Crime and Punishment, Part II

This is the assignment proper. I cannot print off my notes, so instead I am putting them here. My notes independent of the assignment can be found a few posts back. These are the ones designed to fulfill the requirements of the summer assignment, rather than for personal understanding or interpretation, divided exactly as the assignment said to.


Allusion

The main example of allusion in this book, and the one that is most relevant, is that toward the story of Lazarus in the NT. The story acts as a parallel toward Raskolnikov's own struggle, with his crime being his death, and his self-conviction and punishment serve as rebirth.

The other frequent allusion is toward Napoleon, through which Raskolnikov makes his justification. He uses him to promote a utilitarian viewpoint, and states that he could be a Napoleon, circumstances permitting.

Diction

There is nothing about diction that serves as a plot device, but it does help with establishing our opinion of the author. Though using a mostly commonplace lexicon, the author occasionally throws in a wrench like "tacit" or "apropos".

Connotation

An important device in this tale, but only picked up on by reading supplementary material. In the original Russian, "Punishment" did not imply the harsh bleakness that it does through our American version of the word, but rather, also carries another meaning, closer to "redemption". Raskolnikov spends maybe five pages of the book in formal punishment, but the punishment stated in the title applies throughout the book: a trip to redemption.

Irony

Perhaps under "Irony" is not the best place to put this example, but Raskolnikov's comparison to other characters, particularly Svidrigaïlov. While they follow strangely similar paths, Raskolnikov's crime is much more severe and bloody, as well as being driven by what superficially appears to be a much more selfish cause. The irony comes in when you realize that karma messed up its job pretty badly. Raskolnikov, despite being in a position that should make him despicable, is still the protagonist, and perhaps one of the more woobie characters in the book.

A more straightforward example can be found concerning dramatic irony. When we find that Svidrigaïlov was sitting on the other side of the wall, the author creates a sense of drama that he leaves hanging for like seven freaking chapters.

Tone

Tone is a strange word to describe the way the author writes, with perhaps "style" being more appropriate. The way the author writes very effectively communicates the frenzied mind of Raskolnikov. Though the viewpoint is third person, we still experience Raskolnikov's feels. The writing feels quick and fragmented, filled with a plethora of ellipses. Additionally, Raskolnikov's mood toward other characters is reflected in the writing of the passages. Porfiry's dialogue is filled with "ha, ha!"s, while the writing seems to slow down and become peaceful around Dounia.

Syntax

See the above paragraph.

Paradox

The character of Raskolnikov himself, though not a true paradox, certainly qualifies. He simultaneously is the most charitable and base character in the book. The irony here (oh look, another literary device) is that both are driven from his insane desire to become a little Napoleon.

Euphemism

A surprisingly prevalent device. Though the book touches on some very adult themes, including alcoholism, pedophilia, prostitution, murder, and suicide, the author seems to almost go out of his way to avoid talking about them directly. To an extent, having to infer what the author is talking about almost makes the truth more shocking. The most memorable example is Svidrigaïlov's "on my own" chapter, in which he keeps asserting that he's "going to America". The oddness of the euphemism plus the shock of what happens in the end adds toward the harrowing experience provided by the chapter.

Simile

Raskolnikov is like Svidrigaïlov, Sonia, and Lazarus. That enough simile for you?

Author's purpose

There's quite a bit to say on this one, but I'll keep it laconic. On the surface, the main purpose is to tell the story of a man who killed an old woman. But dig three inches deeper, and many more meaning come to the surface. The tale is one of the poverty Drotovesky himself found while writing it. It is a filibuster toward current Russian politics. It is a study of how a man can come to think of himself as more powerful than those around him, and an investigation of the tugs of guilt. It's a parable showing how what good people can be bad, and how bad people can be good. It is a story of rebirth, and a call to Christianity.

Alright folks, that's all. I've fulfilled the assignment with exactness, I hope you enjoyed it.

Peace out, readers.