. In the novel, Raskolnikov has two aspects. That is the aspect and compassion side of cold computing. There are several roles used as doubles of Raskolnikov. These are Razumikin, Sonya and Svidrigliov. Raskolnikov doubles are not ghosts and may be wrong, but Svidrigliov sometimes looks like one. Every doubles in the novel is part of Raskolnikov's acquaintance. They are also people who reflect the most disturbing elements of Raskolnikov's life in some strange way. In the middle of the novel, and even the most important part of Las Kolnikov 's life, the homicide was drowning in the background of the novel.

The I - III part is primarily rational and proud of Raskolnikov: the IV - VI part, the emerging "irrational" and 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. This structural balance is achieved through the symmetrical distribution of certain important events in the six parts of the novel. As David Bettya stated, the recurrence of these episodes in the two parts of the novel is organized according to the principle of mirroring and the "left" half of the novel reflects half of the "right".