As you've noticed, Dostoevsky likes to end each part with unexpected turns, often associated with death. This time, we're again faced with a character's death...
I have fallen behind again and just finished Chapter five. I thought the writing was particularly wonderful in this chapter. I really felt like I could see it all happening, especially the street scenes with Katerina Ivanovna and the children. Given the descriptions we have already had of her mental illness, and their extreme poverty and insecurity - which is generally so far beyond the way we imagine poverty in the world we live in today - I didn't think those scenes were at all unrealistic.
Raskalnikov feels no relief after confessing to Sonya, quite the reverse. He feels he may hate her - probably because he hates himself for burdening her with such knowledge. I once told my mother something I was ashamed of. Just like Raskalnikov, I felt no relief; I then castigated myself for placing this burden on her. Forgiveness can't be obtained by third parties, no matter how much they love you.
Thank you for all the music and the stories about the music. It really helped me to imaginatively enter the time and place of the chapter.
You're not falling behind at all, I myself have delayed with new articles. This chapter is actually very cinematic, musical, and soulful. It encapsulates the pain and tragedy of a simple woman who has been unfortunate. He indeed portrays a kind of noble poverty that's hard to believe. But it's everywhere, many good people simply can't escape it.
Raskolnikov indeed hasn't repented, he's just trying out new options. Now he's also worried about Svidrigailov, he's only worsening his situation with each step. And Sonya, due to her problems and emotional state, only fuels him. Raskolnikov completely failed to appreciate her kindness, instead turning it again into his victory and Napoleon theory.
Thank you for all the musical links, they really gave more flavor to the chapter. Marlborough goes to war's melody reminds me of For he's a jolly good fellow, just a little.
I always took notice of how Katerina Ivanovna kept washing herself, and washing the children and their clothes. As if she wanted to keep them all clean from the life she deemed inferior. But also it parallels Rodion washing the axe and his clothes after the murder, so, guilty conscience on Katerina Ivanovna's part too? Would such a thing be possible, would have nobody stepped in to help those children back then? Even before she had her mental breakdown, if not the government, wouldn't there have been a church or some place religious that could have intervened? The way the crowd just stared as she spat blood and abused the children was horrifying. Is the behavior of the crowd supposed to be realistic or metaphoric?
I want to know more about Svidrigailov, what is he doing, what's his plan? So far we've only learned bad things about him. Change of heart, or is he luring Rodion into a trap?
Yes, the melodies strongly resemble each other; in general, old folk songs are similar across different countries.
It's difficult to determine if the crowd truly behaved as described. Dostoevsky likely exaggerates, with the truth lying somewhere in between. The area is populated by many impoverished individuals like Katerina, unable to offer help due to their own circumstances. The district, known for its cheap rent, is home to intoxicated workers and prostitutes. Most residents were too preoccupied to notice Katerina. However, the area also housed ordinary, decent working-class people, albeit not wealthy.
Katerina was only on the street for an hour or two, leaving little time for intervention. Lebeziatnikov seems to have been observing her, as he promptly informed Sonia. When acquaintances are present, strangers are less likely to step in. Interestingly, Dostoevsky omits mention of a large church near the canal, where Katerina might have sought refuge. This oversight raises questions about the author's narrative choices.
Part 6 will be about Svidrigailov, so a lot will be revealed. Be careful what you wish for, as they say.
Thank you so much for the section on music in the chapter! The videos made those portions come alive! I was shocked to know the melody of the song Marie Antoinette liked. We sing it as “For he’s a jolly good fellow.” I did some quick research, and it is said to be the second most recognizable tune in the world, bested only by “Happy Birthday.”
I am so excited to finish the novel. I’m a tad concerned that I won’t be able to restrain myself to keep on schedule. 🤭
Indeed, these melodies have become so interwoven and have permeated various cultures. It's fascinating how, when reading, you might not know the song titles, but upon hearing them, you realize you've known them all along.
Dostoevsky's books are meant for rereading, not just for a single read-through. 😊 The final part is intense, so I accelerated my pace a bit—covering two chapters at once a couple of times to avoid dragging it out too long. There will be plenty to discuss afterward.
By the end of Part Five, I found myself wondering just how much blood there is in Crime and Punishment. A lot! I'm not sure exactly how to measure it—maybe by counting the number of times it’s mentioned or even estimating in volume.
That's right. Blood appears frequently, even if no murders are mentioned, there's blood from illnesses, Raskolnikov himself constantly has images of it, and his blood boils. I did a quick search, and in the original text, blood is mentioned 59 times. And that's not counting similar imagery, the color red, and so on.
Oh, yes, I did notice you mentioned the delayed articles. Please don't worry or stress yourself. You are doing a marvellous job and putting so much into your role. This reading is so much more enjoyable, and really understandable, because of all your work. Thank you, Dana, very much.
Thank you very much for your support. I would love to write about Dostoevsky and literature in general all day long, of course, but unfortunately, time and responsibilities don't allow it. This is all very interesting, and it's important to me that there are fans of the book like you.
I have fallen behind again and just finished Chapter five. I thought the writing was particularly wonderful in this chapter. I really felt like I could see it all happening, especially the street scenes with Katerina Ivanovna and the children. Given the descriptions we have already had of her mental illness, and their extreme poverty and insecurity - which is generally so far beyond the way we imagine poverty in the world we live in today - I didn't think those scenes were at all unrealistic.
Raskalnikov feels no relief after confessing to Sonya, quite the reverse. He feels he may hate her - probably because he hates himself for burdening her with such knowledge. I once told my mother something I was ashamed of. Just like Raskalnikov, I felt no relief; I then castigated myself for placing this burden on her. Forgiveness can't be obtained by third parties, no matter how much they love you.
Thank you for all the music and the stories about the music. It really helped me to imaginatively enter the time and place of the chapter.
You're not falling behind at all, I myself have delayed with new articles. This chapter is actually very cinematic, musical, and soulful. It encapsulates the pain and tragedy of a simple woman who has been unfortunate. He indeed portrays a kind of noble poverty that's hard to believe. But it's everywhere, many good people simply can't escape it.
Raskolnikov indeed hasn't repented, he's just trying out new options. Now he's also worried about Svidrigailov, he's only worsening his situation with each step. And Sonya, due to her problems and emotional state, only fuels him. Raskolnikov completely failed to appreciate her kindness, instead turning it again into his victory and Napoleon theory.
Thank you for all the musical links, they really gave more flavor to the chapter. Marlborough goes to war's melody reminds me of For he's a jolly good fellow, just a little.
I always took notice of how Katerina Ivanovna kept washing herself, and washing the children and their clothes. As if she wanted to keep them all clean from the life she deemed inferior. But also it parallels Rodion washing the axe and his clothes after the murder, so, guilty conscience on Katerina Ivanovna's part too? Would such a thing be possible, would have nobody stepped in to help those children back then? Even before she had her mental breakdown, if not the government, wouldn't there have been a church or some place religious that could have intervened? The way the crowd just stared as she spat blood and abused the children was horrifying. Is the behavior of the crowd supposed to be realistic or metaphoric?
I want to know more about Svidrigailov, what is he doing, what's his plan? So far we've only learned bad things about him. Change of heart, or is he luring Rodion into a trap?
Yes, the melodies strongly resemble each other; in general, old folk songs are similar across different countries.
It's difficult to determine if the crowd truly behaved as described. Dostoevsky likely exaggerates, with the truth lying somewhere in between. The area is populated by many impoverished individuals like Katerina, unable to offer help due to their own circumstances. The district, known for its cheap rent, is home to intoxicated workers and prostitutes. Most residents were too preoccupied to notice Katerina. However, the area also housed ordinary, decent working-class people, albeit not wealthy.
Katerina was only on the street for an hour or two, leaving little time for intervention. Lebeziatnikov seems to have been observing her, as he promptly informed Sonia. When acquaintances are present, strangers are less likely to step in. Interestingly, Dostoevsky omits mention of a large church near the canal, where Katerina might have sought refuge. This oversight raises questions about the author's narrative choices.
Part 6 will be about Svidrigailov, so a lot will be revealed. Be careful what you wish for, as they say.
Thank you so much for the section on music in the chapter! The videos made those portions come alive! I was shocked to know the melody of the song Marie Antoinette liked. We sing it as “For he’s a jolly good fellow.” I did some quick research, and it is said to be the second most recognizable tune in the world, bested only by “Happy Birthday.”
I am so excited to finish the novel. I’m a tad concerned that I won’t be able to restrain myself to keep on schedule. 🤭
Indeed, these melodies have become so interwoven and have permeated various cultures. It's fascinating how, when reading, you might not know the song titles, but upon hearing them, you realize you've known them all along.
Dostoevsky's books are meant for rereading, not just for a single read-through. 😊 The final part is intense, so I accelerated my pace a bit—covering two chapters at once a couple of times to avoid dragging it out too long. There will be plenty to discuss afterward.
By the end of Part Five, I found myself wondering just how much blood there is in Crime and Punishment. A lot! I'm not sure exactly how to measure it—maybe by counting the number of times it’s mentioned or even estimating in volume.
That's right. Blood appears frequently, even if no murders are mentioned, there's blood from illnesses, Raskolnikov himself constantly has images of it, and his blood boils. I did a quick search, and in the original text, blood is mentioned 59 times. And that's not counting similar imagery, the color red, and so on.
Oh, yes, I did notice you mentioned the delayed articles. Please don't worry or stress yourself. You are doing a marvellous job and putting so much into your role. This reading is so much more enjoyable, and really understandable, because of all your work. Thank you, Dana, very much.
Thank you very much for your support. I would love to write about Dostoevsky and literature in general all day long, of course, but unfortunately, time and responsibilities don't allow it. This is all very interesting, and it's important to me that there are fans of the book like you.