Svidrigailov and dunya relationship help

Svidrigailov's affair and prior relationship with Dunya, as described in Raskolnikov's mother's letter. He is described as a strange personality, whose wife mostly. Svidrigailov revives her and offers to help rescue her brother. Dunya's relationship with Svidrigailov clearly has been much closer than. Why does Dunya try to help Svidrigailov even though he is in love with her and it's apparent to all? 3. Dunya's relationships push drama along in the book, and.

These experiences and connections can be imagined not only as the mosaic Anderson describes but also as a web: It is these everyday occurrences that reveal the concerns and personal conflicts Raskolnikov struggles with, of which the dramatic and violent act of murder is only a symptom.

Within this subtext the psychological discussion comes forward since Raskolnikov remains in denial of the associations his mind readily establishes between himself, his misery, and that of others. The reader is then able to address individual questions such as the relationship of Raskolnikov to the waifs who reappear in vignettes throughout the novel.

The pauses occurring as Raskolnikov invents their histories and speculates their futures argue the significance of these marginal characters. While Marsh asserts the constant description of the female from the point of view of the external, male gaze, she does not discuss the projection of the male self that this objectification creates 3.

I assert however, that this is merely a denial of qualities intrinsic to our humanity—qualities that are not necessarily gender-specific such as empathy or spirituality. This denial also allows for the female object to be exploited, abused, and dismissed.

Throughout the course of the novel it is apparent that Raskolnikov is only able to find himself, or to complete himself through an association with the female characters of this book, be it the anonymous waifs, Sonya, or his sister.

The harshness of reality is embodied in their labors and suffering, as these women are the reality of the realist novel. Degeneration and the Female Victim [15] The women who fall victim to poverty and find themselves on the street are often either completely disregarded or scorned by passers-by who blame the women for allowing fate to lead them to the streets.

Not surprisingly, the rise of modernity with its subsequent urban overcrowding and increased poverty led to philosophical and scientific investigations of the same. The breakdown on social and cultural levels was thought to cause individual decay, both moral and physical, often leading such to extremes in the individual as madness and even suicide.

The reader must then evaluate female condemnation as a matter of context. Most of the women are represented playing roles, as their lives have been reduced to their assignments accordingly. Necessity has created a space of dichotomous characters who, while pious, are whores, while well-meaning are murderers, and while desperate are ridiculous.

Dunya & Svidrigailov in Crime and Punishment |

His attention is always drawn to female figures on the street, to Dunya, to Sonya, to the likely fate of little Polenka. Such a repetition of figures and their accompanying histories are not to be read as elements that remain separate from Rodion Romanovich. He is deeply affected by them as indicated by both the pauses taken to describe them and by the various emotionally charged fainting spells that follow each episode.

While he is an observer of the city around him, he is also, and more importantly, a part and product of it. Hunger, delirium and fever do more than just highlight the significance and importance of the body with its functions and needs, but infantilize him. As victim, Raskolnikov relies constantly upon the charity and care-taking of his mother and sister, Nastasha, and even his landlady.

Raskolnikova: Rodion Romanovich’s Struggle with the Woman Within

In an almost motherly role, his friend Razumikhin feeds him, dresses him and tries to provide him with opportunities. His sister has accepted a proposal of marriage in order to save herself and their mother from abject poverty.

Raskolnikov receives this news with a confused emotional response of anger, hatred, resentment and sadness. When he cries, it is not for their fate, but for his own and at his own failures: Almost all the time that Raskolnikov was reading this letter his face was wet with tears, but when he came to the end it was pale and convulsively distorted and a bitter angry smile played over his lips.

Dostoevsky 33 The confusion of emotions is clear in this passage as he both smiles and cries, is angry and devastated. This letter forces him into a reality he had been in denial of: The history of Dunya and their mother can be reduced to the situation of thousands of women in and around the city trying to earn their keep and failing. With a good employer, she may have had a more desirable situation than the factory worker, one that shielded her against the shock of urban life.

To begin with, she seemed to be very young, no more than a girl, and she was walking through the blazing heat bare-headed and without gloves or parasol, waving her arms about queerly. Her dress was of a thin silken material, but it also looked rather odd; it was not properly fastened, and near the waist at the back, at the top of the skirt, there was a tear, and a great piece of material was hanging loose.

A shawl had been flung round her bare neck and hung crooked and lopsided. He came up with her close to the bench; she went up to it and let herself fall into a corner of it, resting her head against the back and closing her eyes as if overcome with weariness. Looking closely at her, Raskolnikov realized at once that she was quite drunk.

It was a strange, sad sight; he even thought he must be mistaken. Before him he saw the small face of a very young girl, of sixteen, or perhaps only fifteen or so, small, pretty, fair-haired; but the face looked swollen and inflamed.

The girl seemed to have little understanding of her surroundings; she crossed one leg over the other, displaying more of it than was seemly, and to all appearances hardly realized that she was in the street.

Dostoevsky This young girl has been seduced and raped. She tried to save herself from the pursuits of her previous employer, Svidrigailov, and instead has found herself agreeing to marriage in order to avoid poverty. The downward spiral that begins with the violation this wandering girl has just survived is not an exclusively female fate; Marmeladov serves as a counterpoint to all of the young women as he too cannot escape the cycle into which he has fallen.

The description of her costume suggests the evils of capitalism and its associated impiety. This costume also foreshadows the religious epiphany to come as Tucker notes its astounding similarity to the description in Revelation This ostentatious costume carries its own message of sin and debauchery, compounding the message of use, abuse, and substitution that its condition implies.

At the genesis of his need to commit his crime however is the need for enough money to get through his studies. She wears clothing inherited from her also anonymous predecessor. She is reduced to the position of a monkey, an animal attached to the organ grinder for the amusement of the passers-by. The young girl with the organ grinder is experiencing just one of the many phases of the desperation that her life will lead to.

He felt someone standing beside him, on his right, and looked up; it was a tall woman wearing a kerchief on her head, with a long, yellow, hollow-cheeked face and red-rimmed, sunken eyes. She was looking straight at him, but apparently without seeing him. With an abrupt movement she rested her right hand on the parapet, raised her right foot and threw it over the railing, followed it with her left, and flung herself into the canal.

Dostoevsky She is dragged out of the river, cheered on by the cries of a woman who knows her and wants her to be saved. That statement makes it clear that the girl must have some value to others, but even that logic is disappointing. The girl with the multiple suicide attempts may have found herself forced into the street in the same manner as Sonya, but without the same conviction that the help she provides others is worth the abuse and scorn of her daily existence.

Just as any of the young women above may be interchanged with the other, Raskolnikov realizes that he too may be. Raskolnikov has to face the reality that he is one of these types, not great, but rather, a reflection of the victimized females who surround him. The split that has dominated his thinking and course of action remains unresolved as the destruction of a female body is the opposite of what he needs. He deems his victims despicable because of the weak and socially determined feminine qualities he abhors in himself.

This is only realized too late. It is only after victimizing women much in the same way that his sister and Sonya are victimized that he faces the fact that he too is not free. He is not above society, he has proven nothing other than the fact that desperation has led him to his own debasement.

He is lower and more despicable than a streetwalker or moneylender could ever be. The realization of himself as a damaged victim is the first step towards his acceptance and reconciliation. He proves to himself with his outpouring that his body is an integral part of his being and that he is not dominated by reason alone.

His moral decay is finally evident to himself as he faces the utter debasement of his crime. It is near the end of the work that the female bodies fulfill their necessary functions as counterparts to Raskolnikov. The body of the prostitute that he thought so different from himself is the one who prompts his emotional and spiritual epiphany. His sister Dunya assumes an even more assertive role when she defends herself by shooting Svidrigailov.

Dunya accomplishes the gesture that Raskolnikov failed to complete. Rather than attack a symbol, Dunya defends herself from a real predator, a truly dark stain in the social fabric. This inversion is only a temporary step.

Arkady, however, cannot stand to be without her, and commits himself to an act that betrays his wife's demands.

Scandal Arkady 'makes a vile and explicit proposition' to Dunya. He asks her to elope with him. If she does, he will 'give her all his money.

By chance, Arkdady's wife happens to overhear him 'pleading with Dunya in the garden. Whether he cannot bear Dunya's name tarnished by scandal, or he feels remorse, Arkady confesses his guilt to his wife. Marfa Petrovna does the right thing and clears Dunya's name. The shadow of shame disappears. In an effort to help Dunya find her own husband, and keep Arkady from pursuing her further, Marfa Petrovna proposes a union with eligible bachelor Pyotr Petrovitch Luzhin.

Dunya & Svidrigailov in Crime and Punishment

This shatters Arkady's fantasy. Petersburg Dunya travels to St. Petersburg along with her mother, to be near Luzhin. It also gives her the opportunity to visit her brother, Rodion. Arkdady learns of her travels, and makes his own plans to visit St. Arkady's wife has since passed away, and he is now free to act as he sees fit.

This includes stalking Dunya throughout St. He cannot 'leave her alone. The best way to do this is through her brother, Rodion. Rodion cannot stand Arkdady, and warns him numerous times to stay away from Dunya. He even threatens to kill him if he goes near Dunya.

Arkady has learned the truth about Rodion's crime, that he murdered two elderly woman. Arkady uses this information to his advantage. He sends Dunya 'a certain letter Dunya's decision to meet him is an egregious error in judgment. She is alone, and essentially at his mercy. This decision places her in great danger. She has no idea that Arkady plans to coerce her into loving him. When they meet, Arkady tells her that they must go to his room. If she does not accompany him, he will 'give up all explanations and leave at once.