The Rejection of Svidrigailov in Crime and Punishment

Svidrigailov's crime, punishment, refusal of penalties Raskolnikov dismisses because he knows that Svidrigailov is designing his sister. Dunia was the main focus of his past chapters - he pursued Svidrigailov, not because he likes his company but because he was worried infinitely about his intentions . The bars Svidrigailov and Raskolnikov participated in a conversation about exchanges with her family at Dounia and Marfa Petrovna.

Svidrigailov also provided an extraordinary psychological portrait for a drunken Marmeladov, and a malignant involuntary person suffering from hallucinations. Raskolnikov's friend Razumikhin expresses dislike of the writer's ideological lifestyle; Razumikhin's own life reflects a way to solve the problem through a dramatic gambling rather than a slow and steady hard work. A slightly discreet Dostoevsky became the main character of the story, Sonia Mamelado. This is an unrealistic symbol of the merit of pure Christians. After she became a whore to feed her family, she later persuaded Raskolnikov to repent and let him go to Siberia. At the conclusion of the novel, the prisoner Raskolnikov initially acknowledged that he was not reflective, not emotional stress, initially maintained his immoral theory, but eventually he was inspired by the apocalyptic dream and Sonya It was. Good brings true confession. Criticism is divided as to whether the conclusion succeeds in art

Crime and punishment are written from the perspective of the third party's omniscience. It is primarily from Raskolnikov's point of view; however, it sometimes turns into a view of Svidrigailov, Razumikhin, Peter Petrovich or Dunya. The technique of this story is the originality of that era, which closely integrates the ideology, consciousness and viewpoint of the central figure of the plot. Franks pointed out that Dostoevsky began to approach experiments after Henry James, Joseph Conrad, Virginia Woolf, and James Joyce by manipulating the time series using memory time transformation. . However, the readers in the late nineteenth century were accustomed to a more orderly straightforward explanatory story. This led to legendary persistence, Dostoevsky was a dirty and lazy craftman, and the following critical observations of Melchiorde Vogüé:

After reading "crime and punishment" people soon noticed the authenticity of the two, the protagonist (Laskolnikov) and the opponent (Svidrigailov). Dostoevsky uses the support role to indicate to the reader the ideas of these two roles. Readers can feel the proximity of all personality, which helps tell stories of crime and punishment. Dostoevsky succeeded in creating the two characters who realized that they were similar, but they knew they were never the same. Way suicide