It was hard to go through these two chapters, especially the last one, I felt nauseous. It's ironic that Dostoevsky really likes to dwell on descriptions of debauchery and depravity despite all his moralism. I'm really worried about Sonya's siblings now, especially the two little girls.
It's true that details about Svidrigailov's crimes are not needed to see what a piece of s*** he is, what I'd love to learn more about is the days Dunya spent living with him and Marfa Petrovna, not from his distorted point of view but from Dunya's, there's a lot of depth there that we'll never know about. I'm intrigued by Marfa Petrovna "literally" being in love with Dunya. Well, probably not literally, even though that would be interesting too. But there's a triangle of jealousy there that would make for such an interesting story in the right writer's hands.
As far as we know, Katerina Ivanovna's children were sent to a good orphanage, unrelated to Svidrigailov. But it's likely that without parents, when the girls are about 16, they will also be married off to someone... alas, we won't find out about this.
Yes, I agree that it would be interesting to hear the story from Dunya's perspective. What really happened there? We only know the story from the mother's letter, which recounts everything, and from Svidrigailov. After all, it was Martha who introduced Luzhin to her, she gave her an expensive watch and left her 3000 as an inheritance. All of this doesn't add up for me. Dunya doesn't seem like someone who can be bribed into silence. Did she see something, some dealings of the Svidrigailov couple? This would be very interesting to read about
Svidrigailov is a very similar character to Anatole Kuragin in War and Peace, isn't he?
And Marfa Petrovna can be similar to Helene Kuragin, who helps to involve young girls into their "sodoma" style life.
But I agree, Marfa Petrovna could work for money, not just for fun, and sell girls. Well, maybe Marfa Petrovna's plan was to send Luzhin to "break" Dunya first, and sell/use her later.
What an interesting turn. This story goes deeper and deeper into sin, the murder was the start and we go to even more vicious sins.
Yes, they are similar in temperament. After all, human vices are universal.
It seems that Anatole is more of a reckless, self-absorbed pretty boy, whereas Svidrigailov is already in his years and truly dangerous. But perhaps Anatole in his older age would also continue to pursue young girls and make them fall in love with him.
Yikes! The other day I jokingly commented that Svidrigailov would be the one character I wouldn’t mind Rodion killing. After these chapters, Svidrigailov hasn’t changed my mind…although I’m a little fearful that it would more likely be Svidrigailov killing Rodion. I was physically ill after hearing him boast of his depravity.
This comparison of Svidrigailov and Rodion is fascinating. To see someone who at the beginning of the novel was portrayed as a depraved murderer now be a possible source of light and hope is truly a testament to Dostoevsky’s sill as a writer. When I try to pinpoint that change, I find it difficult to do so. The evolution of his character has been incredibly gradual with the war between good and evil being fought in his soul the whole way. It’s been impossible to tell…and still is…which side will win.
I’m fervently hoping for a moment of redemption for Rodion, but what would that even look like at this point? Is it going to require an “eye for an eye?” I truly hope not. Or is it too late for Rodion? That would be even worse!
Thank you for your support. We're in the home stretch now, so I'll try my best not to drag it out, it's impossible, it's time to find out what awaits Raskolnikov. It's interesting that until the very last moment, it's not clear from the text what might happen. Dostoevsky still leaves several possibilities open, and Svidrigailov is actually a very strong character. If he weren't so despicable, his temperament could have been my favorite - unlike many others, he tells stories in an interesting way, he doesn't seem artificial.
Where does Svidrigailov get the money to buy his betrothed diamonds, etc? But he probably buys them at pawn shops, anyway. Or steals them? When he said he liked children, it felt creepy, asa if it were layered with meanings.
According to Tolstoy, St. Petersburg damages even the wealthy, all they do is live hypocritical lives moving from one soiree to another, doing and feeling nothing of value.
What was in the letter that would entice Dunya to go see Svidrigailov?
Would the people in the slums of this city work at the palaces? Or do these serfs live in a special set of rooms on the palace grounds.
He has money left from Martha. They weren't poor, and now it's his inheritance. He might have stolen more as well.
We don't have anyone in the novel who works at the palace. And there are no serfs anymore either, the abolition of serfdom happened a few years before the novel's events began.
But usually, palace servants live in the palace. But Tolstoy describes aristocrats, while all our characters have neither titles nor such wealth. They are either middle class or poor.
It was hard to go through these two chapters, especially the last one, I felt nauseous. It's ironic that Dostoevsky really likes to dwell on descriptions of debauchery and depravity despite all his moralism. I'm really worried about Sonya's siblings now, especially the two little girls.
It's true that details about Svidrigailov's crimes are not needed to see what a piece of s*** he is, what I'd love to learn more about is the days Dunya spent living with him and Marfa Petrovna, not from his distorted point of view but from Dunya's, there's a lot of depth there that we'll never know about. I'm intrigued by Marfa Petrovna "literally" being in love with Dunya. Well, probably not literally, even though that would be interesting too. But there's a triangle of jealousy there that would make for such an interesting story in the right writer's hands.
As far as we know, Katerina Ivanovna's children were sent to a good orphanage, unrelated to Svidrigailov. But it's likely that without parents, when the girls are about 16, they will also be married off to someone... alas, we won't find out about this.
Yes, I agree that it would be interesting to hear the story from Dunya's perspective. What really happened there? We only know the story from the mother's letter, which recounts everything, and from Svidrigailov. After all, it was Martha who introduced Luzhin to her, she gave her an expensive watch and left her 3000 as an inheritance. All of this doesn't add up for me. Dunya doesn't seem like someone who can be bribed into silence. Did she see something, some dealings of the Svidrigailov couple? This would be very interesting to read about
Svidrigailov is a very similar character to Anatole Kuragin in War and Peace, isn't he?
And Marfa Petrovna can be similar to Helene Kuragin, who helps to involve young girls into their "sodoma" style life.
But I agree, Marfa Petrovna could work for money, not just for fun, and sell girls. Well, maybe Marfa Petrovna's plan was to send Luzhin to "break" Dunya first, and sell/use her later.
What an interesting turn. This story goes deeper and deeper into sin, the murder was the start and we go to even more vicious sins.
Yes, they are similar in temperament. After all, human vices are universal.
It seems that Anatole is more of a reckless, self-absorbed pretty boy, whereas Svidrigailov is already in his years and truly dangerous. But perhaps Anatole in his older age would also continue to pursue young girls and make them fall in love with him.
Yikes! The other day I jokingly commented that Svidrigailov would be the one character I wouldn’t mind Rodion killing. After these chapters, Svidrigailov hasn’t changed my mind…although I’m a little fearful that it would more likely be Svidrigailov killing Rodion. I was physically ill after hearing him boast of his depravity.
This comparison of Svidrigailov and Rodion is fascinating. To see someone who at the beginning of the novel was portrayed as a depraved murderer now be a possible source of light and hope is truly a testament to Dostoevsky’s sill as a writer. When I try to pinpoint that change, I find it difficult to do so. The evolution of his character has been incredibly gradual with the war between good and evil being fought in his soul the whole way. It’s been impossible to tell…and still is…which side will win.
I’m fervently hoping for a moment of redemption for Rodion, but what would that even look like at this point? Is it going to require an “eye for an eye?” I truly hope not. Or is it too late for Rodion? That would be even worse!
I can’t wait to find out!
No rush on the articles, Dana. We’ll be here. ❤️
Thank you for your support. We're in the home stretch now, so I'll try my best not to drag it out, it's impossible, it's time to find out what awaits Raskolnikov. It's interesting that until the very last moment, it's not clear from the text what might happen. Dostoevsky still leaves several possibilities open, and Svidrigailov is actually a very strong character. If he weren't so despicable, his temperament could have been my favorite - unlike many others, he tells stories in an interesting way, he doesn't seem artificial.
Just popping in to say that I’ve been thinking of you. ❤️
Where does Svidrigailov get the money to buy his betrothed diamonds, etc? But he probably buys them at pawn shops, anyway. Or steals them? When he said he liked children, it felt creepy, asa if it were layered with meanings.
According to Tolstoy, St. Petersburg damages even the wealthy, all they do is live hypocritical lives moving from one soiree to another, doing and feeling nothing of value.
What was in the letter that would entice Dunya to go see Svidrigailov?
Would the people in the slums of this city work at the palaces? Or do these serfs live in a special set of rooms on the palace grounds.
He has money left from Martha. They weren't poor, and now it's his inheritance. He might have stolen more as well.
We don't have anyone in the novel who works at the palace. And there are no serfs anymore either, the abolition of serfdom happened a few years before the novel's events began.
But usually, palace servants live in the palace. But Tolstoy describes aristocrats, while all our characters have neither titles nor such wealth. They are either middle class or poor.