Crime and Punishment: Practice Test Questions - words | Study Guides and Book Summaries
only person whom Raskolnikov shares a meaningful relationship ends her engagement with Luzhin when he insults her family and block off Svidrigailov with gunfire . Dunya (Rask's sis) tests her fiancé Luzhin by showing the letter to . Within this conversation, the motifs of fear and excitement are highlighted with fear coming from Dunya and excitement from Svidrigailov. not the individual that should have tested it. Kant: Perhaps Student: Could it be then that Svidrigailov and Sonia personify Raskolnikov's two conflicting sides? Kant: Explain. When Dunia drops the gun, unable to shoot him, he hopes that it is because Kant Right, but think about their relationship in more detail. Student .
Here he learns what he could not find out when eavesdropping on the meeting of Hamlet and Ophelia and what the schoolmates called on to entertain Hamlet were unable to spy out either. A new situation emerges where playing the fool becomes impossible — Hamlet cannot carry out his revenge.
In vain does the hero try to play down the act as a mere test, in vain does he relegate the murder along with his later good deeds to the rank of redeemable evils, it is in fact here that we can detect the Toulon expected to give the answer. And the hero does eventually receive an answer to one level of those implied in the question. Namely, that is he really one of the great men who — in his concept — are the movers of history, or one of the crowd.
True, here again remains one factor of uncertainty which is at least as decisive as the question some time before the execution of the act that the test was a test indeed or it was the act itself. At the same time the social situation compells to act and question simultaneously. Further action — that is, to regard the test as a test proper with a view to a subsequent act — is on this very account impossible. Whoever plays a role might question reality, but the answer will be incidental, his triumph relative.
Yet his aim does not serve to set time right, and therefore it is the Evil itself, the play turns from role into reality and this at one stage brings the dissembler into a detrimental position, or evon exposes him, and no indemnification is to be had for this. Raskolnikov and Porfiry Petrovich, illustration by P. Its function in the novel, put there after the act in a definite situation, is that the hero, by virtue of his being the author, should question after the act the arguments proposed in the article.
Although the possibilities are accurately shut off by Porfiry, Raskolnikov does find a loophole all the time just on account of his surpassing the earlier concept. Thus the ambiguous position of self-defence has a negative side to it. Yet this does not protect Raskolnikov from being judged by the outer world any more than it protected Hamlet or Claudius, even though he goes on under cover of play-acting up to the last moment in order to dodge the Qualification of his purpose.
After he exposed his purpose his open action presses Claudius to take on pretence with all its compulsive consequences: Because of pretence Hamlet was compelled to a frank monolog and a feigned dialog, just like Claudius here or Raskolnikov when he has committed the murder.
Hamlet is the flawless mirror into which each of the characters is bound to glance some day and to judge his or her own way of life and actions. Laertes looks into this mirror right before his death: Hamlet can at best look into the mirror of himself, and this commands him to be in a perennial state of monologizing.
At one stage before the last act he might still withdraw from this sate of monologizing, i. But these are soldiers and he a prince; the information acquired permits of a monolog once again. Raskolnikov on Nikolaevsky Bridge, illustration by P. The monolog will last until the murder puts an end on several levels of life to this monolog-potential and transforms it again and again into dialog. Of fates and not of tragedies. The role performed is therefore unacceptable, but in it time comes undone, spreads out, for the time challenged but left unconquered demands closure by a fate shirking thus the tragic possibility and dramatic clash alike.
In contrast with Svidrigailov in Crime and Punishment or with Stavrogin in The Devils — for whom such a solution might in any moment be expedient since it belongs to the logic of their destiny within the milieu of the novels — the spiritual aspirations and the fates of Myshkin, Ivan Karamazov and Raskolnikov renounce to embrace such a solution: Their common dilemma is this inseparability: Moreover, with no theory to refer to, they too violate the norm the upsetting of which seemed for Raskolnikov in his article written half a year earlier, to have been the sole privilege of the elect.
Porfiry in his argument with Raskolnikov falls short because he cannot decipher this new Raskolnikovian experience from the article. Such an experimental world-approach originating in social practice is unfathomable for Porfiry.
Porfiry — as well as Luzhin — considers the displaced nature of time not as a displacement but as an eternal human predicament, and from this both characters draw for themselves the necessary and advantageous existential conclusions. Thy sins which are many are forgiven thee, for thou has loved much.
Marmeladov tells Raskolnikov that he had previously lost his position because of his alcoholism before being reinstated. He mentions how his wife was beaten a month earlier by Mr. He is afraid to go home and face his wife, Katerina Ivanovna. Their eldest daughter, Sofya Semyonovna Soniahas been forced into prostitution to raise money for her destitute family.
Marmeladov is convinced that God will forgive Sonia. Raskolnikov leads Marmeladov home and sees the horrible condition of his family. Although he is in desperate need of money himself, Raskolnikov silently leaves some money on the windowsill.
His living conditions disgust him but they keep him isolated, which he desires. Raskolnikov, a former student, used to support himself by teaching children.
The End for Svidrigailov and Dunya by Chabeli Wells on Prezi
His maid, Nastasya, tells him that his landlady, Praskovya Pavlovna, is going to file a complaint with the police because he has not paid his back rent. He receives a letter from his mother, Pulcheria Alexandrovna, about his sister, Avdotya Romanovna Dounia.
She introduces Dounia to Pyotr Petrovich Luzhin, who wants an honorable wife without a dowry so that she will feel indebted to him.
Pulcheria Alexandrovna writes that the marriage will take place in St. Petersburg, and she and Dounia will be arriving in town soon. She writes that she hopes Raskolnikov is still saying his prayers. Raskolnikov is angered by the news, adding to his anxiety.
He is angry that his mother is pinning all of her hopes on Luzhin, and Raskolnikov thinks Dounia only agreed to the marriage to save him and their mother. While walking down the street he sees a drunk, fifteen-year old girl being followed by a base-looking man.
Raskolnikov enlists a policeman to help him protect the girl, and then offers the last of his money to call a cab for her. He suddenly has a change of heart, however, and tells the policeman to leave them alone.
Raskolnikov has very few friends from the university, since most people thought he looked down upon them, but he is still on good terms with Razhumikin, who is also currently out of school but is saving money to go back. Raskolnikov decides to visit Razhumikin. He has a dream about his childhood.
They encounter a mob of drunken peasants surrounding a wagon filled with people. The old horse hitched in front of the wagon is unable to pull it and is being beaten by its owner.F. Dostoyevsky "Crime and Punishment" (Part 6 of 6, Chapter 1-7) + EPILOGUE. Audiobook
The man whips the horse in the eyes and bludgeons it with a crowbar, killing it. Raskolnikov thinks this is a sign about his plan to murder Alyona Ivanovna. He prays for the dream to be renounced and feels free from it. Raskolnikov makes his final preparations for the murder. He has also convinced himself that this is not a crime. Despite his conviction, he is in a frenzy when he reaches the apartment. And if at that moment he had been capable of seeing and reasoning more correctly, if he had been able to realize all the difficulties of his position, the hopelessness, the hideousness and the absurdity of it, if he could have understood how many obstacles, and, perhaps, crimes he had still to overcome or to commit, to get out of that place and to make his way home, it is very possible that he would have flung up everything, and would have gone to give himself up, and not from fear, but from simple horror and loathing of what he had done.
He strikes Alyona Ivanovna twice in the head with the blunt side of an ax, killing her. He stands still trembling after the murder before finally searching for her keys and trying to find the money.
Lizaveta returns, and in his panic Raskolnikov splits her skull with one blow from the sharp side of the ax. After this, he is unconscious in his delirium. He deliberately attempts to clean the ax and his clothing.
As he is ready to leave, two visitors ring the doorbell. Realizing that the door is locked from the inside, they leave to get help, allowing Raskolnikov to escape. He falls asleep almost immediately after returning home. The impulse was so strong that he got up from his seat to carry it out. Nastasya comes into his room with a police officer, giving him a summons to appear at the police station. Raskolnikov thinks the summons is a trick to get him to confess, and he wonders if he should or not.
He feels unencumbered because of his crime and mocks the assistant superintendent at the station. Raskolnikov signs an IOU for the roubles he owes his landlady. As he leaves he overhears a conversation about the murders and passes out.
After awakening, he is terrified that the police will suspect him of being the murderer. Raskolnikov goes to visit Razhumikin and almost immediately regrets it. Razhumikin offers Raskolnikov a translating job, but he refuses it. Raskolnikov throws the money away. When he returns home he believes he hears Ilya Petrovich, a police officer, beating his landlady.
Nastasya tells him that it never happened and realizes that he is sick. He soon collapses into unconsciousness. He made up his mind to keep quiet and see what would happen. A man comes to see Raskolnikov with 35 roubles from his mother. He initially refuses it, but Razhumikin, who has been taking care of him, convinces him to accept it. He is afraid that Razhumikin and the others know he is guilty, and considers escaping to America.
Razhumikin shows him that he has recovered the IOU and tears it up, then leaves to buy Raskolnikov some new clothes. Zossimov and Razhumikin discuss the murder, and Raskolnikov learns that the painters at the building have been accused. Razhumikin has most of the truth sorted out, except for the fact that Raskolnikov is the murderer. Zossimov rejects his story as melodramatic. Raskolnikov is excited by the conversation.
Zossimov recognizes this, but misinterprets is as a sign of recovery from his illness. Raskolnikov openly dislikes him, but Luzhin tries rather unsuccessfully to ignore it. Luzhin is staying with Lebeziatnikov and has made poor living arrangements for Dounia and Pulcheria Alexandrovna.
The conversation turns to the murders and Raskolnikov learns that all people who had left pledges with the pawnbroker will be examined. Razhumikin comments that the murderer must have been a novice who escaped by luck. Raskolnikov accuses Luzhin of only wanting Dounia to feel indebted to him, causing Luzhin to accuse Pulcheria Alexandrovna of misrepresenting him. Raskolnikov threatens Luzhin with violence if he ever mentions his mother again.
Luzhin declares that he has been irrevocably offended. Razhumikin and Zossimov notice that Raskolnikov seems to care only about the murders. I believe that even a practiced desperate man cannot always reckon on himself, much less you and I.
He decides that life, no matter how poor, is better than death, ending for the time his thoughts of suicide. He goes to a restaurant, the Palais de Cristal, and asks for the newspapers from the past five days. While reading the newspapers he meets Zametov, a police officer and friend of Razhumikin. Raskolnikov taunts Zametov by saying he only came to read about the murders.
Zametov insinuates that an amateur must have committed the murders, angering Raskolnikov. Raskolnikov then lays out his plan for the perfect execution of the murder and theft, the way he actually did it. He asks Zametov what he would think if Raskolnikov had been the murderer.
After leaving the restaurant Raskolnikov meets Razhumikin and tells him to leave him alone. He goes to a bridge and sees a woman attempt to drown herself. He realizes that he was about to attempt the same thing and decides that it is not a good enough death for him.
He returns to the site of the murders and asks questions of the workmen repairing it. He is obviously still somewhat delirious. Raskolnikov then resolves to confess to the police and starts to go to the police station. Pray sometimes for me, too. Marmeladov has been run over by a carriage, having drunkenly stumbled in front of it. Raskolnikov brings him back to his apartment and calls for a doctor.
Sonia comes in dressed as a prostitute, and Marmeladov, after trying to make apologies to his family, dies in her arms. Raskolnikov gives Katerina Ivanovna twenty roubles and asks Polenka, the younger daughter, to pray for him. Raskolnikov is in high spirits, convinced that he still has life in him. Zossimov believes that Raskolnikov may be insane. Raskolnikov returns home to find his mother and sister waiting for him.
Through error you come to the truth. I am a man because I err! You never reach any truth without making fourteen mistakes and very likely a hundred and fourteen. Dounia and Pulcheria Alexandrovna are thankful to Razhumikin for his help taking care of Raskolnikov.
Both Razhumikin and Zossimov are attracted to Dounia. And I am sure that he might do something now that nobody else would think of doing. Razhumikin goes to visit Dounia and Pulcheria Alexandrovna and is surprised that Dounia is not angry with him.
They show him a letter from Luzhin requesting that Raskolnikov not be present at their first meeting.
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If I am a scoundrel, you must not be. If you marry Luzhin, I cease at once to look on you as a sister. He feigns sentimentality, but Dounia sees through it.
Pulcheria Alexandrovna is strangely afraid of her son. Raskolnikov realizes that his mother is becoming timid. Raskolnikov is in a state of despair because he realizes he can never speak freely again without revealing his crime.
Raskolnikov believes Dounia is selling herself for money and lays down an ultimatum: Raskolnikov and Razhumikin will be present at the meeting with Luzhin. You are the very portrait of [Raskolnikov], and not so much in face as in soul. You are both melancholy, both morose and hot-tempered, both haughty and both generous. She becomes embarrassed because she realizes Raskolnikov must have given them all of his money. Pulcheria Alexandrovna says that Dounia and Raskolnikov are much alike.
Dounia and Pulcheria Alexandrovna leave. Raskolnikov tells Razhumikin that he wants to speak with Porfiry. Sonia leaves and a man follows her back to her place. Raskolnikov goes with Razhumikin to see Porfiry and mocks him for blushing in front of Dounia.