The biggest impediment in literary grievance is the lack of the reader to understand with walk in the park the thoughts of the writer. For all we all know, the writer’s intentions can have been utterly reverse the overall research. For that explanation why, conflicting evaluations abound, and controversy rages over problems that the writer possibly by no means supposed as such. In his Crime and Punishment, Fyodor Dostoevsky added an epilogue to conclude the radical. In the former bankruptcy, Raskolnikov, the protagonist, confesses and the police arrest him for homicide. Many critics imagine that that is an ok finishing and that the epilogue is solely useless, whilst others contend that the epilogue may be very essential, because it hints at Raskolnikov’s redemption and resurrection. Crime and Punishment is a Christian novel, with non secular overtones and undertones during, akin to Sonya’s studying of the tale of Lazarus, which parallels Raskolnikov’s personal tale. However, the radical additionally loosely follows the construction and content material of the Greek tragedy, and this coexistence of the Christian redemption and resurrection subject matters and the tragic Oedipus Rex subject matters creates a posh paintings that can not be thought to be from just one standpoint. The epilogue is very essential to the realization of Crime and Punishment, because it lets in for the additional building of Raskolnikov’s persona and giving him any other size. He isn’t just the insane, crazed ax assassin whose guilt and depravity devour at him till he confesses. It turns out that manner on the finish of the overall bankruptcy. But with the addition of the epilogue, Rodion Raskolnikov begins down the trail of resurrection, which he hadn’t gave the impression susceptible in opposition to previous in the radical. Without the epilogue, Raskolnikov would stay a much less complicated persona, incapable of repentance.
Many critics reject the epilogue as a result of they can’t settle for the ethical regeneration that it guarantees. According to Lev Shestov, Raskolnikov’s most effective crime was once to imagine that he was once incapable of breaking the legislation, and that his tragedy was once no longer his guilt and madness however quite the “impossibility of beginning a new and different life” (71-72). The whole novel strikes towards a conversion or resurrection, maximum significantly and clearly by means of the illusion of the biblical tale of Lazarus, learn by means of the prostitute Sonya, who’s in accordance with Mary Magdalene. Dostoevsky didn’t make a choice Lazarus at random. He selected Lazarus since the tale is a refined reminder of Raskolnikov’s probability at redemption, to be reborn after repenting his sins. This theme of resurrection is outstanding during the radical, and to forget about this theme is to forget about a huge a part of Dostoevsky’s which means. Yes, it is a novel in regards to the internal psyche of a sociopath and an exploration of guilt, however additionally it is about understanding one’s sins and repentance for them.
Edward Wasiolek raises a extra legitimate argument in that he believes that Dostoevsky has failed to supply his readers with any proof that Raskolnikov has sufficient non secular consciousness to contradict his theories put forth in his essay “On Crime” or to observe Sonya’s non secular course. This is a legitimate level, and it could be right kind, if no longer for the abundance of examples of Raskolnikov beginning the conversion. He isn’t reborn spontaneously, as Wasiolek would have you ever imagine, however quite after a wealth of reports that experience influenced him to this finish. For instance, each and every time Raskolnikov is helping the Marmelodovs, he does so as a result of a temporary, however actual, compassion. True, he regrets his charity virtually immediately, however that inconsiderate compassion suggests he does no longer really feel the self-professed superiority in his middle. That is living most effective in his thoughts. As such, his consequent interactions with Sonya additional this pattern in opposition to spotting himself as a person at the identical aircraft of lifestyles as the ones he as soon as thought to be lesser. Raskolnikov slowly progresses, permitting compassion to infiltrate his thoughts every now and then, starting his conversion, his resurrection. As he realizes his personal humanity, he turns into extra aware of his guilt. This signifies that he’s no longer utterly long past, that he can recuperate from the madness that possessed him. Robert Louis Jackson notes that Raskolnikov’s habits passes via two distinct phases-first appearing nice sympathy and compassion for many who want it and instantly, unthinkingly, takes measures to relieve their struggling, and later on feels disgust at having betrayed his highbrow ideas, which do not permit for sympathy in opposition to such lesser, unworthy beings. However, that first, herbal inclination to assist the ones in want betrays Raskolnikov’s humanity. His sense of compassion “endows his actions with a magnanimity that runs counter to the malevolence of his scheme and the cruelty of his crime” (Matual, 28).
Furthermore, Raskolnikov by no means was once a cold-blooded killer. His thoughts was once satisfied of his superiority, however in considering the homicide, he was once disgusted, repelled. He sought any excuse to forgo the duty, but if what he perceived as an indication from the universe indicated that he will have to kill Alyona Ivanovna, he was once full of repugnance on the prospect of taking somebody’s existence. He by no means misplaced his doubts, nor his repugnance of the act, and it persisted to devour away at him till he confessed on the finish of the radical. Raskolnikov’s compassion for the deficient and oppressed, his revulsion on the homicide, and his reminiscences of youth innocence and piety supply a foundation for his resurrection in the epilogue. The acts of compassion “represent only the potential for rebirth,” and “something more powerful is required to arose him from his spiritual lethargy and lead him toward the events of the epilogue” (Matual, 30). To finish the radical after the confession is to go away Raskolnikov with out completing his tale. His transformation was once most effective simply starting, and most effective via his reports on the Siberian jail can he proceed the conversion. Only after a protracted spell of defiance on the jail, Raskolnikov provides in to his human facet and responds to Sonya’s love. He pulls the bible out from underneath his pillow and reads as soon as once more of Lazarus, he who’s reborn, identical to him. Here Raskolnikov in spite of everything accepts his stint on the jail as his catharsis, be redeemed, and continue to a brand new existence. Raskolnikov isn’t just an evil, heartless individual. His repugnance at his crime, his compassion for others, and his confession all hinted at a conceivable redemption. With the confession, he’s most effective simply beginning down the trail of conversion, and the epilogue is solely essential to look whether or not he’s going to settle for the results of his movements and be reborn or if he’s going to reject them and withdraw into madness and depravity another time.
In addition, the radical’s many aspects and interlocking tales all level at once to the epilogue. Numerical motifs are prevalent, and they’re left unfinished on the finish of the radical, however with the inclusion of the epilogue, they’re masterfully concluded. For instance, the quantity 9 recurs during the radical in regards to time. Crime and Punishment covers 3 nine-month sessions: “1) from the genesis of the crime to its perpetration, 2) from the confession to the trial and the journey to Siberia, and 3) from the beginning of Raskolnikov’s exile to the moment when he embraces Sonia and a new life begins for him [… ] It takes nine months for the crime to be ‘hatched,’ nine months for the punishment to begin, and another nine months for Raskolnikov to be reborn in the epilogue” (Matual 32). Clearly, Dostoevsky was once considering of the duration of start, as each and every nine-month phase effects in one thing being born. First, Raskolnikov’s horrible plot is performed, carried to time period and born, if you are going to. Second, Raskolnikov confesses and his transformation starts, which ends up in his deliverance to Siberia, the place his ultimate cycle starts. After 9 months, he’s reborn, permitting Sonya into his existence and repenting his sins, feeling authentic feel sorry about for the atrocities he dedicated. Raskolnikov’s thoughts is born first, ensuing in the murders. His frame is born 2d, upon his deliverance to Siberia. His middle and soul are born closing, reuniting his frame, thoughts, and soul, and concluding his resurrection. Had Crime and Punishment ended with Raskolnikov’s confession, there could be an entire and utter loss of closure. Uncertainty would stay relating to his conversion and the results of his movements. Sometimes leaving the reader with doubt on the finish of a singular is an invaluable and pleasurable conclusion, however no longer with doubt as to the using questions of the radical. Dostoevsky masterfully concluded Crime and Punishment in this type of manner as to respond to all the ones questions, and but nonetheless leaves the reader questioning what shape Raskolnikov’s new existence with Sonya would take.
Another level to believe is the construction of Crime and Punishment. It parallels the Greek tragedy, and it additionally parallels the tale of Lazarus. The thought of destiny, which has a pagan connotation, and the idea that of God’s will are, surprisingly, no longer at odds with each and every different. They coexist, leaving the reader to interpret the happenings as they’ll, possibly taking into consideration divine intervention, possibly taking into consideration coincidences. Depending at the view the reader takes, interpretations can range. For example, taking into consideration Christianity and the tale of Lazarus, the radical is rather unfinished with out the inclusion of the epilogue. Raskolnikov’s true transformation would stay in doubt, and the parallels between Lazarus and Raskolnikov would finish all of a sudden. Dostoevsky integrated Lazarus for a explanation why, and so would by no means go away the realization to Raskolnikov’s tale incomplete. He deliberate for the epilogue to conclude this storyline, and merged Lazarus’s and Raskolnikov’s fates. The pagan destiny is very similar to the conclusion in predestination, as God already is aware of what’s going to occur. Even from a pagan standpoint, the epilogue is essential to supply for the information of Raskolnikov’s transformation and new existence, and in the long run his destiny.
Although Crime and Punishment’s epilogue moves many critics as heavy-handed and useless, it’s a very powerful element and very important conclusion to the radical. The objections raised are and not using a forged foundation, as Raskolnikov didn’t spontaneously achieve repentance and redemption, however quite had the prospective to take action all his existence. In reality, the presence of fine and compassion inside him supplies his persona with intensity and any other stage of complexity, making each and every determination that a lot tougher. Because his thoughts and his middle are at odds with each and every different, each and every floor at other issues of the radical, expressing disgust, revulsion, or contempt on the different. This drives him mad, and ultimately his compassion beats out his superiority and drives him to admit. The epilogue supplies Raskolnikov with any other size, his capability for just right, as he repents his sins and turns into a brand new guy. The epilogue is unavoidable, the buildup of all of the previous occasions that culminate in Raskolnikov’s transformation.
Dostoevsky, Fyodor. Crime and Punishment. New York: Bantam Dell, A department of Random House, Inc., 1866.
Jackson, Robert Louis. “Philosophical Pro and Contra in Part One of Crime and Punishment,” Twentieth Century Interpretations of Crime and Punishment. Eaglewood Cliffs: Prentice- Hall, 1974. p. 27.
Matual, David. “In Defense of the Epilogue of Crime and Punishment.” EBSCO Publishing, 2002. 26-34.
Shestov, Lev. Dostoevsky I Nitshe. Berlin: Skify, 1923. 71-72.
Wasiolek, Edward. “On the Structure of Crime and Punishment.” PMLA 74, 1959: 135.