I gotta say Raskolnikov's ever changing mental state is the least interesting thing to me, or maybe the less poignant? How can one call him good or evil when his mind is never set on anything? He himself keeps repeating he doesn't know where his reactions come from, he cannot regulate how he responds to his own emotions and what happens around him. So who's the real Rodion, the one who asks to pray for him or the one who shrugs at God a moment later? The one who kills or the one who gives all his money to widows? Looking for an answer seems pointless. There isn't one. He's obviously not in his right state of mind.
I'm surprised you hated him for bringing Marmeladov home, Dana. He wasn't the only person there, the street and then the house were flooding with people, with police who just wanted to get rid of the problem and let the rich man's carriage pass. Of neighbors who nosed about, laughed, smoked in front of a sick woman. The doctor was useless (do you think an hospital would have been any better? Did they even have ambulances?). I was the most shocked at the priest's uselness. He didn't offer one word of comfort, and even called Katerina Ivanovna's very raw, very understandable reaction a SIN. Nobody in that room saw those three wretched children and thought for one second to help this family or offer comfort, except Rodion, and he's insane. Why is he to blame?
I wonder if Marmeladov killed himself? The carriage driver couldn't tell. It would be the second suicide attempt Raskolnikov witnessed in one evening. Was Marmeladov aiming to find some comfort at last in the presence of God? That speech he gave when we first met him really stood with me. And yet suicide is a sin, and he had the devil's hoof imprinted over his heart (talk about symbolism!) Like I said last week, Dostoevsky's morality baffles me. No, that's not the right word. I understand what he's doing, and I don't like the conclusions he comes to.
I have mixed feelings about Rodion bringing Marmeladov into the room. While others merely watched and sighed, and even the doctor proved ineffective, Rodion took action. Dying at home is arguably preferable to dying on the street. However, from a modern, rational standpoint, moving someone with severe injuries is ill-advised. I wonder if Rodion once again played God here, meddling in matters beyond his understanding. Yet his actions heighten the drama: the children witness their stepfather's bloody body, and the futility of saving him becomes apparent. It's undeniably a powerful scene.
As for Marmeladov, I suspect he may have deliberately thrown himself under the wheels—or at least was indifferent to being run over. The fact that he did this near his home, on the same street, seems significant.
Another fantastic chapter…and I certainly never saw this death coming. I was most touched by the final interactions between Sonya and her father. When M. see Sonya’s shame on display in her clothing, he instantly regrets what his actions have done to her…far too late. It’s as if having never seen the attire of her trade, he’s been able to deceive himself into believing she has not sunk to these depths. But just as his realization comes too late to change what Sonya has become, so does his reach for forgiveness. He falls onto the floor, dying before Sonya is able to release him from his guilt.
We have to look at Rodion in the light of this interaction. Does he still have time to be forgiven or is it too late? He is clearly longing for the forgiveness that M. preached about in 1.2 (below). Sonya’s sister promises to pray for him, but is the faith of a child enough?”
“And He will say, ‘Come to me! I have already forgiven thee once.... I have forgiven thee once.... Thy sins which are many are forgiven thee for thou hast loved much....’ And he will forgive my Sonia, He will forgive, I know it... I felt it in my heart when I was with her just now! And He will judge and will forgive all, the good and the evil, the wise and the meek.... And when He has done with all of them, then He will summon us. ‘You too come forth,’ He will say, ‘Come forth ye drunkards, come forth, ye weak ones, come forth, ye children of shame!’ And we shall all come forth, without shame and shall stand before him. And He will say unto us, ‘Ye are swine, made in the Image of the Beast and with his mark; but come ye also!’ And the wise ones and those of understanding will say, ‘Oh Lord, why dost Thou receive these men?’ And He will say, ‘This is why I receive them, oh ye wise, this is why I receive them, oh ye of understanding, that not one of them believed himself to be worthy of this.’ And He will hold out His hands to us and we shall fall down before him... and we shall weep... and we shall understand all things!”
The scene with Marmeladov's death is indeed poignant and revealing. Your analysis of his realization about Sonya's situation is spot-on. It highlights the theme of consequences and the often-delayed recognition of our actions' impact on others. Regarding Rodion and the question of forgiveness, you've drawn an interesting parallel. Dostoevsky often explores the concept of redemption and whether it's ever too late for forgiveness. Rodion's journey is complex, and his longing for forgiveness is evident in his interaction with Polya, Sonya's sister.
She symbolizes pure, uncorrupted faith.
Marmeladov's earlier speech about divine forgiveness that you've quoted is indeed relevant here. It presents a vision of universal forgiveness, even for those who believe themselves unworthy. This theme of unworthiness and the possibility of redemption continues to be crucial. As we continue through the novel, we'll see how Rodion grapples with these questions of guilt, forgiveness, and redemption. His journey is far from over, and these themes will continue to be explored in depth.
His efforts to help Marmeladov and family, whether actually helpful or not, seem genuine and unselfish— I think this redeems him as a protagonist, as someone to root for (as opposed to straight up villain). Don’t misunderstand me: he’s not a good person nor a likable person, but at least there’s a glimmer of hope that he can perhaps change? He may just as easily backslide into hopeless psychopath, so who knows, but I’m not ready to give up on him yet.
His efforts to help the Marmeladov family do reveal a more compassionate side to his nature, which adds complexity to his character as a protagonist. This act of kindness, giving away his last 20 rubles, shows that despite his crime, there's still a part of him capable of empathy and selflessness.
You're right to see this as a glimmer of hope for Raskolnikov's character. Dostoevsky often explores the duality of human nature, and Raskolnikov embodies this internal struggle between good and evil. His interaction with Polya, where he asks her to pray for him, further emphasizes this internal conflict and the possibility of redemption. However, as you've astutely noted, Raskolnikov's path is far from straightforward.
I have caught up to the end of Book 2, buy just has a disaster. I had written quite a lengthy piece and I lost it somehow. Is there any way of saving ad you go along? It was probably too long anyway, but this text is so dense. There is so much going on.
Rodion keeps changing his feelings, which he doesn't understand himself, so why should I ? It's like walking through a kaleidoscope, trying to figure out the constant changes.
There is irony piled on irony with Razumikhin - who is a pretty irritating sort of character despite his do-gooding - who first figures out the killer must be a first timer; then after Rodion virtually admits it to Zamyotov, and Zosimov has his suspicions, too, it is Razumikhin who argues strongly against them. "Oh, why are they such idiots?" It's like some sort of dense and maddening maze.
Then, after Marmeladov's death and Polechka saying she prays for forgiveness and blessings for her adopted father and Sonya, Rodion suddenly feels okay again. "There's a life to be lived. I didn't die along with the old woman." "From one moment to the next he was not the same person." Why? "He himself didn't know." I think the child has allowed him to believe that if there is forgiveness for a drunkard and a prostitute, then there is forgiveness for him, too. In any case, he has already rationalised the old woman's murder; but what of Lizabeta, no mention of her murder and no signs of any contrition. He wants to wash his hands, clear his mind and get off scot-free.
He gives the last of his money to Marmeladov's family, too. How moral is this? This is money is not really his, it's from his mother's pension. He is penniless, still in debt to his landlady, who Razumikhin has sweet-talked into giving him more credit. This issue came up in W&P, too. Should the Rostov's keep their goods, for the sake of the children, or leave them behind for the sake of the wounded. Moral issues all over the place, and I am still one chapter behind.
Unfortunately, if you can't see your text on Substack, neither can I. I suggest using a notes app or text editor to jot down your thoughts. You can then copy from there into the Substack comments, ensuring you'll always have your texts. If you need help choosing a suitable program, let me know, and we'll explore options based on your writing device.
Rodion's feelings and emotions fluctuate more rapidly than a teenager's—a clear sign of mental instability. I'll delve into this in more detail later, towards the novel's end, to avoid spoiling any diagnoses given based on the descriptions in the story.
Razumikhin and Zametov indeed believe Raskolnikov is toying with them, feigning innocence. It's a plausible assumption; after all, it's hard to accept that your friend could be a cold-blooded killer.
Rodion often forgets about Lizaveta. During his four-day convalescence on the couch, he repeatedly asked who she was. Her murder was evidently a profound shock for him, and I believe it's the root cause of his current state.
Money holds little value for Rodion. He seems oblivious to the effort his mother expends to send him funds. His act of giving 25 rubles to the Marmeladovs isn't noble—I can't label it as such. Had he earned that money himself, then yes, it could be considered a generous gesture.
Dana, this great story makes me all the more curious about the greater Russia area and its deeper story. I appreciate this read. Hope you’re well this week? Cheers, -Thalia
Thank you for the kind words. Yes, everything is fine. I hope you're doing well too. And I hope that reading the novel brings you pleasure and immerses you a bit in russian culture.
I gotta say Raskolnikov's ever changing mental state is the least interesting thing to me, or maybe the less poignant? How can one call him good or evil when his mind is never set on anything? He himself keeps repeating he doesn't know where his reactions come from, he cannot regulate how he responds to his own emotions and what happens around him. So who's the real Rodion, the one who asks to pray for him or the one who shrugs at God a moment later? The one who kills or the one who gives all his money to widows? Looking for an answer seems pointless. There isn't one. He's obviously not in his right state of mind.
I'm surprised you hated him for bringing Marmeladov home, Dana. He wasn't the only person there, the street and then the house were flooding with people, with police who just wanted to get rid of the problem and let the rich man's carriage pass. Of neighbors who nosed about, laughed, smoked in front of a sick woman. The doctor was useless (do you think an hospital would have been any better? Did they even have ambulances?). I was the most shocked at the priest's uselness. He didn't offer one word of comfort, and even called Katerina Ivanovna's very raw, very understandable reaction a SIN. Nobody in that room saw those three wretched children and thought for one second to help this family or offer comfort, except Rodion, and he's insane. Why is he to blame?
I wonder if Marmeladov killed himself? The carriage driver couldn't tell. It would be the second suicide attempt Raskolnikov witnessed in one evening. Was Marmeladov aiming to find some comfort at last in the presence of God? That speech he gave when we first met him really stood with me. And yet suicide is a sin, and he had the devil's hoof imprinted over his heart (talk about symbolism!) Like I said last week, Dostoevsky's morality baffles me. No, that's not the right word. I understand what he's doing, and I don't like the conclusions he comes to.
I have mixed feelings about Rodion bringing Marmeladov into the room. While others merely watched and sighed, and even the doctor proved ineffective, Rodion took action. Dying at home is arguably preferable to dying on the street. However, from a modern, rational standpoint, moving someone with severe injuries is ill-advised. I wonder if Rodion once again played God here, meddling in matters beyond his understanding. Yet his actions heighten the drama: the children witness their stepfather's bloody body, and the futility of saving him becomes apparent. It's undeniably a powerful scene.
As for Marmeladov, I suspect he may have deliberately thrown himself under the wheels—or at least was indifferent to being run over. The fact that he did this near his home, on the same street, seems significant.
the second suicide attempt Raskolnikov witnessed in one evening -- yes, interesting
Another fantastic chapter…and I certainly never saw this death coming. I was most touched by the final interactions between Sonya and her father. When M. see Sonya’s shame on display in her clothing, he instantly regrets what his actions have done to her…far too late. It’s as if having never seen the attire of her trade, he’s been able to deceive himself into believing she has not sunk to these depths. But just as his realization comes too late to change what Sonya has become, so does his reach for forgiveness. He falls onto the floor, dying before Sonya is able to release him from his guilt.
We have to look at Rodion in the light of this interaction. Does he still have time to be forgiven or is it too late? He is clearly longing for the forgiveness that M. preached about in 1.2 (below). Sonya’s sister promises to pray for him, but is the faith of a child enough?”
“And He will say, ‘Come to me! I have already forgiven thee once.... I have forgiven thee once.... Thy sins which are many are forgiven thee for thou hast loved much....’ And he will forgive my Sonia, He will forgive, I know it... I felt it in my heart when I was with her just now! And He will judge and will forgive all, the good and the evil, the wise and the meek.... And when He has done with all of them, then He will summon us. ‘You too come forth,’ He will say, ‘Come forth ye drunkards, come forth, ye weak ones, come forth, ye children of shame!’ And we shall all come forth, without shame and shall stand before him. And He will say unto us, ‘Ye are swine, made in the Image of the Beast and with his mark; but come ye also!’ And the wise ones and those of understanding will say, ‘Oh Lord, why dost Thou receive these men?’ And He will say, ‘This is why I receive them, oh ye wise, this is why I receive them, oh ye of understanding, that not one of them believed himself to be worthy of this.’ And He will hold out His hands to us and we shall fall down before him... and we shall weep... and we shall understand all things!”
The scene with Marmeladov's death is indeed poignant and revealing. Your analysis of his realization about Sonya's situation is spot-on. It highlights the theme of consequences and the often-delayed recognition of our actions' impact on others. Regarding Rodion and the question of forgiveness, you've drawn an interesting parallel. Dostoevsky often explores the concept of redemption and whether it's ever too late for forgiveness. Rodion's journey is complex, and his longing for forgiveness is evident in his interaction with Polya, Sonya's sister.
She symbolizes pure, uncorrupted faith.
Marmeladov's earlier speech about divine forgiveness that you've quoted is indeed relevant here. It presents a vision of universal forgiveness, even for those who believe themselves unworthy. This theme of unworthiness and the possibility of redemption continues to be crucial. As we continue through the novel, we'll see how Rodion grapples with these questions of guilt, forgiveness, and redemption. His journey is far from over, and these themes will continue to be explored in depth.
His efforts to help Marmeladov and family, whether actually helpful or not, seem genuine and unselfish— I think this redeems him as a protagonist, as someone to root for (as opposed to straight up villain). Don’t misunderstand me: he’s not a good person nor a likable person, but at least there’s a glimmer of hope that he can perhaps change? He may just as easily backslide into hopeless psychopath, so who knows, but I’m not ready to give up on him yet.
His efforts to help the Marmeladov family do reveal a more compassionate side to his nature, which adds complexity to his character as a protagonist. This act of kindness, giving away his last 20 rubles, shows that despite his crime, there's still a part of him capable of empathy and selflessness.
You're right to see this as a glimmer of hope for Raskolnikov's character. Dostoevsky often explores the duality of human nature, and Raskolnikov embodies this internal struggle between good and evil. His interaction with Polya, where he asks her to pray for him, further emphasizes this internal conflict and the possibility of redemption. However, as you've astutely noted, Raskolnikov's path is far from straightforward.
I have caught up to the end of Book 2, buy just has a disaster. I had written quite a lengthy piece and I lost it somehow. Is there any way of saving ad you go along? It was probably too long anyway, but this text is so dense. There is so much going on.
Rodion keeps changing his feelings, which he doesn't understand himself, so why should I ? It's like walking through a kaleidoscope, trying to figure out the constant changes.
There is irony piled on irony with Razumikhin - who is a pretty irritating sort of character despite his do-gooding - who first figures out the killer must be a first timer; then after Rodion virtually admits it to Zamyotov, and Zosimov has his suspicions, too, it is Razumikhin who argues strongly against them. "Oh, why are they such idiots?" It's like some sort of dense and maddening maze.
Then, after Marmeladov's death and Polechka saying she prays for forgiveness and blessings for her adopted father and Sonya, Rodion suddenly feels okay again. "There's a life to be lived. I didn't die along with the old woman." "From one moment to the next he was not the same person." Why? "He himself didn't know." I think the child has allowed him to believe that if there is forgiveness for a drunkard and a prostitute, then there is forgiveness for him, too. In any case, he has already rationalised the old woman's murder; but what of Lizabeta, no mention of her murder and no signs of any contrition. He wants to wash his hands, clear his mind and get off scot-free.
He gives the last of his money to Marmeladov's family, too. How moral is this? This is money is not really his, it's from his mother's pension. He is penniless, still in debt to his landlady, who Razumikhin has sweet-talked into giving him more credit. This issue came up in W&P, too. Should the Rostov's keep their goods, for the sake of the children, or leave them behind for the sake of the wounded. Moral issues all over the place, and I am still one chapter behind.
Unfortunately, if you can't see your text on Substack, neither can I. I suggest using a notes app or text editor to jot down your thoughts. You can then copy from there into the Substack comments, ensuring you'll always have your texts. If you need help choosing a suitable program, let me know, and we'll explore options based on your writing device.
Rodion's feelings and emotions fluctuate more rapidly than a teenager's—a clear sign of mental instability. I'll delve into this in more detail later, towards the novel's end, to avoid spoiling any diagnoses given based on the descriptions in the story.
Razumikhin and Zametov indeed believe Raskolnikov is toying with them, feigning innocence. It's a plausible assumption; after all, it's hard to accept that your friend could be a cold-blooded killer.
Rodion often forgets about Lizaveta. During his four-day convalescence on the couch, he repeatedly asked who she was. Her murder was evidently a profound shock for him, and I believe it's the root cause of his current state.
Money holds little value for Rodion. He seems oblivious to the effort his mother expends to send him funds. His act of giving 25 rubles to the Marmeladovs isn't noble—I can't label it as such. Had he earned that money himself, then yes, it could be considered a generous gesture.
In chapter 1.5, in a dream in the park, before the crime, the horse was the victim, now (2.7) the horse is the one who kills.
Yes, revenge! You shouldn't mistreat horses 🐴‼️
Ooh good catch!
Dana, this great story makes me all the more curious about the greater Russia area and its deeper story. I appreciate this read. Hope you’re well this week? Cheers, -Thalia
Thank you for the kind words. Yes, everything is fine. I hope you're doing well too. And I hope that reading the novel brings you pleasure and immerses you a bit in russian culture.