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噩賳丕蹖鬲 賵 賲讴丕賮丕鬲
丕蹖賳 讴鬲丕亘 丿丕爻鬲丕賳 丿丕賳卮噩賵蹖蹖 亘賴 賳丕賲 芦乇丕爻讴賵賱賿賳蹖讴購賮禄 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 讴賴 亘賴 禺丕胤乇 丕氐賵賱 賲乇鬲讴亘 賯鬲賱 賲蹖鈥屫促堌�. 亘賳丕亘乇 丕賳诏蹖夭賴鈥屬囏й� 倬蹖趩蹖丿賴鈥屫й� 讴賴 丨鬲蹖 禺賵丿 丕賵 丕夭 鬲丨賱蹖賱卮丕賳 毓丕噩夭 丕爻鬲貨 夭賳 乇亘丕禺賵丕乇蹖 乇丕 賴賲乇丕賴 亘丕 禺賵丕賴乇卮 讴賴 睾蹖乇 賲賳鬲馗乇賴 亘賴 賴賳诏丕賲 賵賯賵毓 賯鬲賱 丿乇 氐丨賳賴 丨丕囟乇 賲蹖鈥屫促堎嗀� 賲蹖鈥屭┴簇� 賵 倬爻 丕夭 賯鬲賱 禺賵丿 乇丕 賳丕鬲賵丕賳 丕夭 禺乇噩 讴乇丿賳 倬賵賱 賵 噩賵丕賴乇丕鬲蹖 讴賴 亘乇丿丕卮鬲賴 賲蹖鈥屫ㄛ屬嗀� 賵 丌賳賴丕 乇丕 倬賳賴丕賳 賲蹖鈥屭┵嗀�. 亘毓丿 丕夭 趩賳丿 乇賵夭 亘蹖賲丕乇蹖 賵 亘爻鬲乇蹖 卮丿賳 丿乇 禺丕賳賴 乇丕爻讴賵賱賳蹖讴賮 丕蹖賳 鬲氐賵乇 乇丕 讴賴 賴乇 讴爻 乇丕 讴賴 賲蹖鈥屫ㄛ屬嗀� 亘賴 丕賵 賲馗賳賵賳 丕爻鬲 賵 亘丕 丕蹖賳 丕賮讴丕乇 讴丕乇卮 亘賴 噩賳賵賳 賲蹖鈥屫必池� 丿乇 丕蹖賳 亘蹖賳 丕賵 毓丕卮賯 爻賵賳蹖丕 丿禺鬲乇蹖 讴賴 亘賴 禺丕胤乇 賲卮讴賱丕鬲 賲丕賱蹖 禺丕賳賵丕丿賴鈥屫ж� 丿爻鬲 亘賴 鬲賳鈥屬佖辟堌篡� 夭丿賴 亘賵丿 賲蹖鈥屫促堌�. 丿丕爻鬲丕蹖賵爻讴蹖 丕蹖賳 乇丕亘胤賴 乇丕 亘賴 賳卮丕賳賴贁 賲賴乇 禺丿丕賵賳丿蹖 亘賴 丕賳爻丕賳 禺胤丕讴丕乇 丕爻鬲賮丕丿賴 讴乇丿賴 丕爻鬲 賵 賴賲丕賳 毓卮賯貙 賳蹖乇賵蹖 乇爻鬲诏丕乇蹖 亘禺卮 丕爻鬲 .丕賱亘鬲賴 乇丕爻讴賵賱賳蹖讴賮 亘毓丿 丕夭 丕賯乇丕乇 亘賴 诏賳丕賴 賵 夭賳丿丕賳 卮丿賳 丿乇 爻蹖亘乇蹖 亘賴 丕蹖賳 丨賯蹖賯鬲 乇爻蹖丿 .
777 pages, Hardcover
First published January 1, 1866
122k people are currently reading
1m people want to read
About the author
Fyodor Dostoevsky
3,071听books65.6k听followers
肖褢写芯褉 袦懈褏邪泄谢芯胁懈褔 袛芯褋褌芯械胁褋泻懈泄
(Russian)
Works, such as the novels Crime and Punishment (1866), The Idiot (1869), and The Brothers Karamazov (1880), of Russian writer Feodor Mikhailovich Dostoyevsky or Dostoevski combine religious mysticism with profound psychological insight.
Very influential writings of Mikhail Mikhailovich Bakhtin included Problems of Dostoyevsky's Works (1929),
Fyodor Mikhailovich Dostoevsky composed short stories, essays, and journals. His literature explores humans in the troubled political, social, and spiritual atmospheres of 19th-century and engages with a variety of philosophies and themes. People most acclaimed his Demons(1872) .
Many literary critics rate him of the greatest of world literature and consider multiple highly influential masterpieces. They consider his Notes from Underground of the first existentialist literature. He also well acts as a philosopher and theologian.
(Russian: 肖褢写芯褉 袦懈褏邪泄谢芯胁懈褔 袛芯褋褌芯械胁褋泻懈泄) (see also Fiodor Dosto茂evski)
Works, such as the novels Crime and Punishment (1866), The Idiot (1869), and The Brothers Karamazov (1880), of Russian writer Feodor Mikhailovich Dostoyevsky or Dostoevski combine religious mysticism with profound psychological insight.
Very influential writings of Mikhail Mikhailovich Bakhtin included Problems of Dostoyevsky's Works (1929),
Fyodor Mikhailovich Dostoevsky composed short stories, essays, and journals. His literature explores humans in the troubled political, social, and spiritual atmospheres of 19th-century and engages with a variety of philosophies and themes. People most acclaimed his Demons(1872) .
Many literary critics rate him of the greatest of world literature and consider multiple highly influential masterpieces. They consider his Notes from Underground of the first existentialist literature. He also well acts as a philosopher and theologian.
(Russian: 肖褢写芯褉 袦懈褏邪泄谢芯胁懈褔 袛芯褋褌芯械胁褋泻懈泄) (see also Fiodor Dosto茂evski)
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Displaying 1 - 30 of 44,944 reviews
August 28, 2020
鈥淭rying to untie the string and going to the window, to the light (all her windows were closed, despite the stuffiness), she left him completely for a few seconds and turned her back to him. He unbuttoned his coat and freed the axe from the loop but did not quite take it out yet; he just held it in his right hand under the coat. His hands were terribly weak; he felt them growing more and more numb and stiff every moment. He was afraid he would let go and drop the axe鈥uddenly his head seemed to spin鈥︹€�
- Fyodor Dostoevsky, Crime and Punishment
(My raging, Raskolnikov-like conscious could not rest without warning you of potential spoilers ahead!)
The problem with being a high school student with average intelligence is that you can get fairly good grades with fairly minimal effort. It is an invitation to cut corners and utilize only one half your ass. This happened to me in English class. I'd sit back, take good notes, and bluff my way through various tests (this was back in the day before Google, when my family only had an AOL dial-up connection and all the answers, right and wrong, were on the internet). For these sins, I am now fated to read the classics long after I was supposed to read them.
On the plus side, coming to the classics on my own volition has given me a better appreciation than having to read them with a figurative gun to the head. This has allowed me to enjoy certain works to a higher degree.
However, I don't think any number of years will allow me to appreciate or enjoy or even suffer Fyodor Dostoevsky's Crime and Punishment.
First published in 1866, Crime and Punishment is the excruciatingly-detailed psycho-epic about the murder of a pawn shop owner (and her sister). The murderer is named Raskolnikov. He is a former student living in a wretched little closet apartment. He is utterly unlikable: smug, arrogant, temperamental, condescending and self-delusional. Today, we would recognize this person as having a serious mental illness (and the book would be called Inability To Form Criminal Intent and Involuntary Commitment instead of Crime and Punishment). Dostoevsky, though, presents Raskolnikov's malady as spiritual, rather than mental. In a way, he is just like every grad student you've ever met: shiftless; over-educated and under-employed; haughty, yet prone to bouts of self-loathing. I imagine if this book was written in the next century, Raskolnikov would have shaggy sideburns, wear a t-shirt emblazoned with Che's image, and have a well-hidden addiction to prescription pain pills.
Raskolnikov has some interesting theories. He's a Nietzsche-inspired proto-Nazi who believes that the world can be divided into two classes: an elite, Napoleonic class, free to do what they wish; and a second class comprised of everyone else. This former class, because of their elevated standing, don't have to follow the rules.
Armed with this self-serving worldview, Raskolnikov, in need of money, determines that the pawn broker Alyona Ivanovna is a louse who deserves to die. So he takes his axe and a fake pledge to her apartment and bashes her head in. The crime is suitably graphic:
Once the murder is complete, very early in the novel, the long, slow, excruciating psychological unraveling begins. Some of Raskolnikov's madness is displayed through seemingly-endless internal monologues. Is this what it's like to be a crazy person? Maybe, maybe not. But it's effective in its way, because it drove me insane reading it.
Raskolnikov's deterioration is also presented via his relationships. Despite being an utter jackass, he has a lot of friends and family who care for him. Among them is the doting Natasha, a housekeeper at Raskolnikov's apartment; a doctor named Zossimov; and Raskolnikov's 鈥渂est friend鈥� Razumikhin, who is a bit like Milhouse from The Simpsons, though a bit more refined. He looks after Raskolnikov, tries to get him a job, and suffers all Raskolnikov's verbal abuse with unflagging patience. I couldn't decide what annoyed me more: Raskolnikov's monomania or Razumikhin's spinelessness.
Complicating this picture are several uninteresting plot threads that eventually, finally, after hundreds of pages, merge. One thread deals with Marmeladov, a wrecked old drunk whose daughter, Sonia, is a prostitute (with a heart of gold!). Raskolnikov is eventually redeemed by Sonia and Sonia's faith. A second thread has to do with Raskolnikov's mother and sister. His sister, Dunya, has come to St. Petersburg under a cloud, though things are looking brighter for her and the family, as she is engaged to Luzhin. Luzhin has money, and a keen eye for beautiful, vulnerable women. Raskolnikov rightly senses Luzhin's ill intent, and the animosity between the two men does not help Raskolnikov's troubled mind.
On top of all this, there is a clever, Dickensian police inspector named Porfiry Petrovich. He knows immediately that Raskolnikov is the murderer, yet insists on playing a lame game of cat-and-mouse. One of the few enjoyments I got from this novel was the cold irony of a Russian police officer patiently waiting for his suspect to confess. In Dostoevsky's Russia, the law is clever, intelligent, and implacable. Of course, just a few decades later, the NKVD and KGB would be breaking down doors in the middle of the night and hustling people off to Siberia for no reason at all.
To Dostoevsky's credit, all these characters intertwine, and all the stories pay off, such as it is. In order to do so, however, there are plot contrivances piled atop plot contrivances. Dostoevsky relies heavily on characters overhearing important bits of information.
The only Russian novels I've read have been by Tolstoy, so I don't have much to compare this to. I'm not fit to analyze Crime and Punishment against other works of Russian literature, or even against Dostoevsky's other books. All I know was that this was a drag to read. There are paragraphs that go on for pages, and the density 鈥� unleavened by any action 鈥� is numbing.
One of the most common complaints when reading Russian literature is the names. It's almost become a clich茅. Well, in this case, it's true. At least 鈥� for the benefit of English speakers 鈥� Tolstoy gave his characters American nicknames. Here, you have to deal with both the patronymics and identical-sounding or near-identically-named characters. The easiest task you have is not mixing up Raskolnikov with Razumikhin. It gets a little harder trying to keep Alyona Ivanovna (the pawnbroker), Katerina Ivanovna (Sonia's mother) and Amalia Ivanovna (Sonia's mother's landlord) straight. Also remember that Dunya goes by the name Dunechka or Avdotya Romanovna (but that Porfiry Petrovich is not the same as Ilya Petrovich). These complaints are childish, I know, and I have no excuse. Yet I feel the need to unburden myself now, as I missed my chance in high school many, many (many, many) years ago.
More confusing than the names is the culture shock. When I first tried to read Crime and Punishment as a teenager, I chalked my confusion up to a poor translation. Well, this time around, the translation is in the incredibly capable hands of Richard Pevear and Larissa Volokhonsky. They managed, in Anna Karenina and War and Peace to be both faithful and readable. (They are recognized, by people far smarter than me, as the best Russian-to-English translators around).
Here, again, I have no complaints with the translation; but I also had a revelation: I don't get Russians. I don't fully grasp their social hierarchy; I don't get why they like mustaches on women; and I certainly don't understand their interactions. They get mad for reasons I can't comprehend; they are insulted for reasons I do not fathom. In Dostoevsky's hands, Russians are hopelessly operatic, incapable of having a subtle or nuanced reaction to anything. Every emotion has an exclamation mark. You get Dunya trying to shoot Svidrigailov one second, and then tearfully embracing him the next. Characters fall on their knees before each other, and laugh at inappropriate times, and have opaque motivations. I am not trying to be culturally insensitive when I say I am confounded by the Russians in Crime and Punishment.
Of course, there are enjoyable moments, including a classic set-piece following Marmeladov's funeral (imagine a Russian version of Clue, in which accusations are followed by counter-accusations, and everyone is shouting and fainting). Surprisingly, there is also a good bit of humor, such as this interaction between Raskolnikov and Svidrigailov regarding the morality of eavesdropping:
When I was young, I often gave up on challenging books like Crime and Punishment. If I managed to finish 鈥� or at least come close 鈥� I treated them with snark, which was obviously a self-defense mechanism, hiding an unspoken belief that maybe I just wasn鈥檛 smart enough to get it (whatever it was). When I got a little older 鈥� when I was no longer a kid, but didn鈥檛 have kids of my own 鈥� I went back to those classics I had dismissed, as a way to test myself. Older still 鈥� with kids of my own who don鈥檛 have their own kids 鈥� I circled back again, a strange sort of revisiting in which I tried to remember my past self through literature. Sometimes, I found myself revising old opinions. The Scarlet Letter, for instance, worked for me as an adult in a way it never had when I barely skimmed it in my youth.
Crime and Punishment, however, is never a classic I am going to love (and I鈥檓 unlikely to give it another try). Yet, in the perverse way of classics, it is utterly memorable, if only because I struggled so hard to get through it. Believing this a worthwhile hill to climb, I did not give up, even though I could have finished three others books in the time it took me to slog through this one. Heck, despite not liking this the first time, I even gave it an entire second reading. Thus, even though I can鈥檛 stand it, Crime and Punishment will be somewhere in my headspace forever, a vague recollection of mustachioed women, strong emotional reactions, and a know-it-all with an axe.
- Fyodor Dostoevsky, Crime and Punishment
(My raging, Raskolnikov-like conscious could not rest without warning you of potential spoilers ahead!)
The problem with being a high school student with average intelligence is that you can get fairly good grades with fairly minimal effort. It is an invitation to cut corners and utilize only one half your ass. This happened to me in English class. I'd sit back, take good notes, and bluff my way through various tests (this was back in the day before Google, when my family only had an AOL dial-up connection and all the answers, right and wrong, were on the internet). For these sins, I am now fated to read the classics long after I was supposed to read them.
On the plus side, coming to the classics on my own volition has given me a better appreciation than having to read them with a figurative gun to the head. This has allowed me to enjoy certain works to a higher degree.
However, I don't think any number of years will allow me to appreciate or enjoy or even suffer Fyodor Dostoevsky's Crime and Punishment.
First published in 1866, Crime and Punishment is the excruciatingly-detailed psycho-epic about the murder of a pawn shop owner (and her sister). The murderer is named Raskolnikov. He is a former student living in a wretched little closet apartment. He is utterly unlikable: smug, arrogant, temperamental, condescending and self-delusional. Today, we would recognize this person as having a serious mental illness (and the book would be called Inability To Form Criminal Intent and Involuntary Commitment instead of Crime and Punishment). Dostoevsky, though, presents Raskolnikov's malady as spiritual, rather than mental. In a way, he is just like every grad student you've ever met: shiftless; over-educated and under-employed; haughty, yet prone to bouts of self-loathing. I imagine if this book was written in the next century, Raskolnikov would have shaggy sideburns, wear a t-shirt emblazoned with Che's image, and have a well-hidden addiction to prescription pain pills.
Raskolnikov has some interesting theories. He's a Nietzsche-inspired proto-Nazi who believes that the world can be divided into two classes: an elite, Napoleonic class, free to do what they wish; and a second class comprised of everyone else. This former class, because of their elevated standing, don't have to follow the rules.
Armed with this self-serving worldview, Raskolnikov, in need of money, determines that the pawn broker Alyona Ivanovna is a louse who deserves to die. So he takes his axe and a fake pledge to her apartment and bashes her head in. The crime is suitably graphic:
He took the axe all the way out, swung it with both hands, scarcely aware of himself, and almost without effort...brought the butt-end down on her head...Because she was short, the blow happened to land right on the crown of her head. She cried out, but very faintly, and her whole body suddenly sank to the floor, though she still managed to raise both hands to her head...Then he struck her again and yet again with all his strength...Blood poured out as from an overturned glass...
Once the murder is complete, very early in the novel, the long, slow, excruciating psychological unraveling begins. Some of Raskolnikov's madness is displayed through seemingly-endless internal monologues. Is this what it's like to be a crazy person? Maybe, maybe not. But it's effective in its way, because it drove me insane reading it.
Raskolnikov's deterioration is also presented via his relationships. Despite being an utter jackass, he has a lot of friends and family who care for him. Among them is the doting Natasha, a housekeeper at Raskolnikov's apartment; a doctor named Zossimov; and Raskolnikov's 鈥渂est friend鈥� Razumikhin, who is a bit like Milhouse from The Simpsons, though a bit more refined. He looks after Raskolnikov, tries to get him a job, and suffers all Raskolnikov's verbal abuse with unflagging patience. I couldn't decide what annoyed me more: Raskolnikov's monomania or Razumikhin's spinelessness.
Complicating this picture are several uninteresting plot threads that eventually, finally, after hundreds of pages, merge. One thread deals with Marmeladov, a wrecked old drunk whose daughter, Sonia, is a prostitute (with a heart of gold!). Raskolnikov is eventually redeemed by Sonia and Sonia's faith. A second thread has to do with Raskolnikov's mother and sister. His sister, Dunya, has come to St. Petersburg under a cloud, though things are looking brighter for her and the family, as she is engaged to Luzhin. Luzhin has money, and a keen eye for beautiful, vulnerable women. Raskolnikov rightly senses Luzhin's ill intent, and the animosity between the two men does not help Raskolnikov's troubled mind.
On top of all this, there is a clever, Dickensian police inspector named Porfiry Petrovich. He knows immediately that Raskolnikov is the murderer, yet insists on playing a lame game of cat-and-mouse. One of the few enjoyments I got from this novel was the cold irony of a Russian police officer patiently waiting for his suspect to confess. In Dostoevsky's Russia, the law is clever, intelligent, and implacable. Of course, just a few decades later, the NKVD and KGB would be breaking down doors in the middle of the night and hustling people off to Siberia for no reason at all.
To Dostoevsky's credit, all these characters intertwine, and all the stories pay off, such as it is. In order to do so, however, there are plot contrivances piled atop plot contrivances. Dostoevsky relies heavily on characters overhearing important bits of information.
The only Russian novels I've read have been by Tolstoy, so I don't have much to compare this to. I'm not fit to analyze Crime and Punishment against other works of Russian literature, or even against Dostoevsky's other books. All I know was that this was a drag to read. There are paragraphs that go on for pages, and the density 鈥� unleavened by any action 鈥� is numbing.
One of the most common complaints when reading Russian literature is the names. It's almost become a clich茅. Well, in this case, it's true. At least 鈥� for the benefit of English speakers 鈥� Tolstoy gave his characters American nicknames. Here, you have to deal with both the patronymics and identical-sounding or near-identically-named characters. The easiest task you have is not mixing up Raskolnikov with Razumikhin. It gets a little harder trying to keep Alyona Ivanovna (the pawnbroker), Katerina Ivanovna (Sonia's mother) and Amalia Ivanovna (Sonia's mother's landlord) straight. Also remember that Dunya goes by the name Dunechka or Avdotya Romanovna (but that Porfiry Petrovich is not the same as Ilya Petrovich). These complaints are childish, I know, and I have no excuse. Yet I feel the need to unburden myself now, as I missed my chance in high school many, many (many, many) years ago.
More confusing than the names is the culture shock. When I first tried to read Crime and Punishment as a teenager, I chalked my confusion up to a poor translation. Well, this time around, the translation is in the incredibly capable hands of Richard Pevear and Larissa Volokhonsky. They managed, in Anna Karenina and War and Peace to be both faithful and readable. (They are recognized, by people far smarter than me, as the best Russian-to-English translators around).
Here, again, I have no complaints with the translation; but I also had a revelation: I don't get Russians. I don't fully grasp their social hierarchy; I don't get why they like mustaches on women; and I certainly don't understand their interactions. They get mad for reasons I can't comprehend; they are insulted for reasons I do not fathom. In Dostoevsky's hands, Russians are hopelessly operatic, incapable of having a subtle or nuanced reaction to anything. Every emotion has an exclamation mark. You get Dunya trying to shoot Svidrigailov one second, and then tearfully embracing him the next. Characters fall on their knees before each other, and laugh at inappropriate times, and have opaque motivations. I am not trying to be culturally insensitive when I say I am confounded by the Russians in Crime and Punishment.
Of course, there are enjoyable moments, including a classic set-piece following Marmeladov's funeral (imagine a Russian version of Clue, in which accusations are followed by counter-accusations, and everyone is shouting and fainting). Surprisingly, there is also a good bit of humor, such as this interaction between Raskolnikov and Svidrigailov regarding the morality of eavesdropping:
In that case, go and tell the authorities; say thus and so, I've had this mishap: there was a little mistake in my theory. But if you're convinced that one cannot eavesdrop at doors, but can go around whacking old crones with whatever comes to hand, to your heart's content, then leave quickly for America somewhere!
When I was young, I often gave up on challenging books like Crime and Punishment. If I managed to finish 鈥� or at least come close 鈥� I treated them with snark, which was obviously a self-defense mechanism, hiding an unspoken belief that maybe I just wasn鈥檛 smart enough to get it (whatever it was). When I got a little older 鈥� when I was no longer a kid, but didn鈥檛 have kids of my own 鈥� I went back to those classics I had dismissed, as a way to test myself. Older still 鈥� with kids of my own who don鈥檛 have their own kids 鈥� I circled back again, a strange sort of revisiting in which I tried to remember my past self through literature. Sometimes, I found myself revising old opinions. The Scarlet Letter, for instance, worked for me as an adult in a way it never had when I barely skimmed it in my youth.
Crime and Punishment, however, is never a classic I am going to love (and I鈥檓 unlikely to give it another try). Yet, in the perverse way of classics, it is utterly memorable, if only because I struggled so hard to get through it. Believing this a worthwhile hill to climb, I did not give up, even though I could have finished three others books in the time it took me to slog through this one. Heck, despite not liking this the first time, I even gave it an entire second reading. Thus, even though I can鈥檛 stand it, Crime and Punishment will be somewhere in my headspace forever, a vague recollection of mustachioed women, strong emotional reactions, and a know-it-all with an axe.
September 11, 2024
鈥�To go wrong in one's own way is better then to go right in someone else's.鈥�
I have been giving a lot of thought to this novel lately. Despite the three years* that have gone by since reading Crime and Punishment鈥攖hree years in which I鈥檝e read some outstanding literature, joined 欧宝娱乐 and written just over 100 reviews of the books I鈥檝e journeyed through鈥擠ostoevsky鈥檚 novel still resides on it鈥檚 throne as one of my personal favorite novels. Top 2 for sure along with Winterson鈥檚 which rotates with this or depending on the wave of drunk I鈥檓 riding when asked. No other web of words, brushstrokes or music melody has ever struck me so deeply and consumed me so completely as this book did. The author鈥檚 collection of works as a whole has left such a mark on my soul that I felt it necessary to permanently affix his likeness on my . Over a century has passed since its initial publication, yet Dostoevsky鈥檚 message is still as poignant today as it was when it was first inked onto paper. Crime and Punishment features an immensely engaging blend of intrigue; philosophy; political, social, moral and religious commentary, that all thread together to create a masterpiece of literature that captures the deep, raw core of the human condition when it is at it鈥檚 most gruesome and vulnerable. The exquisite literary genius of the novel evoked a strong emotional resonance in me and the timing of my reading was just right to forever wed me to my love of books.
Initially envisioned as two separate novels, one following the inner turmoil of a murderer and the other chronicling the melancholic destruction of a family due to a flighty, alcoholic patriarch, Dostoevsky deftly weaves together a multitude of unforgettable characters as they interplay through their tangle of plotlines. There are some incredible scenes that will forever haunt and delight me in my memory, such as the narrow escape from the scene of the crime which had me holding my breath in anxious anticipation, the darkly comical disaster of the funeral feast, or the emotionally charged and grim meeting between Dunya and the vile Svidriga茂lov. Each character is carefully balanced with their foil, each character is written with their own unique style of speech and language, and the novel seems to tie every thread together with such perfection and care as it churns forward, raining destruction on the lives of it鈥檚 characters to bring them toward their own personal redemption or demise.
This was a book that I was unable to put down as the words flowed from their pages to deep within my heart. Dostoevsky brilliantly straps the reader to the emotional states of his characters and is able to create seamless transitions between scenes or from the minds of one character to the next by riding the wings of an emotion. Most often this emotion is guilt, and the murder scene and it鈥檚 feverish follow-up is so expertly crafted that the reader feels they must share in Raskolnikov鈥檚 guilty burden. During the course of reading this book, I was overwhelmed by a crushing sense of guilt that was disconnected to any of my own actions. Yet, had police officers confronted me at any given moment, I would have held out my hands in surrender since I was so burdened by the guilty residue of the novel. What further linked me to the book was Raskolnikov鈥檚 illness following his crime. Maybe it wasn鈥檛 the novel taking root in my soul, perhaps it was due to the cold fall weather that was creeping in at the time, or perhaps it was due to my lack of sleep and early rising to embark on 10-12hr shifts in an unheated factory where I would work away amidst a cloud of aluminum dust, but I felt feverish and ill alongside Raskolnikov and his fever dreams. I don鈥檛 think I felt well again until after finishing the book.
I believe I read Crime and Punishment at the ideal moment in my life. I had spent the summer going through several of Dostoevsky鈥檚 other novels and falling madly in love with his writing. Then my whole life was uprooted. At the time I began C&P, I had moved across the state away from all my friends, family, and everything I knew and recognized, to live in Holland with my brand new baby daughter and work in a factory that could easily serve for a modern day sequel to Sinclair鈥檚 . Looking back, I think I can see why I so easily soaked up Raskolnikov鈥檚 feelings. Dostoevsky shows how we are a product of our choices, and it is how we deal with our consequences that makes us who we are. I was placed in the new situation because of choices I had made, like choosing to skip class to smoke and read by the river, and Raskolnikov was faced with the guilt of his own actions. It was the most dramatic shift in my life and I am not a person who enjoys change, yet here I was without a familiar face and nobody to talk to. Crime and Punishment was there in my hand every morning and night as I walked between my home and car, like a friend holding my hand to comfort and encourage me in my exhaustion. It rode shotgun on my hour commutes like a faithful companion, and was the friendly face in which I could take refuge in on my breaks. When stripped of all I knew, there was literature to keep me sane and give me something to hold on to as my world spiraled out of control around me (my daughter was also a tether of sanity for me, but fatherhood was still new and intimidating at the time). Dostoevsky and his beautiful words became my friend and my passion, and in my solitude (because, let鈥檚 face it, I was very much an oddball in that factory and it took awhile to find my place there) I plunged myself deep into books, something I am very thankful for and feel that all the strangeness and loneliness of the existence is washed away by the glow I feel from grappling with my favorite authors. Then I discovered 欧宝娱乐 and you all became incredibly dear to me. I don鈥檛 think I would have survived my time in that dark pit without you all, so, from the bottom of my heart, thank you.
I apologize that this isn鈥檛 really much of a review, I鈥檓 very excited for , as it was seeing this GR friend鈥攐ne of which I hold in the highest regard and am always incredibly impressed by鈥攔eading Crime and Punishment that brought back a flood of memories of my times with the book as if I were Proust with his madeleines. I highly recommend this novel, and firmly stand by my choice of it as my favorite. Recently, I had to make a list for work of my top 5 favorite books, which was difficult to do, damn near impossible, but I realized how simple it was to put a book down in the #1 slot. I have read some incredible books since, (my love of which stems from the similarities to Dostoevsky I noticed in the book), , or to name a few, yet nothing has ever left as deep of an impact on me as a reader and as a human being as this book. This is a fantastic book about the human spirit, about our deepest, darkest impulses, and shows that our own inner consciousness can dish out a far greater punishment than any legal system can. Now I need to sleep and sober up.
5/5
*It has now been fourteen years since I've read this novel and I remember it less as a book I once read but as a moment in my life I once lived. When I read C&P, admittedly at the right time for such an excursion of thought, it was like a companion that went along with me on a new adventure in what was a seemingly empty and lonely landscape, a friend that chatted with me throughout the day, a book that shared my emotional state with me for better or for worse. I feel like I entered this book as much as it entered me and I'm not entirely sure what I mean by that but I know that I mean it. All I can say is that eight years later no book has ever meant as much to me as this book did and I feel it more as a moment in the timeline of my life than a book upon my shelf.
鈥� I did not bow down to you, I bowed down to all the suffering of humanity.鈥�
I have been giving a lot of thought to this novel lately. Despite the three years* that have gone by since reading Crime and Punishment鈥攖hree years in which I鈥檝e read some outstanding literature, joined 欧宝娱乐 and written just over 100 reviews of the books I鈥檝e journeyed through鈥擠ostoevsky鈥檚 novel still resides on it鈥檚 throne as one of my personal favorite novels. Top 2 for sure along with Winterson鈥檚 which rotates with this or depending on the wave of drunk I鈥檓 riding when asked. No other web of words, brushstrokes or music melody has ever struck me so deeply and consumed me so completely as this book did. The author鈥檚 collection of works as a whole has left such a mark on my soul that I felt it necessary to permanently affix his likeness on my . Over a century has passed since its initial publication, yet Dostoevsky鈥檚 message is still as poignant today as it was when it was first inked onto paper. Crime and Punishment features an immensely engaging blend of intrigue; philosophy; political, social, moral and religious commentary, that all thread together to create a masterpiece of literature that captures the deep, raw core of the human condition when it is at it鈥檚 most gruesome and vulnerable. The exquisite literary genius of the novel evoked a strong emotional resonance in me and the timing of my reading was just right to forever wed me to my love of books.
Initially envisioned as two separate novels, one following the inner turmoil of a murderer and the other chronicling the melancholic destruction of a family due to a flighty, alcoholic patriarch, Dostoevsky deftly weaves together a multitude of unforgettable characters as they interplay through their tangle of plotlines. There are some incredible scenes that will forever haunt and delight me in my memory, such as the narrow escape from the scene of the crime which had me holding my breath in anxious anticipation, the darkly comical disaster of the funeral feast, or the emotionally charged and grim meeting between Dunya and the vile Svidriga茂lov. Each character is carefully balanced with their foil, each character is written with their own unique style of speech and language, and the novel seems to tie every thread together with such perfection and care as it churns forward, raining destruction on the lives of it鈥檚 characters to bring them toward their own personal redemption or demise.
This was a book that I was unable to put down as the words flowed from their pages to deep within my heart. Dostoevsky brilliantly straps the reader to the emotional states of his characters and is able to create seamless transitions between scenes or from the minds of one character to the next by riding the wings of an emotion. Most often this emotion is guilt, and the murder scene and it鈥檚 feverish follow-up is so expertly crafted that the reader feels they must share in Raskolnikov鈥檚 guilty burden. During the course of reading this book, I was overwhelmed by a crushing sense of guilt that was disconnected to any of my own actions. Yet, had police officers confronted me at any given moment, I would have held out my hands in surrender since I was so burdened by the guilty residue of the novel. What further linked me to the book was Raskolnikov鈥檚 illness following his crime. Maybe it wasn鈥檛 the novel taking root in my soul, perhaps it was due to the cold fall weather that was creeping in at the time, or perhaps it was due to my lack of sleep and early rising to embark on 10-12hr shifts in an unheated factory where I would work away amidst a cloud of aluminum dust, but I felt feverish and ill alongside Raskolnikov and his fever dreams. I don鈥檛 think I felt well again until after finishing the book.
I believe I read Crime and Punishment at the ideal moment in my life. I had spent the summer going through several of Dostoevsky鈥檚 other novels and falling madly in love with his writing. Then my whole life was uprooted. At the time I began C&P, I had moved across the state away from all my friends, family, and everything I knew and recognized, to live in Holland with my brand new baby daughter and work in a factory that could easily serve for a modern day sequel to Sinclair鈥檚 . Looking back, I think I can see why I so easily soaked up Raskolnikov鈥檚 feelings. Dostoevsky shows how we are a product of our choices, and it is how we deal with our consequences that makes us who we are. I was placed in the new situation because of choices I had made, like choosing to skip class to smoke and read by the river, and Raskolnikov was faced with the guilt of his own actions. It was the most dramatic shift in my life and I am not a person who enjoys change, yet here I was without a familiar face and nobody to talk to. Crime and Punishment was there in my hand every morning and night as I walked between my home and car, like a friend holding my hand to comfort and encourage me in my exhaustion. It rode shotgun on my hour commutes like a faithful companion, and was the friendly face in which I could take refuge in on my breaks. When stripped of all I knew, there was literature to keep me sane and give me something to hold on to as my world spiraled out of control around me (my daughter was also a tether of sanity for me, but fatherhood was still new and intimidating at the time). Dostoevsky and his beautiful words became my friend and my passion, and in my solitude (because, let鈥檚 face it, I was very much an oddball in that factory and it took awhile to find my place there) I plunged myself deep into books, something I am very thankful for and feel that all the strangeness and loneliness of the existence is washed away by the glow I feel from grappling with my favorite authors. Then I discovered 欧宝娱乐 and you all became incredibly dear to me. I don鈥檛 think I would have survived my time in that dark pit without you all, so, from the bottom of my heart, thank you.
I apologize that this isn鈥檛 really much of a review, I鈥檓 very excited for , as it was seeing this GR friend鈥攐ne of which I hold in the highest regard and am always incredibly impressed by鈥攔eading Crime and Punishment that brought back a flood of memories of my times with the book as if I were Proust with his madeleines. I highly recommend this novel, and firmly stand by my choice of it as my favorite. Recently, I had to make a list for work of my top 5 favorite books, which was difficult to do, damn near impossible, but I realized how simple it was to put a book down in the #1 slot. I have read some incredible books since, (my love of which stems from the similarities to Dostoevsky I noticed in the book), , or to name a few, yet nothing has ever left as deep of an impact on me as a reader and as a human being as this book. This is a fantastic book about the human spirit, about our deepest, darkest impulses, and shows that our own inner consciousness can dish out a far greater punishment than any legal system can. Now I need to sleep and sober up.
5/5
*It has now been fourteen years since I've read this novel and I remember it less as a book I once read but as a moment in my life I once lived. When I read C&P, admittedly at the right time for such an excursion of thought, it was like a companion that went along with me on a new adventure in what was a seemingly empty and lonely landscape, a friend that chatted with me throughout the day, a book that shared my emotional state with me for better or for worse. I feel like I entered this book as much as it entered me and I'm not entirely sure what I mean by that but I know that I mean it. All I can say is that eight years later no book has ever meant as much to me as this book did and I feel it more as a moment in the timeline of my life than a book upon my shelf.
鈥� I did not bow down to you, I bowed down to all the suffering of humanity.鈥�
April 15, 2020
Well, what鈥檚 a global pandemic for if you don鈥檛 read the stuff you think you really ought to have read by now. Although I hope this strange circumstance will not result in me referring to Fyodor Dostoyevsky as The Corona Guy.
Those yet to read this towering inferno of literature may wish to know what鈥檚 in the nearly 700 pages, so here is a scientific analysis :
WHAT HAPPENS IN CRIME AND PUNISHMENT
Long conversations between people who could talk the hind legs off a donkey: .....................53%
People going mad and running about wildly or quietly chewing the wallpaper in their tiny room : .........11%
People being in debt :.................. 41.7%
People being unsteady on their legs due to vast consumption of vodka :.................... 51%
People being ill (physical) :.................... 34%
People being ill (mental) :...鈥�...鈥�...鈥�...鈥︹€�37%
People contemplating suicide :...鈥︹€︹€︹€︹€︹€�19%
People enjoying a pleasant stroll in the countryside : .....0%
People having a friendly chat over a cup of coffee :... 0.03%
Men figuring they can force a poor woman to marry them :.....鈥︹€�...鈥︹€︹€︹€︹€�. 36%
Women being terrified :...鈥�...鈥︹€︹€︹€︹€�..鈥︹€︹€︹€︹€︹€�. 39%
Horses being beaten :...鈥︹€︹€︹€︹€�...鈥�..鈥︹€�...鈥�...鈥︹€�...鈥︹€�... 2%
Nothing exciting happening :...鈥︹€�...鈥︹€�...鈥︹€︹€︹€�.. 0%
This all adds up to more than 100%. That is because C&P is a very excessive novel. It has more than 100% inside it.
INTERVIEW WITH F DOSTOYEVSKY, 18 March 1867
FD : You see, in my books...the numbers all go to eleven. Look...right across the board.
V. M Vorshynsky: Ahh...oh, I see....
FD : All other novelists, they only go up to 10. But I go up to 11.
V. M Vorshynsky:: Does that mean you have more emotion in your books ?
FD: Well, it's one whole notch more, isn't it? It's not ten. You see, most...most novelists, you know, they don鈥檛 know eleven exists. I get my characters all the way to ten with their emotional situations, and then...push over the cliff. See?
V. M Vorshynsky: Put it up to eleven.
FD: Eleven. Exactly. One louder.
And it鈥檚 really true. If they are not about to jump into a river, they are going to fall in love with a prostitute, or they are going to get roaring drunk because they have fallen in love with a prostitute and will later jump into a river.
CAN WE GET SLIGHTLY MORE SERIOUS PLEASE
C&P surprised me. It was like a Dardenne Brothers movie with the camera tight up to Raskolnikov nearly the whole time, and the action shown in detail almost hour by hour over a couple of weeks. Yes it鈥檚 a whole lot about th psychological disintegration of this arrogant twerp who thinks he might be some kind of extraordinary person destined to improve the human race by sheer power of his brainwaves & so therefore is justified in bashing in the head of some horrible old woman pawnbroker to steal her money and kickstart his wonderful career. And bash in the brains of her sister who unfortunately comes in the door at the wrong moment. Bad timing.
But it seemed to me that at least half of C&P was all about the horrible powerlessness of women and how they are forced into marriages which are no more than licenced prostitution. An antidote to Jane Austen, indeed.
And it was about how the arrogant twerp murderer can also be a guy who perceives this injustice and wants to revolutionise society. And to do that he starts by bashing in the brains of two women.
So you see this is a psychological minefield we are in.
Like Macbeth and An American Tragedy by Dreiser the murder is contemplated beforehand, then committed, then acts like acid on the mind of its perpetrator, and the reader is along for the excruciating ride.
Thre are hundreds of connections that trigger like flashing synapses as you go through this big ass book鈥� Freud, Leopold and Loeb, the philosophy of the Nazi Party, Camus, Beckett鈥�
I do admit that there are probably three windbags too many in C&P and I could think of snipping a chapter here and a chapter there to get the whole thing down to a tight 500 pages of ranting and caterwauling. But all in all, this novel rides all over you like an out of control ox cart & will leave you gasping and discombobulated.
Conclusion : excellent pandemic reading
Those yet to read this towering inferno of literature may wish to know what鈥檚 in the nearly 700 pages, so here is a scientific analysis :
WHAT HAPPENS IN CRIME AND PUNISHMENT
Long conversations between people who could talk the hind legs off a donkey: .....................53%
People going mad and running about wildly or quietly chewing the wallpaper in their tiny room : .........11%
People being in debt :.................. 41.7%
People being unsteady on their legs due to vast consumption of vodka :.................... 51%
People being ill (physical) :.................... 34%
People being ill (mental) :...鈥�...鈥�...鈥�...鈥︹€�37%
People contemplating suicide :...鈥︹€︹€︹€︹€︹€�19%
People enjoying a pleasant stroll in the countryside : .....0%
People having a friendly chat over a cup of coffee :... 0.03%
Men figuring they can force a poor woman to marry them :.....鈥︹€�...鈥︹€︹€︹€︹€�. 36%
Women being terrified :...鈥�...鈥︹€︹€︹€︹€�..鈥︹€︹€︹€︹€︹€�. 39%
Horses being beaten :...鈥︹€︹€︹€︹€�...鈥�..鈥︹€�...鈥�...鈥︹€�...鈥︹€�... 2%
Nothing exciting happening :...鈥︹€�...鈥︹€�...鈥︹€︹€︹€�.. 0%
This all adds up to more than 100%. That is because C&P is a very excessive novel. It has more than 100% inside it.
INTERVIEW WITH F DOSTOYEVSKY, 18 March 1867
FD : You see, in my books...the numbers all go to eleven. Look...right across the board.
V. M Vorshynsky: Ahh...oh, I see....
FD : All other novelists, they only go up to 10. But I go up to 11.
V. M Vorshynsky:: Does that mean you have more emotion in your books ?
FD: Well, it's one whole notch more, isn't it? It's not ten. You see, most...most novelists, you know, they don鈥檛 know eleven exists. I get my characters all the way to ten with their emotional situations, and then...push over the cliff. See?
V. M Vorshynsky: Put it up to eleven.
FD: Eleven. Exactly. One louder.
And it鈥檚 really true. If they are not about to jump into a river, they are going to fall in love with a prostitute, or they are going to get roaring drunk because they have fallen in love with a prostitute and will later jump into a river.
CAN WE GET SLIGHTLY MORE SERIOUS PLEASE
C&P surprised me. It was like a Dardenne Brothers movie with the camera tight up to Raskolnikov nearly the whole time, and the action shown in detail almost hour by hour over a couple of weeks. Yes it鈥檚 a whole lot about th psychological disintegration of this arrogant twerp who thinks he might be some kind of extraordinary person destined to improve the human race by sheer power of his brainwaves & so therefore is justified in bashing in the head of some horrible old woman pawnbroker to steal her money and kickstart his wonderful career. And bash in the brains of her sister who unfortunately comes in the door at the wrong moment. Bad timing.
But it seemed to me that at least half of C&P was all about the horrible powerlessness of women and how they are forced into marriages which are no more than licenced prostitution. An antidote to Jane Austen, indeed.
And it was about how the arrogant twerp murderer can also be a guy who perceives this injustice and wants to revolutionise society. And to do that he starts by bashing in the brains of two women.
So you see this is a psychological minefield we are in.
Like Macbeth and An American Tragedy by Dreiser the murder is contemplated beforehand, then committed, then acts like acid on the mind of its perpetrator, and the reader is along for the excruciating ride.
Thre are hundreds of connections that trigger like flashing synapses as you go through this big ass book鈥� Freud, Leopold and Loeb, the philosophy of the Nazi Party, Camus, Beckett鈥�
I do admit that there are probably three windbags too many in C&P and I could think of snipping a chapter here and a chapter there to get the whole thing down to a tight 500 pages of ranting and caterwauling. But all in all, this novel rides all over you like an out of control ox cart & will leave you gasping and discombobulated.
Conclusion : excellent pandemic reading
March 24, 2025
If you鈥檝e ever committed an unjust act, as Raskolnikov does, you know now it would have been better right at the outset to confess your injustice and seek the absolution of clemency.
For if you neglected to come clean you were probably racked with ruin within, and 鈥渄elivered to the bondsman鈥� of tortuous guilt. It happened to Raskolnikov, and it happened to me.
Each one of us is a Raskolnikov, you know.
No, not like you鈥檙e thinking - not a shabbily-dressed, impoverished murderer. But we all share his nature. To a T.
That, in essence, is the key to understanding Dostoevsky鈥檚 tortuous, convoluted, anxious prose - it鈥檚 the one message that Fyodor Dostoevsky takes anguished pains to drum into our insulated and isolated little heads!
Not that, hey, Raskolnikov鈥檚 not such a bad guy after all... no - it鈥檚 that he is inwardly bad and so are we, potentially at every moment, bad inside - and that that that will never change.
We don鈥檛 change our inner lives; but we CAN constantly be making amends for our mistakes - and starting our life anew in others鈥� eyes at each moment, though never perhaps to our own complete inner satisfaction.
For our selves aren鈥檛 static and we all invariably tend towards moral entropy.
There are no easy answers in Dostoevsky!
I remember so well the time I finally quit smoking - cold turkey, 22 years ago. I was lucky I did it, I guess; but to face the indefinitely long rest of my life - stretching out before me like a vast restless desert - without smokes, seemed unbearable back then!
It was just like the Zen Master says - reaching the top of a thousand-foot pole, and then, CONTINUING TO CLIMB. In empty air. Yikes!
Panic City! The flames of utter hopeless anxiety threatened to engulf me entirely.
So I started to pray. Nonstop. Like a dog chewing a meatless bone! It must have worked... so saith the Preacher.
And I escaped from that Inferno by the very Skin of my Teeth.
So likewise, there are few pat answers in Faith, no matter what we鈥檝e seen or heard: 鈥淥urs is only the trying,鈥� Eliot said. Trying to make the best of a mess!
And I wouldn鈥檛 be at all surprised if C.S. Lewis is right, and there remain plenty of challenges in Heaven.
So, there is no finality in this life, Dostoevsky is saying. We can鈥檛 rest on our laurels.
Or our guilt, either, for that matter!
The best way I can sum up my thoughts on this Everest of a novel is by quoting W.H. Auden:
鈥淔aith, while it condemns no temperament as incapable of salvation, flatters none as being less in peril than any other... Christianity is a way, not a state, and a Christian is never something one IS, only something we can pray to BECOME.鈥�
And if Raskolnikov is not a Christian, neither are we.
But we must never give up the trying, just like Raskolnikov...
And for us, too, in time there may come Redemption.
And a Peace that passes all understanding, after the intolerable Shirt of Flame is extinguished, in
A condition of complete simplicity
Costing not less than EVERYTHING.
For if you neglected to come clean you were probably racked with ruin within, and 鈥渄elivered to the bondsman鈥� of tortuous guilt. It happened to Raskolnikov, and it happened to me.
Each one of us is a Raskolnikov, you know.
No, not like you鈥檙e thinking - not a shabbily-dressed, impoverished murderer. But we all share his nature. To a T.
That, in essence, is the key to understanding Dostoevsky鈥檚 tortuous, convoluted, anxious prose - it鈥檚 the one message that Fyodor Dostoevsky takes anguished pains to drum into our insulated and isolated little heads!
Not that, hey, Raskolnikov鈥檚 not such a bad guy after all... no - it鈥檚 that he is inwardly bad and so are we, potentially at every moment, bad inside - and that that that will never change.
We don鈥檛 change our inner lives; but we CAN constantly be making amends for our mistakes - and starting our life anew in others鈥� eyes at each moment, though never perhaps to our own complete inner satisfaction.
For our selves aren鈥檛 static and we all invariably tend towards moral entropy.
There are no easy answers in Dostoevsky!
I remember so well the time I finally quit smoking - cold turkey, 22 years ago. I was lucky I did it, I guess; but to face the indefinitely long rest of my life - stretching out before me like a vast restless desert - without smokes, seemed unbearable back then!
It was just like the Zen Master says - reaching the top of a thousand-foot pole, and then, CONTINUING TO CLIMB. In empty air. Yikes!
Panic City! The flames of utter hopeless anxiety threatened to engulf me entirely.
So I started to pray. Nonstop. Like a dog chewing a meatless bone! It must have worked... so saith the Preacher.
And I escaped from that Inferno by the very Skin of my Teeth.
So likewise, there are few pat answers in Faith, no matter what we鈥檝e seen or heard: 鈥淥urs is only the trying,鈥� Eliot said. Trying to make the best of a mess!
And I wouldn鈥檛 be at all surprised if C.S. Lewis is right, and there remain plenty of challenges in Heaven.
So, there is no finality in this life, Dostoevsky is saying. We can鈥檛 rest on our laurels.
Or our guilt, either, for that matter!
The best way I can sum up my thoughts on this Everest of a novel is by quoting W.H. Auden:
鈥淔aith, while it condemns no temperament as incapable of salvation, flatters none as being less in peril than any other... Christianity is a way, not a state, and a Christian is never something one IS, only something we can pray to BECOME.鈥�
And if Raskolnikov is not a Christian, neither are we.
But we must never give up the trying, just like Raskolnikov...
And for us, too, in time there may come Redemption.
And a Peace that passes all understanding, after the intolerable Shirt of Flame is extinguished, in
A condition of complete simplicity
Costing not less than EVERYTHING.
January 27, 2019
I've come to the conclusion that Russian door-stoppers might just be where it's at. "It" here meaning general awesomeness that combines history, philosophy and readability to make books that are both thought-provoking and enjoyable.
Up until this point, Tolstoy had basically taught me everything I knew about nineteenth century Russian society and its people. By that, I mean that everything I knew was about the drama and scandals of the Russian aristocracy. The difference here is that Dostoyevsky took me on an educational - but also gripping - journey around the backstreets and drinking dens of St Petersburg. He showed me the nitty gritty details of life in Russia for those less fortunate - drunks, prostitutes, the poor - and he painted a very vivid portrait of this time and culture.
Raskolnikov is a great protagonist; he really is. His head is one messed-up place and he constantly struggles with what he believes in, his conscience, and his desire to get what he wants. The reader is pulled so deep inside the dark depths of his mind that it's hard to avoid becoming completely absorbed in the story. He is at times nasty, at others funny, and at others pitiful. Dostoyevsky has created one extremely well-rounded and complex character. shows the human capacity for evil, but also for shame and remorse. And this latter is the real "punishment" for Raskolnikov when he is driven near to insanity by his guilt.
I don't really know how best to fully articulate my feelings for . I don't give many five star ratings and I rarely feel this strongly about what I've read. I actually had a dream about it!
Speaking of dreams, I want to use this one example of Dostoyevsky's ability to engage the reader so thoroughly: I read one particular scene in the book that made me seriously distressed. I was furious, on the verge of tears, and like a child who wants to jump inside the TV to make everything better... and then Raskolnikov awakes to discover it was just a dream. I swear that my sigh of relief fully eclipsed his! But that's how far I was drawn into this world, how much I really cared about it. That doesn't happen often.
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Up until this point, Tolstoy had basically taught me everything I knew about nineteenth century Russian society and its people. By that, I mean that everything I knew was about the drama and scandals of the Russian aristocracy. The difference here is that Dostoyevsky took me on an educational - but also gripping - journey around the backstreets and drinking dens of St Petersburg. He showed me the nitty gritty details of life in Russia for those less fortunate - drunks, prostitutes, the poor - and he painted a very vivid portrait of this time and culture.
Raskolnikov is a great protagonist; he really is. His head is one messed-up place and he constantly struggles with what he believes in, his conscience, and his desire to get what he wants. The reader is pulled so deep inside the dark depths of his mind that it's hard to avoid becoming completely absorbed in the story. He is at times nasty, at others funny, and at others pitiful. Dostoyevsky has created one extremely well-rounded and complex character. shows the human capacity for evil, but also for shame and remorse. And this latter is the real "punishment" for Raskolnikov when he is driven near to insanity by his guilt.
I don't really know how best to fully articulate my feelings for . I don't give many five star ratings and I rarely feel this strongly about what I've read. I actually had a dream about it!
Speaking of dreams, I want to use this one example of Dostoyevsky's ability to engage the reader so thoroughly: I read one particular scene in the book that made me seriously distressed. I was furious, on the verge of tears, and like a child who wants to jump inside the TV to make everything better... and then Raskolnikov awakes to discover it was just a dream. I swear that my sigh of relief fully eclipsed his! But that's how far I was drawn into this world, how much I really cared about it. That doesn't happen often.
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September 7, 2015
What can I add to 7000+ reviews (at the time I write)? I think this book is fascinating because of all the topic it covers. Like the OJ trial, it is about many important interconnected things and those things remain important today, even though this book was originally published in 1865.
Sure, it has a lot about crime and punishment. But also insanity and temporary insanity, the latter a legal plea that could be entered in Russia of the mid-1800's. It's about guilt and conscience, long before Freud. In fact, this book was written at a time when psychological theories were coming into vogue. It's about false confessions. It's about poverty and social class and people who rise above their class and people who fall from the class they were born into. It's about the wild dreams and the follies of youth.
There is also mention of many social theories that were in vogue at that time, so, for example, if you want to, you can click on Wikipedia to find out about "Fourier's system" and his phalansteres. There is attempted rape, blackmail, child labor, child prostitution, child marriage and child molestation. There is discussion of marrying for money. There are ethnic tensions between Russians and the Germans of St. Petersburg. Should you give to charity or should you give to change the conditions that caused the poverty? Like me, you may have thought that was a modern idea, but here it is, laid out in 1865. There's a lot about alcoholism. Stir in a cat-and-mouse detective and a bit of Christian redemption. No wonder this is a classic.
Sure, it has a lot about crime and punishment. But also insanity and temporary insanity, the latter a legal plea that could be entered in Russia of the mid-1800's. It's about guilt and conscience, long before Freud. In fact, this book was written at a time when psychological theories were coming into vogue. It's about false confessions. It's about poverty and social class and people who rise above their class and people who fall from the class they were born into. It's about the wild dreams and the follies of youth.
There is also mention of many social theories that were in vogue at that time, so, for example, if you want to, you can click on Wikipedia to find out about "Fourier's system" and his phalansteres. There is attempted rape, blackmail, child labor, child prostitution, child marriage and child molestation. There is discussion of marrying for money. There are ethnic tensions between Russians and the Germans of St. Petersburg. Should you give to charity or should you give to change the conditions that caused the poverty? Like me, you may have thought that was a modern idea, but here it is, laid out in 1865. There's a lot about alcoholism. Stir in a cat-and-mouse detective and a bit of Christian redemption. No wonder this is a classic.
July 31, 2009
There was a time in my life when I couldn鈥檛 get enough of reading Dostoevsky. Maybe because his books made me think so deeply about being human and how we choose to live our lives. I began with Crime and Punishment, probably the work he is best known for.
What I remember is being fascinated by Dostoevsky鈥檚 brilliant understanding of human nature. I remember thinking what a deep study this book was; an incredible examination of a man who commits murder and how he is 鈥減unished鈥� for it.
I remember thinking that here was a master storyteller. Not only able to create complex characters, but able to take the reader deeply inside a character鈥檚 mind. Best of all, I remember that I would stop reading periodically and think; not a mindless read, but an absorbing one.
What I remember is being fascinated by Dostoevsky鈥檚 brilliant understanding of human nature. I remember thinking what a deep study this book was; an incredible examination of a man who commits murder and how he is 鈥減unished鈥� for it.
I remember thinking that here was a master storyteller. Not only able to create complex characters, but able to take the reader deeply inside a character鈥檚 mind. Best of all, I remember that I would stop reading periodically and think; not a mindless read, but an absorbing one.
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January 2, 2024This took so long because it was too big to travel with and also made me anxious to read. Does anyone recommend a particular translation? I read Pevear and Volokhonsky and I鈥檓 guessing I鈥檇 prefer something else. Might try again in ten years.
February 21, 2008
I basically had to stop drinking for a month in order to read it; my friends no longer call. But it's great.
January 23, 2018
Writing this was a crime and reading it was a punishment.
April 20, 2024
I finally said my goodbyes to this book. It was the best piece i've ever read.
Want to read
May 9, 2024i always have to be the smartest looking person on public transit
May 14, 2011
6.0 Stars. One of my All Time Favorite novels. In addition to being one of the first works of Classic Literature that I suggest when asked for recommendations from others, this story holds a special place in my heart as it was the story, along with Moby Dick, that began my love of the 鈥渃lassics鈥� for which I will always be grateful. So often we are forced to read the great works of literature for school or at times not of our choosing and I think it tends to lead to a lifelong aversion to them...like being forced to eat vegetables as a child...yuck.
I was fortunate enough to come back to these stories on my own terms while I was in College. My parents, at my request, bought me a subscription to several Easton Press library collections including the 鈥�100 Greatest Books Ever Written鈥� and 鈥淏ooks That Changed the World.鈥� Two of the first three books I received were Moby Dick and Crime and Punishment.
So I took a weekend off from getting drunk and running naked through Downtown San Diego and decided instead to get drunk in my apartment and read Crime and Punishment鈥�.and I fell head over heals in man-love with Dostoyevsky. I loved this book from the opening scene in which Raskolnikov is convincing himself about the rightness of committing the murder of the money-lending pawn-broker all the way through the bittersweet end and the beginning of his redemption.
Powerful, brilliant, insightful and surprisingly engaging despite the fact that it is far from being a "light" read in either prose or content. The central theme of this story is not really the crime (i.e. Murder) or punishment (i.e., incarceration) in the formal sense of the word. The real crime is Raskolnikov鈥檚 arrogance in placing himself above his fellow man and thus is not bound by the rules of society (i.e., his belief he is like Napoleon). Likewise, the punishment is the deeply felt, and unexpected from his standpoint, guilt over what he has done.
It is Raskolnikov鈥檚 personal, internal struggle with the evil he has perpetrated. His mind, his body, his very essence rails against his actions and leads him down the path that will eventually lead to the possibility of redemption. It is such a deeply personal, emotionally evocative journey that it was impossible for me not to become intensely invested in the story.
Something that struck me as I was reading about Raskolnikov鈥檚 struggle with his conscience was the thought that everybody does things that they are ashamed of or wish they could change. That is part of being human. It is our ability to feel genuine remorse over our bad actions and voluntarily take steps to rectify those mistakes that leads to growth and character. I think this is why I have always loved stories of redemption because it is such a classic theme of being human.
On the other hand, I also realized why I get so bat shit crazy with anger when I hear of certain kinds of what people terms "non violent" crime. Rapists and murderers when they get caught are punished and sent to places I have nightmares about. Whether or not it is enough, we can debate, but it is defintely not a fun place.
What bothers me are the slime balls who steal and pillage millions and billions of $$$ from people who need it and end up spending time in cushy federal prisons with cable TV and other amenities. I see these "crimes" as bad as most violent crimes because they lead to real severe pain and devastation for many of the victims and yet the punishment never seems commensurate. And yet, these 鈥渨hite collar鈥� criminals get off so much easier and you NEVER (or rarely) see genuine remorse over the destruction they have caused. It lead me to do a little justice fantasizing and I came up with this that I thought I would share...
Sorry for the less smooth segue, but it was something that came to me while I was reading the book. Anyway, unlike those above, Raskolnikov鈥檚 story is one of true growth and redemption and is definitely a story that I think everyone should read. HIGHEST POSSIBLE RECOMMENDATION!!
P.S. The second time I 鈥渞ead鈥� this I listened to the unabridged audio as read by George Guidall and he did his usual AMAZING job. I think his narration is superb and truly enhanced the experience of the story.
May 17, 2023
so basically I ate
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August 7, 2022I have been bested...
May 5, 2017
亘丕 丕蹖賳讴賴 丕蹖賳 讴鬲丕亘 乇賵 禺蹖賱蹖 賵賯鬲 倬蹖卮 禺賵賳丿賲貙 賴賳賵夭 讴賴 賴賳賵夭賴貙 亘賴 賳馗乇賲 卮丕賴讴丕乇 鬲賲丕賲 丕毓氐丕乇賴 賵 賴蹖趩 讴鬲丕亘蹖 乇賵蹖 丿爻鬲卮 賳蹖爻鬲. 賵 噩丕賱亘 丕蹖賳賴 讴賴 丕蹖賳 讴鬲丕亘貙 丕賵賱 倬丕賵乇賯蹖 乇賵夭賳丕賲賴 亘賵丿賴 賵 亘毓丿丕賸 賲爻鬲賯賱丕賸 趩丕倬 卮丿賴. 丨丕賱丕 賲賯丕蹖爻賴 讴賳蹖丿 亘蹖賳 倬丕賵乇賯蹖 賴丕蹖 乇賵爻蹖 賵 倬丕賵乇賯蹖 賴丕蹖 賵胤賳蹖!
丿丕爻鬲丕賷賵爻賰賶 賵 賳賷趩賴
賲賳 鬲丕 賲丿鬲 賴丕蹖 賲丿蹖丿貙 賮讴乇 賲蹖 讴乇丿賲 賵 讴丕賲賱丕賸 丕夭 丕蹖賳 亘丕亘鬲 賲胤賲卅賳 亘賵丿賲 讴賴 丿丕爻鬲丕蹖賵爻讴蹖貙 賳馗乇蹖丕鬲 乇丕爻讴賱賳蹖讴賮 乇賵 丕夭 丨乇賮 賴丕蹖 賳蹖趩賴 丕賯鬲亘丕爻 讴乇丿賴. 丨丿爻 賲蹖 夭丿賲 讴賴 丕賵賳 丿賵乇賴 丨乇賮 賴丕蹖 賳蹖趩賴 亘丕亘 胤亘毓 噩賵丕賳 賴丕蹖 鬲丨氐蹖賱 讴乇丿賴 亘賵丿賴 賵 乇丕爻讴賱賳蹖讴賮 賳賲丕蹖賳丿賴 蹖 丕蹖賳 賯卮乇. 丕蹖賳 讴賴 诏乇賵賴蹖 丕夭 賲乇丿賲 乇丕賴亘乇 賴爻鬲賳 賵 诏乇賵賴蹖 "爻賵爻讴"貙 丕诏賴 乇丕賴亘乇賴丕 亘乇丕蹖 倬蹖卮 亘乇丿賳 亘卮乇蹖鬲 亘賴 爻賲鬲 讴賲丕賱 賵丕賱丕鬲乇 丕禺賱丕賯 "爻賵爻讴" 賴丕 乇賵 夭蹖乇 倬丕 賱賴 賳讴賳賳貙 "爻賵爻讴" 賴丕 讴賱 毓丕賱賲 乇賵 賲蹖诏蹖乇賳.
賲蹖卮賴 丨丿爻 夭丿 讴賴 趩賯丿乇貙 趩賯丿乇 鬲毓噩亘 讴乇丿賲 賵賯鬲蹖 丿蹖丿賲 丿丕爻鬲丕蹖賵爻讴蹖 賲賯丿賲 亘乇 賳蹖趩賴 亘賵丿賴. 賲蹖卮賴 丨丿爻 夭丿 讴賴 趩賯丿乇 卮蹖賮鬲诏蹖 賲 賳爻亘鬲 亘賴 丿丕爻鬲丕蹖賵爻讴蹖 賵 毓馗賲鬲 賮讴乇卮 亘蹖卮鬲乇 卮丿.
丿賱亘乇讴丕賳 睾賲诏蹖賳 賲賳
爻賴 卮禺氐蹖鬲 丕夭 丕蹖賳 乇賲丕賳 乇賵 毓丕卮賯丕賳賴 賲蹖 倬乇爻鬲賲. 賴乇 趩賳丿 卮丕蹖丿 賲毓丕丿賱卮賵賳 鬲賵蹖 乇賲丕賳 賴丕蹖 丿蹖诏賴 倬蹖丿丕 亘卮賴貙 賵賱蹖 鬲賵蹖 丕蹖賳 乇賲丕賳 亘賴 丕賵噩 讴賲丕賱 乇爻蹖丿賳.
爻賵賳蹖丕
丕賵賱 丕夭 賴賲賴貙 鬲兀讴蹖丿 賲蹖讴賳賲貙 丕賵賱 丕夭 賴賲賴貙 爻賵賳蹖丕. 賲賳 丿蹖賵丕賳賴 賵丕乇 卮蹖賮鬲賴 蹖 爻賵賳蹖丕賲. 亘賴 賳馗乇賲 賴乇 賲乇丿賶 乇丐賷丕賶 賷賴 爻賵賳賷丕 乇賵 丿乇 爻乇 賲賶 倬乇賵乇賵賳賴 賵 倬賳賴丕賳賶 毓丕卮賯 丕賵賳賴: 夭賳賶 亘賶 賳賴丕賷鬲 爻丕丿賴 丿賱 賵 亘賶 賳賴丕賷鬲 倬丕讴 賰賴 亘賴 乇睾賲 賴賲賴 賶 亘丿賶 賴丕賷賶 賰賴 丌丿賲 賰乇丿賴貙 毓卮賯 賵 诏匕卮鬲卮 乇賵 丕夭 丌丿賲 丿乇蹖睾 賳讴賳賴. 讴賴 丌丿賲 亘丿賵賳賴 丿乇 爻禺鬲 鬲乇蹖賳 胤賵賮丕賳 賴丕賶 乇賵丨賶 賴賲 賲蹖鬲賵賳賴 亘賴 丌睾賵卮卮 倬賳丕賴 亘亘乇賴.
乇丕爻讴賱賳蹖讴賮
丿乇 賲乇鬲亘賴 蹖 丿賵賲. 賲馗賴乇 鬲賲丕賲 賵 讴賲丕賱 乇賵卮賳賮讴乇 倬賵趩诏乇丕 讴賴 亘賴 賳馗乇賲 賲賴賲 鬲乇蹖賳 鬲蹖倬 丿賵 爻賴 賯乇賳 丕禺蹖乇 (賲禺氐賵氐丕賸 丿乇 丕乇賵倬丕) 亘賵丿賴 賵 賴爻鬲. 亘賴 賳馗乇賲 丌丿賲 鬲丕 賲孬賱 乇丕爻讴賱賳蹖讴賮 賳亘丕卮賴貙 賳亘丕蹖丿 丕蹖賳 乇賲丕賳 乇賵 亘禺賵賳賴 賵 丕诏賴 亘禺賵賳賴貙 卮丕蹖丿 禺蹖賱蹖 乇賲丕賳 乇賵 賳賮賴賲賴. 賲禺氐賵氐丕賸 卮丿鬲 毓胤卮 賵 賳蹖丕夭 丕蹖賳 倬賵趩诏乇丕貙 亘賴 爻賵賳蹖丕蹖 倬丕讴 乇賵.
亘丕夭乇爻 倬賵乇賮蹖乇蹖
賳賴丕蹖鬲丕賸 亘丕夭乇爻 倬賱蹖爻貙 讴賴 亘蹖卮鬲乇 乇賵丕賳卮賳丕爻賴 鬲丕 亘丕夭乇爻 賵 亘賴 禺丕胤乇 賴賲蹖賳 丿賵爻鬲卮 丿丕乇賲. 亘賴 禺丕胤乇 亘丕賴賵卮 亘賵丿賳卮 賵 賲賵卮 賵 诏乇亘賴 亘丕夭蹖 讴乇丿賳卮 亘丕 乇丕爻讴賱賳蹖讴賮 賵 亘賴 禺丕胤乇 卮蹖賵賴 丕蹖 讴賴 賲蹖禺賵丕丿 亘丕賴丕卮 乇丕爻讴賱賳蹖讴賮 乇賵 亘賴 丿丕賲 亘蹖賳丿丕夭賴.
亘賴 賳馗乇賲 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 囟丿賯賴乇賲丕賳 賴丕蹖 丌孬丕乇 讴賱丕爻蹖讴賴 賵 亘丕 賲毓丕丿賱 賮乇丕賳爻賵蹖卮貙 亘丕夭乇爻 跇丕賵乇貙 賯丕亘賱 賯蹖丕爻 賳蹖爻鬲.
丿丕爻鬲丕賷賵爻賰賶 賵 賳賷趩賴
賲賳 鬲丕 賲丿鬲 賴丕蹖 賲丿蹖丿貙 賮讴乇 賲蹖 讴乇丿賲 賵 讴丕賲賱丕賸 丕夭 丕蹖賳 亘丕亘鬲 賲胤賲卅賳 亘賵丿賲 讴賴 丿丕爻鬲丕蹖賵爻讴蹖貙 賳馗乇蹖丕鬲 乇丕爻讴賱賳蹖讴賮 乇賵 丕夭 丨乇賮 賴丕蹖 賳蹖趩賴 丕賯鬲亘丕爻 讴乇丿賴. 丨丿爻 賲蹖 夭丿賲 讴賴 丕賵賳 丿賵乇賴 丨乇賮 賴丕蹖 賳蹖趩賴 亘丕亘 胤亘毓 噩賵丕賳 賴丕蹖 鬲丨氐蹖賱 讴乇丿賴 亘賵丿賴 賵 乇丕爻讴賱賳蹖讴賮 賳賲丕蹖賳丿賴 蹖 丕蹖賳 賯卮乇. 丕蹖賳 讴賴 诏乇賵賴蹖 丕夭 賲乇丿賲 乇丕賴亘乇 賴爻鬲賳 賵 诏乇賵賴蹖 "爻賵爻讴"貙 丕诏賴 乇丕賴亘乇賴丕 亘乇丕蹖 倬蹖卮 亘乇丿賳 亘卮乇蹖鬲 亘賴 爻賲鬲 讴賲丕賱 賵丕賱丕鬲乇 丕禺賱丕賯 "爻賵爻讴" 賴丕 乇賵 夭蹖乇 倬丕 賱賴 賳讴賳賳貙 "爻賵爻讴" 賴丕 讴賱 毓丕賱賲 乇賵 賲蹖诏蹖乇賳.
賲蹖卮賴 丨丿爻 夭丿 讴賴 趩賯丿乇貙 趩賯丿乇 鬲毓噩亘 讴乇丿賲 賵賯鬲蹖 丿蹖丿賲 丿丕爻鬲丕蹖賵爻讴蹖 賲賯丿賲 亘乇 賳蹖趩賴 亘賵丿賴. 賲蹖卮賴 丨丿爻 夭丿 讴賴 趩賯丿乇 卮蹖賮鬲诏蹖 賲 賳爻亘鬲 亘賴 丿丕爻鬲丕蹖賵爻讴蹖 賵 毓馗賲鬲 賮讴乇卮 亘蹖卮鬲乇 卮丿.
丿賱亘乇讴丕賳 睾賲诏蹖賳 賲賳
爻賴 卮禺氐蹖鬲 丕夭 丕蹖賳 乇賲丕賳 乇賵 毓丕卮賯丕賳賴 賲蹖 倬乇爻鬲賲. 賴乇 趩賳丿 卮丕蹖丿 賲毓丕丿賱卮賵賳 鬲賵蹖 乇賲丕賳 賴丕蹖 丿蹖诏賴 倬蹖丿丕 亘卮賴貙 賵賱蹖 鬲賵蹖 丕蹖賳 乇賲丕賳 亘賴 丕賵噩 讴賲丕賱 乇爻蹖丿賳.
爻賵賳蹖丕
丕賵賱 丕夭 賴賲賴貙 鬲兀讴蹖丿 賲蹖讴賳賲貙 丕賵賱 丕夭 賴賲賴貙 爻賵賳蹖丕. 賲賳 丿蹖賵丕賳賴 賵丕乇 卮蹖賮鬲賴 蹖 爻賵賳蹖丕賲. 亘賴 賳馗乇賲 賴乇 賲乇丿賶 乇丐賷丕賶 賷賴 爻賵賳賷丕 乇賵 丿乇 爻乇 賲賶 倬乇賵乇賵賳賴 賵 倬賳賴丕賳賶 毓丕卮賯 丕賵賳賴: 夭賳賶 亘賶 賳賴丕賷鬲 爻丕丿賴 丿賱 賵 亘賶 賳賴丕賷鬲 倬丕讴 賰賴 亘賴 乇睾賲 賴賲賴 賶 亘丿賶 賴丕賷賶 賰賴 丌丿賲 賰乇丿賴貙 毓卮賯 賵 诏匕卮鬲卮 乇賵 丕夭 丌丿賲 丿乇蹖睾 賳讴賳賴. 讴賴 丌丿賲 亘丿賵賳賴 丿乇 爻禺鬲 鬲乇蹖賳 胤賵賮丕賳 賴丕賶 乇賵丨賶 賴賲 賲蹖鬲賵賳賴 亘賴 丌睾賵卮卮 倬賳丕賴 亘亘乇賴.
乇丕爻讴賱賳蹖讴賮
丿乇 賲乇鬲亘賴 蹖 丿賵賲. 賲馗賴乇 鬲賲丕賲 賵 讴賲丕賱 乇賵卮賳賮讴乇 倬賵趩诏乇丕 讴賴 亘賴 賳馗乇賲 賲賴賲 鬲乇蹖賳 鬲蹖倬 丿賵 爻賴 賯乇賳 丕禺蹖乇 (賲禺氐賵氐丕賸 丿乇 丕乇賵倬丕) 亘賵丿賴 賵 賴爻鬲. 亘賴 賳馗乇賲 丌丿賲 鬲丕 賲孬賱 乇丕爻讴賱賳蹖讴賮 賳亘丕卮賴貙 賳亘丕蹖丿 丕蹖賳 乇賲丕賳 乇賵 亘禺賵賳賴 賵 丕诏賴 亘禺賵賳賴貙 卮丕蹖丿 禺蹖賱蹖 乇賲丕賳 乇賵 賳賮賴賲賴. 賲禺氐賵氐丕賸 卮丿鬲 毓胤卮 賵 賳蹖丕夭 丕蹖賳 倬賵趩诏乇丕貙 亘賴 爻賵賳蹖丕蹖 倬丕讴 乇賵.
亘丕夭乇爻 倬賵乇賮蹖乇蹖
賳賴丕蹖鬲丕賸 亘丕夭乇爻 倬賱蹖爻貙 讴賴 亘蹖卮鬲乇 乇賵丕賳卮賳丕爻賴 鬲丕 亘丕夭乇爻 賵 亘賴 禺丕胤乇 賴賲蹖賳 丿賵爻鬲卮 丿丕乇賲. 亘賴 禺丕胤乇 亘丕賴賵卮 亘賵丿賳卮 賵 賲賵卮 賵 诏乇亘賴 亘丕夭蹖 讴乇丿賳卮 亘丕 乇丕爻讴賱賳蹖讴賮 賵 亘賴 禺丕胤乇 卮蹖賵賴 丕蹖 讴賴 賲蹖禺賵丕丿 亘丕賴丕卮 乇丕爻讴賱賳蹖讴賮 乇賵 亘賴 丿丕賲 亘蹖賳丿丕夭賴.
亘賴 賳馗乇賲 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 囟丿賯賴乇賲丕賳 賴丕蹖 丌孬丕乇 讴賱丕爻蹖讴賴 賵 亘丕 賲毓丕丿賱 賮乇丕賳爻賵蹖卮貙 亘丕夭乇爻 跇丕賵乇貙 賯丕亘賱 賯蹖丕爻 賳蹖爻鬲.
April 4, 2007
Instead of reading this book, drink vodka in a dark room and think depressing thoughts. That will give you about the same experience and you'll have a better time.
August 2, 2021
(Book 867 from 1001 Books) - 袩褉械褋褌褍锌谢械薪懈械 懈 薪邪泻邪蟹锟斤拷薪懈械 = Prestupleniye i nakazaniye = Crime and Punishment, Fyodor Dostoevsky
Crime and Punishment is a novel by the Russian author Fyodor Dostoevsky.
It was first published in the literary journal The Russian Messenger in twelve monthly installments during 1866.
It is the second of Dostoevsky's full-length novels following his return from 5 years of exile in Siberia.
Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny, rented room in Saint Petersburg.
Isolated and antisocial, he has abandoned all attempts to support himself, and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawn-broker. On the pretext of pawning a watch, he visits her apartment, but remains unable to commit himself.
Later in a tavern he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth. Marmeladov tells him about his teenage daughter, Sonya, who has chosen to become a prostitute in order to support the family.
The next day Raskolnikov receives a letter from his mother in which she describes the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov.
To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya's situation.
Raskolnikov is enraged at his sister's sacrifice, feeling it is the same as what Sonya felt compelled to do. Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it. ...
毓賳賵丕賳賴丕: 芦噩賳丕蹖鬲 賵 讴蹖賮乇 (賲鬲乇噩賲: 賲丨賲丿乇囟丕 毓爻讴乇蹖 丿乇 147 氐)禄貨 芦噩賳丕蹖鬲 賵 賲讴丕賮丕鬲禄貨 賳賵蹖爻賳丿賴: 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵爻讴蹖貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 丿乇 賲丕賴 賲蹖 爻丕賱 1970賲蹖賱丕丿蹖
毓賳賵丕賳: 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲貨 賳賵蹖爻賳丿賴: 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵爻讴蹖貨 賲鬲乇噩賲: 賲賴乇蹖 丌賴蹖貙 鬲賴乇丕賳貙 氐賮蹖毓賱蹖卮丕賴貙 1345貨 丿乇 790氐貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 禺賵丕乇夭賲蹖貙 爻丕賱1363貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 19賲
讴賴賳鬲乇蹖賳 鬲乇噩賲賴 乇丕 噩賳丕亘: 芦丕爻丨賯 賱丕賱賴 夭丕乇蹖 賵 丕賳鬲卮丕乇丕鬲 氐賮蹖毓賱蹖卮丕賴 丕夭 丕蹖賳 讴鬲丕亘 賳卮乇 丿丕丿賴 丕賳丿貙 丿乇 396氐禄貙 爻倬爻 亘丕賳賵: 芦賲賴乇蹖 丌賴蹖貙 丿乇790氐賮丨賴貙 丕賳鬲卮丕乇丕鬲 禺賵丕乇夭賲蹖禄貙 噩賳丕亘 芦亘賴乇賵夭 亘賴夭丕丿 賴賲 丿乇 626氐 丕賳鬲卮丕乇丕鬲 丿賳蹖丕蹖 讴鬲丕亘禄貨 噩賳丕亘 芦丕氐睾乇 乇爻鬲诏丕乇 賳蹖夭 丿乇 丿賵 噩賱丿 丿乇 丕氐賮賴丕賳貙 賳卮乇 賮乇丿丕禄貨 噩賳丕亘 芦毓賳丕蹖鬲 丕賱賱賴 卮讴蹖亘丕倬賵乇 丿乇 626氐禄貨 噩賳丕亘 芦倬乇賵蹖夭 卮賴丿蹖 讴鬲丕亘 倬丕乇爻賴 丿乇 659氐禄貨 噩賳丕亘 芦丕丨賲丿 毓賱蹖賯賱蹖丕賳 丿乇730氐 賳卮乇 賲乇讴夭禄貙 亘丕賳賵 芦賱賵蹖丕 乇賵丕蹖蹖 賳蹖丕貙 賳诏丕乇爻鬲丕賳 讴鬲丕亘 丿乇 976氐禄貨 亘丕賳賵 芦賴丕賳蹖賴 趩賵倬丕賳蹖貙 丿乇 800氐貙 賳卮乇 賮乇丕乇賵蹖禄貨 亘丕賳賵 芦賲乇蹖賲 丕賲蹖乇 賵 亘丕賳賵 丌乇夭賵 倬蹖乇丕爻鬲賴 丿乇 811氐貙 蹖丕賯賵鬲 讴賵蹖乇禄貨 噩賳丕亘 芦毓賱蹖 氐丨乇丕蹖蹖 丿乇 775氐貨 賳卮乇 賲賴鬲丕亘禄貨 噩賳丕亘 芦丕氐睾乇 乇爻鬲诏丕乇 丿乇 711氐 賳卮乇 賳诏丕賴禄貨 賳爻禺賴 禺賱丕氐賴 卮丿賴: 亘丕 鬲乇噩賲賴 噩賳丕亘: 芦丕賲蹖乇 丕爻賲丕毓蹖賱蹖貨 鬲賴乇丕賳貙 鬲賵爻貙 1364貨 丿乇 214氐禄貨 賵 ....貨
丿丕爻鬲丕賳 丿丕賳卮噩賵蹖蹖 亘賴 賳丕賲: 芦乇丕爻讴賵賱賿賳蹖讴購賮禄 丕爻鬲貙 讴賴 亘丕 乇毓丕蹖鬲 丕氐賵賱貙 賲乇鬲讴亘 讴卮鬲丕乇 賲蹖鈥屫促堌� 亘丕 丕賳诏蹖夭賴鈥� 賴丕蹖 倬蹖趩蹖丿賴鈥� 丕蹖貙 讴賴 丨鬲蹖 禺賵丿 芦乇丕爻讴賵賱賳蹖讴賮禄 丕夭 鬲丨賱蹖賱 丌賳賴丕 毓丕噩夭 丕爻鬲貨 丕賵 夭賳 乇亘丕禺賵丕乇蹖 乇丕貙 賴賲乇丕賴 亘丕 禺賵丕賴乇卮 (讴賴 賳丕賲賳鬲馗乇賴 亘賴 賴賳诏丕賲 乇賵蹖丿丕丿賳 賯鬲賱 丿乇 氐丨賳賴 丨丕囟乇 卮丿賴) 賲蹖鈥屭┴簇� 賵 倬爻 丕夭 賯鬲賱貙 禺賵丿 乇丕 賳丕鬲賵丕賳 丕夭 禺乇噩 倬賵賱賴丕貙 賵 噩賵丕賴乇丕鬲蹖 讴賴 亘乇丿丕卮鬲賴貙 賲蹖鈥屫ㄛ屬嗀� 賵 丌賳賴丕 乇丕 倬賳賴丕賳 賲蹖鈥屭┵嗀� 倬爻 丕夭 趩賳丿 乇賵夭 亘蹖賲丕乇蹖貙 賵 亘爻鬲乇蹖 卮丿賳 丿乇 禺丕賳賴貙 芦乇丕爻讴賵賱賳蹖讴賮禄 丕蹖賳 鬲氐賵乇 乇丕貙 讴賴 賴乇 讴爻 乇丕 讴賴 賲蹖鈥屫ㄛ屬嗀� 丕賳诏丕乇 亘賴 丕賵 賲馗賳賵賳 丕爻鬲貨 賵 亘丕 丕蹖賳 丕賮讴丕乇貙 讴丕乇卮 亘賴 噩賳賵賳 賲蹖鈥屭┴簇� 丿乇 丕蹖賳 亘蹖賳 丕賵 毓丕卮賯 芦爻賵賳蹖丕禄 丕爻鬲貙 丿禺鬲乇蹖 讴賴 亘賴 禺丕胤乇 賲卮讴賱丕鬲 賲丕賱蹖 禺丕賳賵丕丿賴鈥� 丕卮貙 丿爻鬲 亘賴 鬲賳鈥� 賮乇賵卮蹖 夭丿賴 丕爻鬲貨 賲囟賲賵賳 賵 丿乇賵賳鈥屬呚й屬� 蹖 乇賲丕賳貙 鬲丨賱蹖賱賽 丕賳诏蹖夭賴鈥� 賴丕蹖 賯鬲賱貙 賵 鬲兀孬蹖乇 賯鬲賱 亘乇 賯丕鬲賱 丕爻鬲貨 讴賴 芦丿丕爻鬲丕蹖賵爻讴蹖禄 賲爻卅賱賴贁 乇丕亘胤賴 蹖 賲蹖丕賳 禺賵蹖卮鬲賳貙 賵 噩賴丕賳 倬蹖乇丕賲賵賳貙 賵 賮乇丿 賵 噩丕賲毓賴貙 乇丕 丿乇 丌賳 诏賳噩丕賳丿賴 丕賳丿貨 ...貨 禺賵丕賳卮 賳禺爻鬲蹖賳 亘丕乇 丕蹖賳 讴鬲丕亘 賲丿賴賵卮賲 讴乇丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 02/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Crime and Punishment is a novel by the Russian author Fyodor Dostoevsky.
It was first published in the literary journal The Russian Messenger in twelve monthly installments during 1866.
It is the second of Dostoevsky's full-length novels following his return from 5 years of exile in Siberia.
Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny, rented room in Saint Petersburg.
Isolated and antisocial, he has abandoned all attempts to support himself, and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawn-broker. On the pretext of pawning a watch, he visits her apartment, but remains unable to commit himself.
Later in a tavern he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth. Marmeladov tells him about his teenage daughter, Sonya, who has chosen to become a prostitute in order to support the family.
The next day Raskolnikov receives a letter from his mother in which she describes the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov.
To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya's situation.
Raskolnikov is enraged at his sister's sacrifice, feeling it is the same as what Sonya felt compelled to do. Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it. ...
毓賳賵丕賳賴丕: 芦噩賳丕蹖鬲 賵 讴蹖賮乇 (賲鬲乇噩賲: 賲丨賲丿乇囟丕 毓爻讴乇蹖 丿乇 147 氐)禄貨 芦噩賳丕蹖鬲 賵 賲讴丕賮丕鬲禄貨 賳賵蹖爻賳丿賴: 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵爻讴蹖貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 丿乇 賲丕賴 賲蹖 爻丕賱 1970賲蹖賱丕丿蹖
毓賳賵丕賳: 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲貨 賳賵蹖爻賳丿賴: 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵爻讴蹖貨 賲鬲乇噩賲: 賲賴乇蹖 丌賴蹖貙 鬲賴乇丕賳貙 氐賮蹖毓賱蹖卮丕賴貙 1345貨 丿乇 790氐貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 禺賵丕乇夭賲蹖貙 爻丕賱1363貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 19賲
讴賴賳鬲乇蹖賳 鬲乇噩賲賴 乇丕 噩賳丕亘: 芦丕爻丨賯 賱丕賱賴 夭丕乇蹖 賵 丕賳鬲卮丕乇丕鬲 氐賮蹖毓賱蹖卮丕賴 丕夭 丕蹖賳 讴鬲丕亘 賳卮乇 丿丕丿賴 丕賳丿貙 丿乇 396氐禄貙 爻倬爻 亘丕賳賵: 芦賲賴乇蹖 丌賴蹖貙 丿乇790氐賮丨賴貙 丕賳鬲卮丕乇丕鬲 禺賵丕乇夭賲蹖禄貙 噩賳丕亘 芦亘賴乇賵夭 亘賴夭丕丿 賴賲 丿乇 626氐 丕賳鬲卮丕乇丕鬲 丿賳蹖丕蹖 讴鬲丕亘禄貨 噩賳丕亘 芦丕氐睾乇 乇爻鬲诏丕乇 賳蹖夭 丿乇 丿賵 噩賱丿 丿乇 丕氐賮賴丕賳貙 賳卮乇 賮乇丿丕禄貨 噩賳丕亘 芦毓賳丕蹖鬲 丕賱賱賴 卮讴蹖亘丕倬賵乇 丿乇 626氐禄貨 噩賳丕亘 芦倬乇賵蹖夭 卮賴丿蹖 讴鬲丕亘 倬丕乇爻賴 丿乇 659氐禄貨 噩賳丕亘 芦丕丨賲丿 毓賱蹖賯賱蹖丕賳 丿乇730氐 賳卮乇 賲乇讴夭禄貙 亘丕賳賵 芦賱賵蹖丕 乇賵丕蹖蹖 賳蹖丕貙 賳诏丕乇爻鬲丕賳 讴鬲丕亘 丿乇 976氐禄貨 亘丕賳賵 芦賴丕賳蹖賴 趩賵倬丕賳蹖貙 丿乇 800氐貙 賳卮乇 賮乇丕乇賵蹖禄貨 亘丕賳賵 芦賲乇蹖賲 丕賲蹖乇 賵 亘丕賳賵 丌乇夭賵 倬蹖乇丕爻鬲賴 丿乇 811氐貙 蹖丕賯賵鬲 讴賵蹖乇禄貨 噩賳丕亘 芦毓賱蹖 氐丨乇丕蹖蹖 丿乇 775氐貨 賳卮乇 賲賴鬲丕亘禄貨 噩賳丕亘 芦丕氐睾乇 乇爻鬲诏丕乇 丿乇 711氐 賳卮乇 賳诏丕賴禄貨 賳爻禺賴 禺賱丕氐賴 卮丿賴: 亘丕 鬲乇噩賲賴 噩賳丕亘: 芦丕賲蹖乇 丕爻賲丕毓蹖賱蹖貨 鬲賴乇丕賳貙 鬲賵爻貙 1364貨 丿乇 214氐禄貨 賵 ....貨
丿丕爻鬲丕賳 丿丕賳卮噩賵蹖蹖 亘賴 賳丕賲: 芦乇丕爻讴賵賱賿賳蹖讴購賮禄 丕爻鬲貙 讴賴 亘丕 乇毓丕蹖鬲 丕氐賵賱貙 賲乇鬲讴亘 讴卮鬲丕乇 賲蹖鈥屫促堌� 亘丕 丕賳诏蹖夭賴鈥� 賴丕蹖 倬蹖趩蹖丿賴鈥� 丕蹖貙 讴賴 丨鬲蹖 禺賵丿 芦乇丕爻讴賵賱賳蹖讴賮禄 丕夭 鬲丨賱蹖賱 丌賳賴丕 毓丕噩夭 丕爻鬲貨 丕賵 夭賳 乇亘丕禺賵丕乇蹖 乇丕貙 賴賲乇丕賴 亘丕 禺賵丕賴乇卮 (讴賴 賳丕賲賳鬲馗乇賴 亘賴 賴賳诏丕賲 乇賵蹖丿丕丿賳 賯鬲賱 丿乇 氐丨賳賴 丨丕囟乇 卮丿賴) 賲蹖鈥屭┴簇� 賵 倬爻 丕夭 賯鬲賱貙 禺賵丿 乇丕 賳丕鬲賵丕賳 丕夭 禺乇噩 倬賵賱賴丕貙 賵 噩賵丕賴乇丕鬲蹖 讴賴 亘乇丿丕卮鬲賴貙 賲蹖鈥屫ㄛ屬嗀� 賵 丌賳賴丕 乇丕 倬賳賴丕賳 賲蹖鈥屭┵嗀� 倬爻 丕夭 趩賳丿 乇賵夭 亘蹖賲丕乇蹖貙 賵 亘爻鬲乇蹖 卮丿賳 丿乇 禺丕賳賴貙 芦乇丕爻讴賵賱賳蹖讴賮禄 丕蹖賳 鬲氐賵乇 乇丕貙 讴賴 賴乇 讴爻 乇丕 讴賴 賲蹖鈥屫ㄛ屬嗀� 丕賳诏丕乇 亘賴 丕賵 賲馗賳賵賳 丕爻鬲貨 賵 亘丕 丕蹖賳 丕賮讴丕乇貙 讴丕乇卮 亘賴 噩賳賵賳 賲蹖鈥屭┴簇� 丿乇 丕蹖賳 亘蹖賳 丕賵 毓丕卮賯 芦爻賵賳蹖丕禄 丕爻鬲貙 丿禺鬲乇蹖 讴賴 亘賴 禺丕胤乇 賲卮讴賱丕鬲 賲丕賱蹖 禺丕賳賵丕丿賴鈥� 丕卮貙 丿爻鬲 亘賴 鬲賳鈥� 賮乇賵卮蹖 夭丿賴 丕爻鬲貨 賲囟賲賵賳 賵 丿乇賵賳鈥屬呚й屬� 蹖 乇賲丕賳貙 鬲丨賱蹖賱賽 丕賳诏蹖夭賴鈥� 賴丕蹖 賯鬲賱貙 賵 鬲兀孬蹖乇 賯鬲賱 亘乇 賯丕鬲賱 丕爻鬲貨 讴賴 芦丿丕爻鬲丕蹖賵爻讴蹖禄 賲爻卅賱賴贁 乇丕亘胤賴 蹖 賲蹖丕賳 禺賵蹖卮鬲賳貙 賵 噩賴丕賳 倬蹖乇丕賲賵賳貙 賵 賮乇丿 賵 噩丕賲毓賴貙 乇丕 丿乇 丌賳 诏賳噩丕賳丿賴 丕賳丿貨 ...貨 禺賵丕賳卮 賳禺爻鬲蹖賳 亘丕乇 丕蹖賳 讴鬲丕亘 賲丿賴賵卮賲 讴乇丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 02/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
January 22, 2022
丕賱毓馗賻賲丞 賴賷 兀賳 鬲賰鬲亘 乇賵丕賷丞 亘賱睾鬲 丕賱鬲爻毓賲丕卅丞 氐賮丨丞貙 賵鬲噩毓賱 丕賱賯丕乇卅 賷卮毓乇 賵賴賵 賷賯乇兀賴丕 賰兀賳賴 賷賯乇兀 乇賵丕賷丞 氐睾賷乇丞 丕賱丨噩賲 鬲噩乇賷 氐賮丨丕鬲賴丕 亘爻乇毓丞 賲匕賴賱丞 亘賷賳 賷丿賷賴貙 賵賱丕 賷卮毓乇 賲毓賴丕 賱丕 亘丕賱賵賯鬲 賵賱丕 亘丕賱賲賰丕賳 丕賱匕賷 賷賯乇兀 賮賷賴. 丕賱賲賴丕乇丞 賴賷 兀賳 鬲賰鬲亘 乇賵丕賷丞 賲夭丿丨賲丞 亘丕賱卮禺氐賷丕鬲 匕丕鬲 丕賱兀爻賲丕亍 毓爻賷乇丞 丕賱賳胤賯貙 賵賱丕 賷卮毓乇 丕賱賯丕乇卅 賱賱丨馗丞 賵丕丨丿丞 亘丕賱鬲賵賴丕賳 賵丕賱鬲卮鬲鬲 賵賴賵 賷賯乇兀. 賵丕賱毓亘賯乇賷丞貙 賰賱 丕賱毓亘賯乇賷丞貙 兀賳 鬲賱禺氐 夭亘丿丞 丕賱乇賵丕賷丞 賵爻乇 毓馗賲鬲賴丕 賮賷 丌禺乇 毓卮乇賷賳 氐賮丨丞貙 賱賷賰賵賳賵丕 兀毓馗賲 賲丕 賮賷賴丕. 賵丕賱賰丕鬲亘貙 丕賱匕賷 賷噩賲毓 亘賷賳 丕賱毓亘賯乇賷丞 賵丕賱賲賴丕乇丞 賵丕賱毓馗賲丞貙 賴賵 爻丕丨乇貙 賵賱匕賱賰貙 丿賵爻鬲賵賷賮爻賰賷 亘亘爻丕胤丞 卮丿賷丿丞貙 兀孬亘鬲 賱賷 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 兀賳賴 爻丕丨乇.
賵兀賳鬲 鬲賯乇兀 賴匕賴 丕賱乇賵丕賷丞貙 賵亘丿賵賳 兀賷 賳賷丞 賱賱丨匕賱賯丞 賵丕賱鬲毓丕賱賷貙 乇睾賲賸丕 毓賳賰 爻鬲卮毓乇 賮賷 丕賱亘丿丕賷丞 亘賰孬賷乇賺 賲賳 丕賱賳丿賲 毓賱賶 兀賳 兀噩賾賱鬲 賴匕丕 丕賱賱賯丕亍 兀賰孬乇 賲賳 賲乇丞貙 廿賲丕 賱乇賴亘丞賺 賲賳 丿賵爻鬲賵賷賮爻賰賷 賳賮爻賴貙 賵廿賲丕 賱乇賴亘丞賺 賲賳 丨噩賲 丕賱乇賵丕賷丞. 賵亘毓丿 賲丕卅丞 氐賮丨丞 兀賵 賷夭賷丿貙 爻賷夭賵賱 丕賱賳丿賲 賵鬲丨賱 賲賰丕賳賴丕 丕賱賲鬲毓丞. 亘毓丿 丕賳鬲賴丕亍 丕賱噩夭亍 丕賱兀賵賱 爻鬲卮毓乇 鈥� 賱賱丨馗丕鬲 鈥� 亘兀賳 賰賱 賲丕 賯乇兀鬲賴 賮賷 丨賷丕鬲賰 賯亘賱 賴匕丕 丕賱噩夭亍 賵丨丿賴 賷賵囟毓 賮賷 賰賮丞貙 賵賴匕丕 丕賱噩夭亍 賷賵囟毓 賮賷 賰賮丞 兀禺乇賶 鬲賲丕賲賸丕. 爻鬲丿賮毓賰 賲賮丕噩兀丞 賳賴丕賷丞 丕賱噩夭亍 丕賱兀賵賱 賱丕賱鬲賴丕賲 丕賱禺賲爻賷賳 氐賮丨丞 丕賱兀賵賱賶 賲賳 丕賱噩夭亍 丕賱孬丕賳賷 毓賱賶 丕賱兀賯賱 賲賳 卮丿丞 丕賱鬲乇賯亘貙 賵賷賲賰賳賳賷 兀賳 兀賯賵賱貙 亘丿丕賷丞賸 賲賳 賴匕賴 丕賱賱丨馗丞貙 兀賳賰 氐乇鬲賸 兀爻賷乇賸丕 賱氐賮丨丕鬲 賴匕賴 丕賱乇賵丕賷丞貙 賮賮噩兀丞貙 爻鬲丐噩賱 賲匕丕賰乇鬲賰貙 爻鬲丐禺乇 賳賵賲賰 兀賵 鬲賯賱賱 爻丕毓丕鬲賴貙 爻鬲賮購囟賱 丕賱匕賴丕亘 亘丕賱賲賵丕氐賱丕鬲 賱賲賰丕賳賺 丕毓鬲丿鬲 丕賱匕賴丕亘 丕賱賷賴 賲卮賷賸丕 賰賷 鬲禺鬲氐乇 丕賱賵賯鬲 賵鬲噩丿 賮賷 賳賴丕賷丞 丕賱賷賵賲 亘毓囟 丕賱丿賯丕卅賯 賱丕賱鬲賴丕賲 丕賱賯賱賷賱 賲賳 丕賱氐賮丨丕鬲貙 爻鬲氐亘丨 賴匕賴 丕賱乇賵丕賷丞 賲丨賵乇 丨賷丕鬲賰 賮噩兀丞貙 賵爻鬲賳鬲賴賷 賮噩兀丞貙 賱鬲賰鬲卮賮 兀賳 丕賱兀賷丕賲 丕賱鬲賷 賯囟賷鬲賴丕 賲毓賴丕 賲乇鬲 賰兀賳賴丕 爻丕毓丕鬲.
賴匕賴 丕賱乇賵丕賷丞貙 亘賴丕 賲賳 丕賱毓賲賯 丕賱賳賯爻賷 賲丕 爻賷噩毓賱 禺賱丕賷丕 毓賯賱賰 鬲賳鬲卮賷貙 賵賲賳 丕賱卮禺氐賷丕鬲 丕賱賮乇賷丿丞 賲賳 爻賷氐賱 亘賴丕 丕賱兀賲乇 兀賳 鬲夭賵乇賰 賮賷 兀丨賱丕賲賰. 賳毓賲貙 兀賳鬲 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲卮丕乇賰 亘胤賱賴丕 乇丕爻賰賵賱賷賳賷賰賵賮 賰賱 鬲賮丕氐賷賱 丨賷丕鬲賴貙 兀賳鬲 賲毓賴 賵賴賵 賲爻鬲賷賯馗貙 賵賴賵 賳丕卅賲 賵賷丨賱賲貙 賵賴賵 賷賴匕賷貙 賲毓賴 賮賷 賱丨馗丕鬲 毓賯賱賴 賵噩賳賵賳賴貙 賲毓賴 賮賷 丕賱氐賲鬲 賵丕賱賰賱丕賲貙 鬲卮丕乇賰賴 丨賵丕乇丕鬲賴 賲毓 睾賷乇賴 賵丨賵丕乇丕鬲賴 賲毓 賳賮爻賴貙 兀賳鬲 鬲毓賷卮 賲毓 卮禺氐賺 賰賲丕 賱賲 鬲毓卮 賲毓 兀丨丿 賮賷 丨賷丕鬲賰貙 兀賲賰 賵兀亘賷賰 兀賳賮爻賴賲 賱賲 鬲毓卮 賲毓賴賲 賱丨馗丕鬲 亘賱睾鬲 賲賳 丕賱丿賯丞 賵丕賱毓賲賯 賰鬲賱賰 丕賱賱丨馗丕鬲 賲毓 乇丕爻賰賵賱賷賳賷賰賵賮 丕賱鬲賷 賱賳 鬲賮丕乇賯 匕丕賰乇鬲賰 胤賵賷賱賸丕貙 噩丿賸丕.
賮賷 亘丿丕賷丞 賴匕賴 丕賱乇賵丕賷丞 鬲噩丿 丕賱噩乇賷賲丞貙 噩乇賷賲丞 賯鬲賱貙 丿賵丕賮毓賴丕 丕賱馗丕賴乇賷丞 賴賷 丕賱丕賳鬲賯丕賲 賲賳 丕賱丕爻鬲睾賱丕賱 賵丕賱馗賱賲貙 丕賱丕賳鬲賯丕賲 賱兀噩賱 丕賱廿賳爻丕賳賷丞. 爻鬲賰鬲卮賮 亘毓丿 匕賱賰 兀賳 賴匕賴 賱賲 鬲賰賳 丕賱噩乇賷賲丞 丕賱賵丨賷丿丞貙 爻鬲噩丿 睾賷乇賴丕 丕賱賲夭賷丿 賲賳 丕賱噩乇丕卅賲 丕賱鬲賷 賷毓丕賳賷 賲賳賴丕 丕賱亘卮乇 賵賱丕 賳賱鬲賮鬲 賱賴丕 賱兀賳賳丕 賱丕 賳毓鬲亘乇賴丕 兀氐賱丕 噩乇賷賲丞. 丕賱賮賯乇 噩乇賷賲丞貙 丕賱噩賵毓 噩乇賷賲丞貙 丕賱丨乇賲丕賳 賲賳 丕賱丨亘 噩乇賷賲丞貙 賵丨亘 賲賳 賱丕 賷爻鬲丨賯 丕賱丨亘 噩乇賷賲丞貙 丕賱匕賱 噩乇賷賲丞貙 賵丕賱囟毓賮 噩乇賷賲丞貙 賵丕賱丕爻鬲爻賱丕賲 賱賱賲乇囟 噩乇賷賲丞貙 賵丕賱睾囟亘 噩乇賷賲丞貙 賵丕賱賳爻賷丕賳 噩乇賷賲丞貙 賵毓丿賲 賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞貙 兀賷囟賸丕.. 噩乇賷賲丞貙 賵爻鬲爻兀賱: 鬲購乇賶貙 賱兀噩賱 兀賷 噩乇賷賲丞 賲賳 賴匕賴 丕賱噩乇丕卅賲 賰丕賳 丕爻賲 丕賱乇賵丕賷丞 " 丕賱噩乇賷賲丞" 賵丕賱毓賯丕亘責.
丕賱毓賯丕亘 賴賵 兀賳賰 爻鬲賮賯丿 丕賱賯丿乇丞 毓賱賶 丕賱賰賱丕賲!貙 賳毓賲 賴匕丕 賴賵 毓賯丕亘 丿賵爻鬲賵賷賮爻賰賷 賱賷 賵賱賰貙 賵賱賱亘卮乇賷丞. 爻鬲乇鬲亘賰 丕乇鬲亘丕賰賸丕 賱丕 賲孬賷賱 賱賴 賲毓 丕賱賳賴丕賷丞 賵賯丿 卮毓乇鬲 兀賳賰 毓丕乇賷 丕賱噩爻丿貙 賵兀賳 乇賵丨賰 鬲胤賮賵 毓賱賶 丕賱爻胤丨 賰兀賳賴丕 鬲睾鬲爻賱 賲賳 卮賵丕卅亘賴丕貙 爻鬲兀禺匕 卮賴賷賯賸丕 胤賵賷賱賸丕 賷鬲爻乇亘 賴賵丕丐賴 賱賰賱 禺賱賷丞 亘噩爻賲賰貙 賰兀賳賰 鬲賵賱丿 賲賳 噩丿賷丿貙 爻鬲賲乇 毓賱賷賰 爻丕毓丕鬲貙 賵乇亘賲丕 兀賷丕賲貙 鬲丨丕賵賱 兀賳 鬲爻鬲乇噩毓 賰賱 鬲賮丕氐賷賱 丕賱丨賰丕賷丞 賲賳 兀賵賱賴丕 賱丌禺乇賴丕貙 賱鬲賰鬲卮賮 丕賱乇爻丕卅賱 賵丕賱丿乇賵爻 丕賱鬲賷 丨購賲賱鬲 亘賴丕 丕賱爻胤賵乇貙 賮鬲賰鬲卮賮 兀賳 賯乇丕亍丞 賵丕丨丿丞 賱賴匕賴 丕賱乇賵丕賷丞 賱丕 鬲賰賮賷貙 賵賱丕 賯乇丕亍丞 孬丕賳賷丞 賵賱丕 孬丕賱孬丞貙 賵兀賳賰 乇亘賲丕 鬲丨鬲丕噩 兀賳 鬲賯乇兀賴丕 亘鬲鬲丕亘毓 賲毓賱賵賲 賵毓賱賶 賮鬲乇丕鬲 賲丿乇賵爻丞 胤賵丕賱 丨賷丕鬲賰!貙 兀賳丕 賱丕 兀亘丕賱睾 賵丕賱賱賴貙 賵賱丕 兀賴匕賷 賲賳 賮乇胤 丕賱丕賳鬲卮丕亍 丕賱匕賷 兀卮毓乇 亘賴 亘毓丿 丕賱賳賴丕賷丞貙 兀賳丕 兀丨賰賷 賲丕 兀卮毓乇 亘賴 丨丕賱賷賸丕貙 賵乇亘賲丕 鬲孬亘鬲 丕賱兀賷丕賲 禺胤卅賷 兀賵 氐賵丕亘賷 賱賷 兀賳丕 賯亘賱 兀賳 鬲孬亘鬲 賱賰.
亘丿兀鬲 賴匕賴 丕賱乇賵丕賷丞 賵兀賳丕 毓賱賶 丨丕賱丞賺 賲賳 丕賱禺賵丕亍 丕賱乇賵丨賷 賵丕賱囟毓賮 丕賱賳賮爻賷 賱丕 賷毓賱賲賴丕 廿賱丕 丕賱賱賴貙 毓卮鬲 賲毓賴丕 兀賷丕賲賸丕 賱賳 兀賳爻丕賴丕貙 亘亘爻丕胤丞 賱兀賳賴丕貙 亘胤乇賷賯丞賺 賲丕貙 毓丕賱噩鬲 卮乇賵禺 乇賵丨賷貙 賵噩丿丿鬲 乇丐賷鬲賷 賱賱丨賷丕丞貙 兀毓胤鬲賳賷 丿乇賵爻賸丕 毓賳 賳賮賵爻 丕賱亘卮乇 賱丕 兀毓鬲賯丿 兀賳 賰鬲亘 丕賱胤亘 賵毓賱賲 丕賱賳賮爻 亘賯丕丿乇丞 毓賱賶 兀賳 鬲卮乇丨賴丕 亘賳賮爻 賴匕賴 丕賱爻賱丕爻丞 賵丕賱毓亘賯乇賷丞貙 賵賵賴亘鬲賳賷貙 亘賰賱 丨亘貙 毓賱丕賯丕鬲賺 賲毓 亘卮乇賺貙 賱賷爻賵丕 禺賷丕賱賸丕 毓賱賶 丕賱賵乇賯貙 廿賳賲丕 丕毓鬲亘乇賴賲 賲賳 賱丨賲賺 賵丿賲. 氐賵賮賷丕 賵乇丕爻賰賵賱賷賳賷賵賮貙 乇丕夭賵賲賷禺賷賳 賵亘賵乇賮賷乇賷貙 賵賰丕鬲乇賷賳丕貙 賵睾賷乇賴賲貙 卮禺氐賷丕鬲 爻兀馗賱 兀丨賰賷 毓賳賴丕 賰兀賳賷 毓丕卮乇鬲賴丕 夭賲賳賸丕貙 毓賱賶 兀賲賱 兀賳 兀毓賵丿 賱兀賱鬲賯賷 亘賴賲貙 賵兀爻賲毓 丨賰丕賷鬲賴賲貙 賲爻鬲賯亘賱賸丕貙 賲乇丞 鬲賱賵 丕賱兀禺乇賶貙 丿賵賳 兀賳 兀賲賽賱賻.
鬲賲鬲
July 26, 2010
Oh, Fyodor.
Who else could keep me up and awake night after night, even though I promise myself every morning to go to bed at a decent hour?
Who else can create such authentic human emotions that I feel I'm experiencing all of them myself?
Who else would make me subject my kids to dinners of grilled cheese sandwiches, scrambled eggs, or frozen waffles just to spend more time with you?
There is no one else. Only you.
Who else could keep me up and awake night after night, even though I promise myself every morning to go to bed at a decent hour?
Who else can create such authentic human emotions that I feel I'm experiencing all of them myself?
Who else would make me subject my kids to dinners of grilled cheese sandwiches, scrambled eggs, or frozen waffles just to spend more time with you?
There is no one else. Only you.
April 14, 2018
What a sensational reading experience, what an unconditional surrender to an atmosphere of fear, anxiety and confusion - and to an epic battle of wills!
Rarely these days do I read with that kind of hopeless, helpless feeling of being completely, utterly lost in the imaginary world. From the first moment, when Raskolnikov steps out on the street and begins wandering around in Petersburg, to the very last pages, I live with the characters, I am part of the story, I have my own opinions, and argue against their actions, in my head, while reading on in a frenzy.
What can I say?
There has been enough said of Raskolnikov鈥檚 murky motives for doing what he does. I don鈥檛 agree with him at all, neither with the theory he proposes, nor with the idea that he can expiate his crime through intense suffering. I hate the nonchalance with which he discards the murderee - 鈥渁 louse鈥� - as an unimportant detail in the bigger picture of him, his character, his suffering ego, and his ultimate redemption and resurrection as a 鈥渘ew man鈥�.
Even if the pawnbroker is not a sympathetic character, she is an independent woman, who provides for herself, without having to sell her body to a husband or a pimp. She is not a 鈥渓ouse鈥�, and by killing her out of vanity, pride, self-promotion, delusion or hubris, Raskolnikov destroys her. It is not the devil鈥檚 work, as Raskolnikov says at one point. A great man should be better able to take responsibility for his own actions. It is Raskolnikov himself who knowingly, condescendingly, makes the calculation that an ugly, businesslike old woman does not have any value in herself. Of course not, Raskolnikov! Neither does Shylock in The Merchant Of Venice! Not part of the mainstream community, they don鈥檛 count, in the name of law and justice and compassion. It takes a Shakespeare or a Dostoyevsky to point that out without sounding preachy and moralist, and without siding with one character against another.
In a world in which women are property, the unattractive pawnbroker is meaningless, unless you turn her riches into your property. As for the brutal killing, with an axe? A mere trifle in the context!
But as Dostoyevsky might well be one of the most brilliant authors ever describing an evil character, I commiserate with the scoundrel, with the egomaniac, charismatic murderer. I feel for him, with him, in his dramatic stand offs with Pyotr Petrovich, his intellectual counterpart. Their verbal exchanges evoke the image of two predators circling each other, working on their own strategies while calculating the enemy鈥檚.
I suffer with the psychopath, and take his side, even when I disagree with him. Such is the power of Dostoyevsky鈥檚 storytelling genius. He creates characters with major flaws, and very different positions, and he gives all of them their space, their say, their moment on stage. And when they appear, they have the audience鈥檚 full attention.
Dostoyevsky lets a cynical self-confessed abuser of women commit the one act of charity that actually has a positive impact on three children鈥檚 future.
He lets a drunkard, the comical character of Marmeladov, who pushes his wife to insanity and his daughter to prostitution, revel in the pleasure of suffering, sounding almost like a philosopher when he cherishes his idea that god will honour the self-sacrifice of the women he has destroyed, and that the same god will indiscriminately have mercy on himself as well, for being so willing to suffer (especially the pulling of hair does a great deal of good, according to Marmeladov, comical effect included!).
Dostoyevsky lets women sacrifice themselves in the name of charity and religion. Needless to say, I have strong opinions about that, and apart from the unspeakable suffering imposed on them in their lifetime, I do not approve of any religious dogma that justifies self-sacrifice as a virtue - in our time of terrorist violence, it seems an almost obscene attitude. Regardless, I suffer with them through the author鈥檚 brilliantly atmospheric narrative.
Dostoyevsky, the sharp psychological mind and analytic, accurately points out the difference between women in the story, sacrificing 鈥渙nly鈥� themselves, and the violent men, sacrificing others (mostly women, children and innocent, intellectually inferior men) for their own benefit in their delusion that they are extraordinary, and have special rights beyond the law. And he does it so convincingly that the reader feels the urge to argue with the characters. I found myself saying:
鈥淏ut Raskolnikov, I really don鈥檛 think Napoleon would have killed a pawnbroker with an axe to demonstrate his greatness, that is not the way great men exert their power. And as an anachronistic side note, in these times of newspeakish, American-style greatness, we need to ask ourselves if that is anything to strive for at all.鈥�
It is a powerful book, and a book about power.
The hypnotic power that a charismatic personality exerts over other people.
The physical power that men exert over women and children.
The mental power that educated people exert over simple minds.
The financial power that wealthy people exert over hungry, poor, miserable people.
The religious power that dogma exerts over people to accept injustice in the hope of scoring high with god in the afterlife.
The linguistic power that eloquence exerts to dominate an entire environment with propaganda.
The individual power to say no.
Two characters, both women, refuse to play the cards they are dealt. Dounia Romanovna and Katerina Ivanovna - you are my true heroes in this endlessly deep masterpiece of a novel!
Dounia - holding the revolver, ready to kill the man who has lured her into a corner and tries to blackmail her into a sexual relationship! The most powerful scene of all. I shiver while reading. Literally! I have goosebumps! As will power goes, hers is brilliant. No man owns that woman. Thank you for that scene, Dostoyevsky! And she manages NOT to kill, thus showing her spoiled, attention-seeking, impulsive and arrogant brother who is mentally superior despite physical weakness.
Katerina - committing an act of insanity while slowly dying of consumption, and leaving her three children orphans! Instead of hiding herself and suffering in secret, she takes to the streets, forces her misery upon the world, and makes it official. She has all the right in the world to dance, sing and make noise to point to the insanity of society, which creates a platform for a life like hers. And her refusal to receive the greedy priest on her deathbed is simply divine: 鈥淕od can take me as I am, or be damned!鈥�
Right you are, Katerina!
I could go on in infinity, but I will break off here, just like Dostoyevsky breaks off in medias res, hinting at the untold sequel - the marriage between Raskolnikov and Sonia! Oh, dear, what an emotional roller coaster that must be - it is quite enough to allude to it in an epilogue to make me smile. The brooding murderer and the saintly whore, joined together in holy suffering. Brilliant, even as a vague idea.
Curtain.
Standing, shaking, roaring ovations!
Rarely these days do I read with that kind of hopeless, helpless feeling of being completely, utterly lost in the imaginary world. From the first moment, when Raskolnikov steps out on the street and begins wandering around in Petersburg, to the very last pages, I live with the characters, I am part of the story, I have my own opinions, and argue against their actions, in my head, while reading on in a frenzy.
What can I say?
There has been enough said of Raskolnikov鈥檚 murky motives for doing what he does. I don鈥檛 agree with him at all, neither with the theory he proposes, nor with the idea that he can expiate his crime through intense suffering. I hate the nonchalance with which he discards the murderee - 鈥渁 louse鈥� - as an unimportant detail in the bigger picture of him, his character, his suffering ego, and his ultimate redemption and resurrection as a 鈥渘ew man鈥�.
Even if the pawnbroker is not a sympathetic character, she is an independent woman, who provides for herself, without having to sell her body to a husband or a pimp. She is not a 鈥渓ouse鈥�, and by killing her out of vanity, pride, self-promotion, delusion or hubris, Raskolnikov destroys her. It is not the devil鈥檚 work, as Raskolnikov says at one point. A great man should be better able to take responsibility for his own actions. It is Raskolnikov himself who knowingly, condescendingly, makes the calculation that an ugly, businesslike old woman does not have any value in herself. Of course not, Raskolnikov! Neither does Shylock in The Merchant Of Venice! Not part of the mainstream community, they don鈥檛 count, in the name of law and justice and compassion. It takes a Shakespeare or a Dostoyevsky to point that out without sounding preachy and moralist, and without siding with one character against another.
In a world in which women are property, the unattractive pawnbroker is meaningless, unless you turn her riches into your property. As for the brutal killing, with an axe? A mere trifle in the context!
But as Dostoyevsky might well be one of the most brilliant authors ever describing an evil character, I commiserate with the scoundrel, with the egomaniac, charismatic murderer. I feel for him, with him, in his dramatic stand offs with Pyotr Petrovich, his intellectual counterpart. Their verbal exchanges evoke the image of two predators circling each other, working on their own strategies while calculating the enemy鈥檚.
I suffer with the psychopath, and take his side, even when I disagree with him. Such is the power of Dostoyevsky鈥檚 storytelling genius. He creates characters with major flaws, and very different positions, and he gives all of them their space, their say, their moment on stage. And when they appear, they have the audience鈥檚 full attention.
Dostoyevsky lets a cynical self-confessed abuser of women commit the one act of charity that actually has a positive impact on three children鈥檚 future.
He lets a drunkard, the comical character of Marmeladov, who pushes his wife to insanity and his daughter to prostitution, revel in the pleasure of suffering, sounding almost like a philosopher when he cherishes his idea that god will honour the self-sacrifice of the women he has destroyed, and that the same god will indiscriminately have mercy on himself as well, for being so willing to suffer (especially the pulling of hair does a great deal of good, according to Marmeladov, comical effect included!).
Dostoyevsky lets women sacrifice themselves in the name of charity and religion. Needless to say, I have strong opinions about that, and apart from the unspeakable suffering imposed on them in their lifetime, I do not approve of any religious dogma that justifies self-sacrifice as a virtue - in our time of terrorist violence, it seems an almost obscene attitude. Regardless, I suffer with them through the author鈥檚 brilliantly atmospheric narrative.
Dostoyevsky, the sharp psychological mind and analytic, accurately points out the difference between women in the story, sacrificing 鈥渙nly鈥� themselves, and the violent men, sacrificing others (mostly women, children and innocent, intellectually inferior men) for their own benefit in their delusion that they are extraordinary, and have special rights beyond the law. And he does it so convincingly that the reader feels the urge to argue with the characters. I found myself saying:
鈥淏ut Raskolnikov, I really don鈥檛 think Napoleon would have killed a pawnbroker with an axe to demonstrate his greatness, that is not the way great men exert their power. And as an anachronistic side note, in these times of newspeakish, American-style greatness, we need to ask ourselves if that is anything to strive for at all.鈥�
It is a powerful book, and a book about power.
The hypnotic power that a charismatic personality exerts over other people.
The physical power that men exert over women and children.
The mental power that educated people exert over simple minds.
The financial power that wealthy people exert over hungry, poor, miserable people.
The religious power that dogma exerts over people to accept injustice in the hope of scoring high with god in the afterlife.
The linguistic power that eloquence exerts to dominate an entire environment with propaganda.
The individual power to say no.
Two characters, both women, refuse to play the cards they are dealt. Dounia Romanovna and Katerina Ivanovna - you are my true heroes in this endlessly deep masterpiece of a novel!
Dounia - holding the revolver, ready to kill the man who has lured her into a corner and tries to blackmail her into a sexual relationship! The most powerful scene of all. I shiver while reading. Literally! I have goosebumps! As will power goes, hers is brilliant. No man owns that woman. Thank you for that scene, Dostoyevsky! And she manages NOT to kill, thus showing her spoiled, attention-seeking, impulsive and arrogant brother who is mentally superior despite physical weakness.
Katerina - committing an act of insanity while slowly dying of consumption, and leaving her three children orphans! Instead of hiding herself and suffering in secret, she takes to the streets, forces her misery upon the world, and makes it official. She has all the right in the world to dance, sing and make noise to point to the insanity of society, which creates a platform for a life like hers. And her refusal to receive the greedy priest on her deathbed is simply divine: 鈥淕od can take me as I am, or be damned!鈥�
Right you are, Katerina!
I could go on in infinity, but I will break off here, just like Dostoyevsky breaks off in medias res, hinting at the untold sequel - the marriage between Raskolnikov and Sonia! Oh, dear, what an emotional roller coaster that must be - it is quite enough to allude to it in an epilogue to make me smile. The brooding murderer and the saintly whore, joined together in holy suffering. Brilliant, even as a vague idea.
Curtain.
Standing, shaking, roaring ovations!
May 1, 2023
How do we criticize such a monument? I dared not attack this prominent author for a long time, and then Santa Claus forced my hand; no regrets, on the contrary! Indeed, not only is the reading not tricky, but what depth?
Through the story of Raskolnikov, the narrator proposes to confront us with the moral contradictions that sometimes agitate us. For example, is murder still a crime? If we consider the victim's acts, can we assume that, in any case, she deserves life? And is it, not the fact of Great Men to take this decision for the common good? Here is the dilemma decided (with an axe) by Raskolnikoff, who wants to be an extraordinary destiny, and nothing seems to change his mind. However, his actions do not stop haunting him, and he might see a message from his subconscious. Since then, nothing can make him happy. He has lost his life by taking that of someone else. This fact raises the question of the rights that one can or not grant to oneself despite the law and morality (such as taking justice into oneself, for example) and, more generally, can be a death sentence.
Finally, the narrator offers us love, as a way of redemption. After all, the discovery of true love may restore the Humanity that his reason and actions had made him lose. It is a jewel of psychological, philosophical, and literary finesse and openness to introspection. To read and reread!
Through the story of Raskolnikov, the narrator proposes to confront us with the moral contradictions that sometimes agitate us. For example, is murder still a crime? If we consider the victim's acts, can we assume that, in any case, she deserves life? And is it, not the fact of Great Men to take this decision for the common good? Here is the dilemma decided (with an axe) by Raskolnikoff, who wants to be an extraordinary destiny, and nothing seems to change his mind. However, his actions do not stop haunting him, and he might see a message from his subconscious. Since then, nothing can make him happy. He has lost his life by taking that of someone else. This fact raises the question of the rights that one can or not grant to oneself despite the law and morality (such as taking justice into oneself, for example) and, more generally, can be a death sentence.
Finally, the narrator offers us love, as a way of redemption. After all, the discovery of true love may restore the Humanity that his reason and actions had made him lose. It is a jewel of psychological, philosophical, and literary finesse and openness to introspection. To read and reread!
September 20, 2017
I have few Dostoevsky fans in my friends list so my opinions here might not go over so well. I have been wanting to read this classic for a while and I had high expectations, but they were not met. I liked it okay but I found it to be a bit slow and drawn out. Ultimately not a whole lot happens in the story, but it takes 500 pages to get there. In fact, there are probably as many plot points in the 15 page epilogue as in the rest of the book.
However, despite this, I can say that parts of the journey were pretty good. Every few chapters there would be a high intensity event that would draw me in. In fact, if you graphed this book out with the high points followed by long lulls, it would probably look like an EKG.
Also, it was interesting to take in the classic Russian writing. Whether or not it was always super exciting, I did enjoy the feel of the narrative from the classic Russian perspective.
In summary, I would not recommend this as highly as some other classics, but if you are hardcore into completing your classic reading list, you can't miss this one.
However, despite this, I can say that parts of the journey were pretty good. Every few chapters there would be a high intensity event that would draw me in. In fact, if you graphed this book out with the high points followed by long lulls, it would probably look like an EKG.
Also, it was interesting to take in the classic Russian writing. Whether or not it was always super exciting, I did enjoy the feel of the narrative from the classic Russian perspective.
In summary, I would not recommend this as highly as some other classics, but if you are hardcore into completing your classic reading list, you can't miss this one.
April 6, 2025
This is perhaps the best novel of all time.
January 13, 2022
Si usted tiene la idea de que leer a Dostoyevski es pesado, aburrido o dif铆cil, veremos si puedo hacer que cambie de idea.
芦Crimen y castigo禄 es un entretenido, intenso y dram谩tico follet铆n protagonizado por un inolvidable personaje objeto de un amplio relato psicol贸gico y repleto de escenas conmovedoras que se suceden sin pausa, siendo as铆 una novela con una lectura apasionante en su superficie y extraordinariamente clara en sus profundidades (el ep铆logo mejor ni mencionarlo).
Fue publicado por primera vez en 1866 en la revista 芦El mensajero ruso禄 en doce entregas y con enorme 茅xito, un 茅xito que no le ha abandonado hasta nuestros d铆as ni en cuanto a lectores ni en lo que a estudiosos se refiere, para lo que no es su menor virtud el hecho de que, no s茅 si gracias a Fi贸dor o a su pesar, sea susceptible de varias lecturas filos贸ficas provenientes de posiciones incluso esencialmente antag贸nicas y con gran influencia en pensadores y escritores de muy variada condici贸n.
En este caso, los personajes elegidos son cuatro:
En cuanto a los argumentos en contra del demonio nihilista, pr谩cticamente se limita a pregonar las bondades que conlleva la obediencia a la ley natural que el autor, por arte de birlibirloque, hace coincidir palabra por palabra con la ley de Dios. 驴Qu茅 Dios? Pues el suyo, naturalmente.
芦Crimen y castigo禄 es un entretenido, intenso y dram谩tico follet铆n protagonizado por un inolvidable personaje objeto de un amplio relato psicol贸gico y repleto de escenas conmovedoras que se suceden sin pausa, siendo as铆 una novela con una lectura apasionante en su superficie y extraordinariamente clara en sus profundidades (el ep铆logo mejor ni mencionarlo).
Fue publicado por primera vez en 1866 en la revista 芦El mensajero ruso禄 en doce entregas y con enorme 茅xito, un 茅xito que no le ha abandonado hasta nuestros d铆as ni en cuanto a lectores ni en lo que a estudiosos se refiere, para lo que no es su menor virtud el hecho de que, no s茅 si gracias a Fi贸dor o a su pesar, sea susceptible de varias lecturas filos贸ficas provenientes de posiciones incluso esencialmente antag贸nicas y con gran influencia en pensadores y escritores de muy variada condici贸n.
鈥淧ara vosotros, en todas las circunstancias, lo primero es hacer lo posible para no pareceros al hombre.鈥�El objetivo de Dostoyevski al escribir 芦Crimen y castigo禄 fue luchar contra el 茅xito que el nihilismo estaba teniendo entre la juventud de su 茅poca y sus, para 茅l, funestas consecuencias. Para ello, el autor, como en 茅l es caracter铆stico, estructura una historia en torno a unos personajes que encarnan diversas variaciones de ese mal que se impuso combatir. Estos individuos no tienen por qu茅 despertarnos antipat铆a, incluso pueden inspirarnos compasi贸n y hacernos comprender sus actos sin que por ello los aprobemos. En fin, intenta ser justo en el debate.
En este caso, los personajes elegidos son cuatro:
-Piotr Petr贸vich Luzhin, un arribista capaz de todo por subir en el escalaf贸n social sin respeto a nada ni a nadie. Este, obviamente, no es un personaje simp谩tico y su destino en la obra dar谩 m谩s de una alegr铆a al lector.Esta es la p铆ldora nihilista a tragar, una discusi贸n que puede ser entendida como un cuestionamiento de la moral y as铆 lo interpretaron muchos existencialistas que admiraron su obra. El az煤car que envuelve la p铆ldora para as铆 mejor tragar est谩 compuesto de un poco de novela social, el propio crimen, la consiguiente investigaci贸n policial a cargo de un precedente del detective Colombo, aquel entra帽able personaje protagonizado por Peter Falk, y, por supuesto, el infierno mental al que se tiene que enfrentar Raskolnikov al descubrir fracasado su experimento.
-Andrei Semenovich, un joven bienintencionado, algo arrogante y no muy inteligente que se encarga de proclamar uno de los principios m谩s importantes y necesarios para el futuro para铆so socialista, a saber, 鈥淭odo lo hace el medio, el hombre en s铆 no es nada鈥�, y como no es nada, puede serlo todo, cualquier cosa que nos propongamos.
-Arcadio Iv谩novich Svidrig谩ilov, un c铆nico sin escr煤pulos, un vividor con la inteligencia necesaria para salir indemne de sus delitos y cuya moral se circunscribe a su ego铆sta placer.
- Por 煤ltimo, cerrando el cuarteto, el personaje m谩s importante, el imborrable Rodion Romanovich Raskolnikov, un orgulloso racionalista que intenta probar mediante un crimen su supuesta libertad ilimitada, su pertenencia al selecto grupo de hombres extraordinarios capaces de sobreponerse a s铆 mismos, de imponer sus reglas, despreciando al amplio 鈥渉ormiguero鈥� seguidor ciego de la moral imperante. Una persona sensible, generosa y valiente aunque un tanto hura帽a, inteligente pero sin recursos econ贸micos para proseguir su carrera intelectual que se presum铆a brillante.
En cuanto a los argumentos en contra del demonio nihilista, pr谩cticamente se limita a pregonar las bondades que conlleva la obediencia a la ley natural que el autor, por arte de birlibirloque, hace coincidir palabra por palabra con la ley de Dios. 驴Qu茅 Dios? Pues el suyo, naturalmente.
鈥淪i alguien me demostrara que Cristo est谩 fuera de la verdad, si estuviera positivamente demostrado que la verdad est谩 fuera de Cristo, yo preferir铆a permanecer con Cristo que permanecer con la verdad.鈥� Fi贸dor DostoyevskiSi a煤n sigue pensando que Dostoyevski es pesado, aburrido o dif铆cil鈥� tan amigos que ni comisi贸n me llevo.
February 5, 2025
Crime and Punishment is one of the most heartfelt stories that I have read. Never a book is written about agonies of a human mind with so much compassion, sympathy, and feeling. There is no question as to Dostoevsky鈥檚 mastery in writing. The beauty and charm in his work mainly lie in his truthful and sincere portrayal of human psychology. But that is not all. He also paints a truthful and sincere picture of different classes of Russian society. The two elements combined produce such realistic stories that it never occurs to the reader that he is reading fiction.
Set in St. Petersburg, the main plot in Crime and Punishment revolves around a murder committed by the protagonist, Raskolnikov. His mental agony at the horror and guilt of his action and his terror at being caught dominates the storyline. Raskolnikov is an ex-law student, whose mind is overstrained to the point of madness by his oppressive condition in life. So, when the murder was committed it looks as if the motive was to rob; but his later actions heavily contradict this conviction, and it is not clear what truly drove him to commit the hideous crime. There is however a hint here and there that Raskolnikov believed in the extremist socialist idea of 鈥渒illing for common good鈥�.
Raskolnikov is characterized as a proud and egoistic man with queer ideas about morality. On one hand, he justifies himself of committing the crime by saying that the victim is a worthless person, but on the other hand, he is burdened with guilt. His conflicting ideas constantly torture him. It is amazing how the author penetrates the criminal mind; the torment Raskolnikov goes through while planning, at the time of committing the murder, and afterward the crime is committed, is portrayed with such accuracy that although one cannot pardon him for the sin he has committed, it is hard not to feel sorry. It is also surprising that the amount of cunning that is displayed in such a tortured mind. Through all his agonies, Raskolnikov does play a very clever game at concealing his crime and evading the police.
The story and characters all revolve around Raskolinikov; these supporting characters are chosen from different sections of Russian society. The psychological portrayal of these supporting characters transports you into their minds and makes you live in them so that every action of theirs is not read but felt. I enjoyed his choice of characters; their difference added colour and contrast to the story. Of them, I loved Avdoyta, the devoted sister of Raskolnikov, Razhumikhin, his true and loyal friend, and Sofya, his savior who shows him the path of redemption.
There are few subplots intertwined with the main plot. Through them, Dostoevsky raises the issue of social conditions and the suffering of women. His sensitive and compassionate account of women鈥檚 position and suffering is heartbreaking. Their anguish, their pain is written so truthfully in those pages that I was crying my heart out as I read them. The character of Sofya is for whom I felt the most. She is forced into prostitution to provide for the family as his drunken father cannot keep to a good job. Then Katerina Ivanovna's suffering from consumption, all the while struggling to provide for her children, touches your heart. And Avdotya's being subject to unseemly sensual attention from the master of the house where she works as a governess, and her inability to leave her position as she was prepaid half her salary make you burn with indignation. It is shocking to read how unprotected women were legally and socially. And it is even more shocking that men like Pyotr and Svidrigailov, who have the power to help, victimizing the defenseless women to satisfy their own desires. The injustice of it all makes your blood boil. Dostoevsky through the characters of Pyotr, Svidrigailov, and Sofya鈥檚 father put men to shame.
There is also a social commentary on Russian society exposing the radical atheist ideas the progressive movement was advocating and the author鈥檚 anti-radical and piously religious views as against them. He seems to be criticizing heavily on the emerging socialist doctrines.
I have always liked Dostoevsky鈥檚 outlook on life. There is so much humanity in it. And in Crime and Punishment it is well exhibited.
It is a little wonder why Crime and punishment is called a masterpiece. It is complete in every sense and perfectly so. With each work, Dostoevsky makes me fall in love with him all over.
Set in St. Petersburg, the main plot in Crime and Punishment revolves around a murder committed by the protagonist, Raskolnikov. His mental agony at the horror and guilt of his action and his terror at being caught dominates the storyline. Raskolnikov is an ex-law student, whose mind is overstrained to the point of madness by his oppressive condition in life. So, when the murder was committed it looks as if the motive was to rob; but his later actions heavily contradict this conviction, and it is not clear what truly drove him to commit the hideous crime. There is however a hint here and there that Raskolnikov believed in the extremist socialist idea of 鈥渒illing for common good鈥�.
Raskolnikov is characterized as a proud and egoistic man with queer ideas about morality. On one hand, he justifies himself of committing the crime by saying that the victim is a worthless person, but on the other hand, he is burdened with guilt. His conflicting ideas constantly torture him. It is amazing how the author penetrates the criminal mind; the torment Raskolnikov goes through while planning, at the time of committing the murder, and afterward the crime is committed, is portrayed with such accuracy that although one cannot pardon him for the sin he has committed, it is hard not to feel sorry. It is also surprising that the amount of cunning that is displayed in such a tortured mind. Through all his agonies, Raskolnikov does play a very clever game at concealing his crime and evading the police.
The story and characters all revolve around Raskolinikov; these supporting characters are chosen from different sections of Russian society. The psychological portrayal of these supporting characters transports you into their minds and makes you live in them so that every action of theirs is not read but felt. I enjoyed his choice of characters; their difference added colour and contrast to the story. Of them, I loved Avdoyta, the devoted sister of Raskolnikov, Razhumikhin, his true and loyal friend, and Sofya, his savior who shows him the path of redemption.
There are few subplots intertwined with the main plot. Through them, Dostoevsky raises the issue of social conditions and the suffering of women. His sensitive and compassionate account of women鈥檚 position and suffering is heartbreaking. Their anguish, their pain is written so truthfully in those pages that I was crying my heart out as I read them. The character of Sofya is for whom I felt the most. She is forced into prostitution to provide for the family as his drunken father cannot keep to a good job. Then Katerina Ivanovna's suffering from consumption, all the while struggling to provide for her children, touches your heart. And Avdotya's being subject to unseemly sensual attention from the master of the house where she works as a governess, and her inability to leave her position as she was prepaid half her salary make you burn with indignation. It is shocking to read how unprotected women were legally and socially. And it is even more shocking that men like Pyotr and Svidrigailov, who have the power to help, victimizing the defenseless women to satisfy their own desires. The injustice of it all makes your blood boil. Dostoevsky through the characters of Pyotr, Svidrigailov, and Sofya鈥檚 father put men to shame.
There is also a social commentary on Russian society exposing the radical atheist ideas the progressive movement was advocating and the author鈥檚 anti-radical and piously religious views as against them. He seems to be criticizing heavily on the emerging socialist doctrines.
I have always liked Dostoevsky鈥檚 outlook on life. There is so much humanity in it. And in Crime and Punishment it is well exhibited.
It is a little wonder why Crime and punishment is called a masterpiece. It is complete in every sense and perfectly so. With each work, Dostoevsky makes me fall in love with him all over.
May 25, 2020
禺賵乇禺賴 賱賵卅蹖爻 亘賵乇禺爻: 噩賵丕賳 讴賴 亘賵丿賲 丿丕爻鬲丕蹖賮爻讴蹖 亘賳馗乇賲 亘夭乇诏鈥屫臂屬� 乇賲丕賳鈥屬嗁堐屫� 賲蹖鈥屫①呚�. 亘毓丿 丕夭 丨丿賵丿 丿賴 爻丕賱 丿賵亘丕乇賴 讴鬲丕亘鈥屬囏й屫� 乇丕 禺賵丕賳丿賲 賵 丕蹖賳 亘丕乇 禺蹖賱蹖 賲丕蹖賵爻 卮丿賲. 卮禺氐蹖鬲鈥屬囏й屫� 亘爻蹖丕乇 睾蹖乇賵丕賯毓蹖 賵 倬蹖賵爻鬲賴 亘賴 倬蹖乇賳诏 亘賵丿賳丿
丿丕爻鬲丕蹖賵賮爻讴蹖 丌賳賯丿乇 賳賵蹖爻賳丿賴 賲卮賴賵乇蹖爻鬲 讴賴 丕賳鬲賯丕丿 讴乇丿賳 丕夭 丕賵 丿賱 賵 噩乇丕鬲 夭蹖丕丿蹖 賲蹖 禺賵丕賴丿. 亘丕 丕噩丕夭賴 亘賵乇禺爻賽 亘夭乇诏賵丕乇 丿爻鬲 "賳丕亘丕讴賵賮" 乇丕 诏乇賮鬲賲 賵 讴卮丕賳丿賲 亘賴 丕蹖賳 乇蹖賵蹖賵貙 鬲丕 丿乇 丕蹖賳 賲賳丕夭毓賴 賴乇丕爻 丌賵乇 鬲賳賴丕 賳亘丕卮賲. 賳丕亘丕讴賵賮 丕夭 丌賳 亘賵讴爻賵乇賴丕蹖 亘蹖鈥屫必呟� 丕爻鬲 讴賴 丕夭 賴蹖趩鈥屭┴驰� 丕亘丕蹖蹖 賳丿丕乇丿 賵 賵賯鬲蹖 賴賲 丨乇蹖賮 讴爻蹖 亘賴 賳丕賲 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 亘丕卮丿貙 賳丕亘丕讴賵賮 亘丕 賱匕鬲 鬲賲丕賲 亘賴 乇蹖賳诏 倬丕 禺賵丕賴丿 诏匕丕卮鬲 賵 亘丿賵賳 丌賳讴賴 氐丿丕蹖 夭賳诏 丌睾丕夭 夭丿賴 卮賵丿 丕賵 乇丕 亘賴 賲卮鬲 禺賵丕賴丿 亘爻鬲. 賮賯胤 丕蹖賳 乇丕 亘诏賵蹖賲 讴賴 禺賵丿 噩賳丕亘 亘賵乇禺爻 賴賲 毓丕卮賯 亘賵讴爻 丕爻鬲 賵 丕夭 丌賲丿賳 賳丕亘丕讴賵賮 趩賴 亘爻丕 亘爻蹖丕乇 卮丕丿 賴賲 亘卮賵丿
賵賱丕丿蹖賲蹖乇 賳丕亘丕讴賵賮: 睾蹖乇 乇賵爻 賴丕 丿賵 趩蹖夭 乇丕 丿乇亘丕乇賴鈥屰� 丿丕爻鬲丕蹖賵賮爻讴蹖 賲鬲賵噩賴 賳蹖爻鬲賳丿貙 蹖讴蹖 丕蹖賳讴賴 賴賲賴鈥屰� 乇賵爻 賴丕 亘賴 丕賳丿丕夭賴鈥屰� 丌賲乇蹖讴丕蹖蹖 賴丕 毓丕卮賯 丿丕爻鬲丕蹖賵賮爻讴蹖 賳蹖爻鬲賳丿貙 丿蹖诏乇 丕蹖賳讴賴 丌賳賴丕蹖蹖 賴賲 讴賴 毓丕卮賯 丕賵蹖賳丿 亘賴 丕賵 亘賴 毓賳賵丕賳 讴爻蹖 亘丕 賳蹖乇賵蹖 爻丨乇丌賲蹖夭 丕丨鬲乇丕賲 賲蹖 诏匕丕乇賳丿 賳賴 賴賳乇賲賳丿. 丕賵 蹖讴 倬蹖丕賲亘乇 亘賵丿貙 乇賵夭賳丕賲賴 賳诏丕乇蹖 毓丕賲賴 倬爻賳丿貙 亘丕夭蹖诏乇 讴賲丿蹖 亘蹖 丿賯鬲. 賯亘賵賱 丿丕乇賲 讴賴 亘乇禺蹖 氐丨賳賴 賴丕蹖蹖 讴賴 丌賮乇蹖丿賴貙 亘乇禺蹖 丕夭 亘丨孬 賴丕蹖 讴賲丿蹖鈥屫ж簇� 亘爻蹖丕乇 爻乇诏乇賲 讴賳賳丿賴 丕賳丿貙 丕賲丕 賯丕鬲賱 賴丕蹖 丨爻丕爻卮 賵 乇賵爻倬蹖 賴丕蹖 倬乇卮賵乇卮 趩蹖夭蹖 賳蹖爻鬲賳丿 讴賴 亘卮賵丿 蹖讴 賱丨馗賴 鬲丨賲賱卮丕賳 讴乇丿貙 丿爻鬲 讴賲 賲賳 禺賵丕賳賳丿賴 賳賲蹖 鬲賵丕賳賲
亘丕 爻倬丕爻 賮乇丕賵丕賳 丕夭 賳丕亘丕讴賵賮 乇讴 诏賵貙 亘丕蹖丿 毓乇囟 讴賳賲 讴賴 鬲丨賲賱 賳丕倬匕蹖乇蹖 卮禺氐蹖鬲 賴丕 丿乇 丕蹖賳 丕孬乇 亘賴 丕賵噩 禺賵丿 賲蹖 乇爻丿. 賵丕賯毓丕 丿乇 禺胤 禺胤賽 丕蹖賳 讴鬲丕亘 丿乇 丨蹖乇鬲 亘賵丿賲 讴賴 卮禺氐蹖鬲 賴丕 賳賴 鬲賳賴丕 賯丕亘賱 丿賵爻鬲 丿丕卮鬲賳 賳蹖爻鬲賳丿 亘賱讴賴 丨鬲蹖 賳賲蹖 鬲賵丕賳 丿乇讴卮丕賳 讴乇丿...丕蹖賳 乇丕 賴賲 亘诏賵蹖賲 讴賴 丕蹖賳 丕孬乇 丿賵爻鬲 賳丿丕卮鬲賳蹖- 讴賴 賱賯亘 卮丕賴讴丕乇 賴賲 亘賴卮 賲蹖 丿賴賳丿- 亘丕毓孬 賳卮丿 爻乇丕睾 丿蹖诏乇 丌孬丕乇 丿丕爻鬲丕蹖賵賮爻讴蹖 賳乇賵賲. 丕夭 禺賵丕賳丿賳 亘乇丕丿乇丕賳 讴丕乇丕賲丕夭賵賮 賵丕賯毓丕 賱匕鬲 賲蹖 亘乇賲貙 丕賲丕 賲鬲丕爻賮丕賳賴 丿乇 丌賳噩丕 賴賲 诏丕賴 诏丕賴 丿丕爻鬲丕蹖賵賮爻讴蹖 睾蹖乇賴賳乇賲賳丿 亘賵丿賳 禺賵丿卮 乇丕 亘賴 賳賲丕蹖卮 賲蹖 诏匕丕乇丿 賵 丌丿賲 乇丕 亘賴 禺卮賲 賲蹖 丌賵乇丿. 丿乇 賯爻賲鬲 賴丕蹖蹖 丕夭 讴鬲丕亘 丿賯蹖賯丕 賳賯卮 蹖讴 倬蹖丕賲亘乇 乇丕 亘賴 毓賴丿賴 賲蹖 诏蹖乇丿 賵 賳馗乇丕鬲 丕禺賱丕賯蹖 卮禺氐蹖 丕卮 乇丕 賲爻鬲賯蹖賲丕 鬲賵 诏賵卮鈥屫ж� 賮乇蹖丕丿 賲蹖 夭賳丿
亘賵乇禺爻 亘夭賵乇 禺賵丿卮 乇丕 亘賴 乇蹖賳诏 賲爻丕亘賯賴 賲蹖 乇爻丕賳丿 賵 賮乇蹖丕丿 賲蹖夭賳丿 氐亘 讴賳蹖丿 丌禺乇蹖賳 賲卮鬲 乇丕 賲賳 亘夭賳賲. 丿乇 丨丕賱蹖讴賴 賲卮鬲卮 賮卅賵丿賵乇 乇丕 賳卮丕賳賴 诏乇賮鬲賴 亘賴 丕賵 賲蹖鈥屭堐屫�: 鬲賵 亘賴 乇賴 禺胤丕 乇賮鬲蹖. 亘丕 丌賳 毓乇賮丕賳 倬乇爻鬲蹖 賲囟丨讴鈥屫ж�. 亘丕 卮禺氐蹖鬲 賴丕蹖 賯賱丕亘蹖鈥屫ж�. 亘诏匕丕乇 亘賴 鬲賵 亘诏賵蹖賲 讴賴 丌丿賲 丿乇 夭賳丿诏蹖 賵丕賯毓蹖貙 丨鬲蹖 丿乇 賲賵賯毓蹖鬲蹖 丿卮賵丕乇貙 丨鬲蹖 賵賯鬲蹖 禺蹖賱蹖 賳诏乇丕賳 趩蹖夭蹖 丕爻鬲 蹖丕 丿賱賴乇賴 丿丕乇丿 蹖丕 亘蹖夭丕乇蹖 亘賴 丕賵 丿爻鬲 丿丕丿賴 蹖丕 毓丕卮賯 卮丿賴 蹖丕 禺卮賲诏蹖賳 丕爻鬲貙 亘賴 爻丕蹖乇 丕賲賵乇 夭賳丿诏蹖 賴賲 賲蹖鈥屬矩必ж藏�. 賴賲丕賳胤賵乇 讴賴 丕賱丕賳 賲賳鬲馗乇 賲卮鬲 賲賳蹖貙 賵賱蹖 丿丕乇蹖 亘賴 賲毓卮賵賯鬲 賮讴乇 賲蹖讴賳蹖 賵 丕蹖賳讴賴 讴蹖 丿賵亘丕乇賴 亘賴 賴賲爻乇鬲 禺蹖丕賳鬲 賲蹖讴賳蹖. 賳賴! 賲賳 賲賭孬賴 鬲賵 倬蹖丕賲亘乇 賳蹖爻鬲賲 賵 賳賲蹖 鬲賵丕賳賲 丿乇 賲賵乇丿 趩蹖夭蹖 賯囟丕賵鬲 讴賳賲 賵 賲丨讴賵賲 讴賳賲 賵賯鬲蹖 禺賵丿 亘賴 賵賮賵乇 丕賳噩丕賲卮 賲蹖鈥屫囐�. 倬爻 亘賳賵卮 丕蹖賳 賲卮鬲 噩丕丿賵蹖蹖 乇丕...
賯爻賲鬲蹖 丕夭 乇蹖賵蹖賵蹖 賯亘賱蹖:
丕夭 賲毓丿賵丿 讴鬲丕亘 賴丕蹖蹖 讴賴 亘毓丿 丕夭 倬丕蹖丕賳 亘乇丿賳卮貙丕丨爻丕爻 禺丕氐蹖 賳丿丕卮鬲賲
乇丕爻鬲卮 賳賲蹖鬲賵丕賳賲 讴鬲丕亘 乇丕 亘丿 蹖丕 禺賵亘 亘賳丕賲賲
丕诏乇 亘丿 亘賵丿 趩诏賵賳賴 鬲賵丕賳爻鬲賲 讴鬲丕亘 乇丕 鬲丕 丌禺乇 亘禺賵丕賳賲
賲賳 讴賴 鬲噩乇亘賴 倬乇鬲 讴乇丿賳 讴鬲丕亘 蹖讴 毓丕卮賯丕賳賴 丌乇丕賲 賳丕丿乇 丕亘乇丕賴蹖賲蹖 倬爻 丕夭 禺賵丕賳丿賳 丿賴 氐賮丨賴 乇丕 丿丕卮鬲賲
賵 丕诏乇 禺賵亘 亘賵丿 趩乇丕 丕夭 賱匕鬲 禺賵丕賳丿賳卮 賲爻鬲 賳賲蹖卮丿賲責
倬丕爻禺: 賮讴 賲蹖鈥屭┵嗁� 鬲賳賴丕 賴賳乇 乇賵丕賳讴丕賵蹖 丿丕爻鬲丕蹖賵賮爻讴蹖 亘丕毓孬 卮丿 亘鬲賵丕賳賲 丕蹖賳 讴鬲丕亘 乇丕 倬丕蹖丕賳 亘亘乇賲 賵 丕蹖賳 亘賴 毓賱丕賯賴 禺丕氐蹖 讴賴 亘賴 毓賱賲 乇賵丕賳卮賳丕爻蹖 丿丕乇賲 亘乇 賲蹖 诏乇丿丿貙 賵诏乇賳賴 爻乇賳賵卮鬲 乇丕爻讴賵賱賳蹖讴賮 賵 爻丕蹖乇 丿丕乇丿賵爻鬲賴 爻賳 倬鬲乇夭亘賵乇诏蹖 丕蹖賳 讴鬲丕亘貙 讴賲鬲乇蹖賳 毓賱丕賯賴 丕蹖 丿乇 賲賳 禺賵丕賳賳丿賴 亘乇 賳賲蹖 丕賳诏蹖禺鬲賳丿
丿丕爻鬲丕蹖賵賮爻讴蹖 丌賳賯丿乇 賳賵蹖爻賳丿賴 賲卮賴賵乇蹖爻鬲 讴賴 丕賳鬲賯丕丿 讴乇丿賳 丕夭 丕賵 丿賱 賵 噩乇丕鬲 夭蹖丕丿蹖 賲蹖 禺賵丕賴丿. 亘丕 丕噩丕夭賴 亘賵乇禺爻賽 亘夭乇诏賵丕乇 丿爻鬲 "賳丕亘丕讴賵賮" 乇丕 诏乇賮鬲賲 賵 讴卮丕賳丿賲 亘賴 丕蹖賳 乇蹖賵蹖賵貙 鬲丕 丿乇 丕蹖賳 賲賳丕夭毓賴 賴乇丕爻 丌賵乇 鬲賳賴丕 賳亘丕卮賲. 賳丕亘丕讴賵賮 丕夭 丌賳 亘賵讴爻賵乇賴丕蹖 亘蹖鈥屫必呟� 丕爻鬲 讴賴 丕夭 賴蹖趩鈥屭┴驰� 丕亘丕蹖蹖 賳丿丕乇丿 賵 賵賯鬲蹖 賴賲 丨乇蹖賮 讴爻蹖 亘賴 賳丕賲 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 亘丕卮丿貙 賳丕亘丕讴賵賮 亘丕 賱匕鬲 鬲賲丕賲 亘賴 乇蹖賳诏 倬丕 禺賵丕賴丿 诏匕丕卮鬲 賵 亘丿賵賳 丌賳讴賴 氐丿丕蹖 夭賳诏 丌睾丕夭 夭丿賴 卮賵丿 丕賵 乇丕 亘賴 賲卮鬲 禺賵丕賴丿 亘爻鬲. 賮賯胤 丕蹖賳 乇丕 亘诏賵蹖賲 讴賴 禺賵丿 噩賳丕亘 亘賵乇禺爻 賴賲 毓丕卮賯 亘賵讴爻 丕爻鬲 賵 丕夭 丌賲丿賳 賳丕亘丕讴賵賮 趩賴 亘爻丕 亘爻蹖丕乇 卮丕丿 賴賲 亘卮賵丿
賵賱丕丿蹖賲蹖乇 賳丕亘丕讴賵賮: 睾蹖乇 乇賵爻 賴丕 丿賵 趩蹖夭 乇丕 丿乇亘丕乇賴鈥屰� 丿丕爻鬲丕蹖賵賮爻讴蹖 賲鬲賵噩賴 賳蹖爻鬲賳丿貙 蹖讴蹖 丕蹖賳讴賴 賴賲賴鈥屰� 乇賵爻 賴丕 亘賴 丕賳丿丕夭賴鈥屰� 丌賲乇蹖讴丕蹖蹖 賴丕 毓丕卮賯 丿丕爻鬲丕蹖賵賮爻讴蹖 賳蹖爻鬲賳丿貙 丿蹖诏乇 丕蹖賳讴賴 丌賳賴丕蹖蹖 賴賲 讴賴 毓丕卮賯 丕賵蹖賳丿 亘賴 丕賵 亘賴 毓賳賵丕賳 讴爻蹖 亘丕 賳蹖乇賵蹖 爻丨乇丌賲蹖夭 丕丨鬲乇丕賲 賲蹖 诏匕丕乇賳丿 賳賴 賴賳乇賲賳丿. 丕賵 蹖讴 倬蹖丕賲亘乇 亘賵丿貙 乇賵夭賳丕賲賴 賳诏丕乇蹖 毓丕賲賴 倬爻賳丿貙 亘丕夭蹖诏乇 讴賲丿蹖 亘蹖 丿賯鬲. 賯亘賵賱 丿丕乇賲 讴賴 亘乇禺蹖 氐丨賳賴 賴丕蹖蹖 讴賴 丌賮乇蹖丿賴貙 亘乇禺蹖 丕夭 亘丨孬 賴丕蹖 讴賲丿蹖鈥屫ж簇� 亘爻蹖丕乇 爻乇诏乇賲 讴賳賳丿賴 丕賳丿貙 丕賲丕 賯丕鬲賱 賴丕蹖 丨爻丕爻卮 賵 乇賵爻倬蹖 賴丕蹖 倬乇卮賵乇卮 趩蹖夭蹖 賳蹖爻鬲賳丿 讴賴 亘卮賵丿 蹖讴 賱丨馗賴 鬲丨賲賱卮丕賳 讴乇丿貙 丿爻鬲 讴賲 賲賳 禺賵丕賳賳丿賴 賳賲蹖 鬲賵丕賳賲
亘丕 爻倬丕爻 賮乇丕賵丕賳 丕夭 賳丕亘丕讴賵賮 乇讴 诏賵貙 亘丕蹖丿 毓乇囟 讴賳賲 讴賴 鬲丨賲賱 賳丕倬匕蹖乇蹖 卮禺氐蹖鬲 賴丕 丿乇 丕蹖賳 丕孬乇 亘賴 丕賵噩 禺賵丿 賲蹖 乇爻丿. 賵丕賯毓丕 丿乇 禺胤 禺胤賽 丕蹖賳 讴鬲丕亘 丿乇 丨蹖乇鬲 亘賵丿賲 讴賴 卮禺氐蹖鬲 賴丕 賳賴 鬲賳賴丕 賯丕亘賱 丿賵爻鬲 丿丕卮鬲賳 賳蹖爻鬲賳丿 亘賱讴賴 丨鬲蹖 賳賲蹖 鬲賵丕賳 丿乇讴卮丕賳 讴乇丿...丕蹖賳 乇丕 賴賲 亘诏賵蹖賲 讴賴 丕蹖賳 丕孬乇 丿賵爻鬲 賳丿丕卮鬲賳蹖- 讴賴 賱賯亘 卮丕賴讴丕乇 賴賲 亘賴卮 賲蹖 丿賴賳丿- 亘丕毓孬 賳卮丿 爻乇丕睾 丿蹖诏乇 丌孬丕乇 丿丕爻鬲丕蹖賵賮爻讴蹖 賳乇賵賲. 丕夭 禺賵丕賳丿賳 亘乇丕丿乇丕賳 讴丕乇丕賲丕夭賵賮 賵丕賯毓丕 賱匕鬲 賲蹖 亘乇賲貙 丕賲丕 賲鬲丕爻賮丕賳賴 丿乇 丌賳噩丕 賴賲 诏丕賴 诏丕賴 丿丕爻鬲丕蹖賵賮爻讴蹖 睾蹖乇賴賳乇賲賳丿 亘賵丿賳 禺賵丿卮 乇丕 亘賴 賳賲丕蹖卮 賲蹖 诏匕丕乇丿 賵 丌丿賲 乇丕 亘賴 禺卮賲 賲蹖 丌賵乇丿. 丿乇 賯爻賲鬲 賴丕蹖蹖 丕夭 讴鬲丕亘 丿賯蹖賯丕 賳賯卮 蹖讴 倬蹖丕賲亘乇 乇丕 亘賴 毓賴丿賴 賲蹖 诏蹖乇丿 賵 賳馗乇丕鬲 丕禺賱丕賯蹖 卮禺氐蹖 丕卮 乇丕 賲爻鬲賯蹖賲丕 鬲賵 诏賵卮鈥屫ж� 賮乇蹖丕丿 賲蹖 夭賳丿
亘賵乇禺爻 亘夭賵乇 禺賵丿卮 乇丕 亘賴 乇蹖賳诏 賲爻丕亘賯賴 賲蹖 乇爻丕賳丿 賵 賮乇蹖丕丿 賲蹖夭賳丿 氐亘 讴賳蹖丿 丌禺乇蹖賳 賲卮鬲 乇丕 賲賳 亘夭賳賲. 丿乇 丨丕賱蹖讴賴 賲卮鬲卮 賮卅賵丿賵乇 乇丕 賳卮丕賳賴 诏乇賮鬲賴 亘賴 丕賵 賲蹖鈥屭堐屫�: 鬲賵 亘賴 乇賴 禺胤丕 乇賮鬲蹖. 亘丕 丌賳 毓乇賮丕賳 倬乇爻鬲蹖 賲囟丨讴鈥屫ж�. 亘丕 卮禺氐蹖鬲 賴丕蹖 賯賱丕亘蹖鈥屫ж�. 亘诏匕丕乇 亘賴 鬲賵 亘诏賵蹖賲 讴賴 丌丿賲 丿乇 夭賳丿诏蹖 賵丕賯毓蹖貙 丨鬲蹖 丿乇 賲賵賯毓蹖鬲蹖 丿卮賵丕乇貙 丨鬲蹖 賵賯鬲蹖 禺蹖賱蹖 賳诏乇丕賳 趩蹖夭蹖 丕爻鬲 蹖丕 丿賱賴乇賴 丿丕乇丿 蹖丕 亘蹖夭丕乇蹖 亘賴 丕賵 丿爻鬲 丿丕丿賴 蹖丕 毓丕卮賯 卮丿賴 蹖丕 禺卮賲诏蹖賳 丕爻鬲貙 亘賴 爻丕蹖乇 丕賲賵乇 夭賳丿诏蹖 賴賲 賲蹖鈥屬矩必ж藏�. 賴賲丕賳胤賵乇 讴賴 丕賱丕賳 賲賳鬲馗乇 賲卮鬲 賲賳蹖貙 賵賱蹖 丿丕乇蹖 亘賴 賲毓卮賵賯鬲 賮讴乇 賲蹖讴賳蹖 賵 丕蹖賳讴賴 讴蹖 丿賵亘丕乇賴 亘賴 賴賲爻乇鬲 禺蹖丕賳鬲 賲蹖讴賳蹖. 賳賴! 賲賳 賲賭孬賴 鬲賵 倬蹖丕賲亘乇 賳蹖爻鬲賲 賵 賳賲蹖 鬲賵丕賳賲 丿乇 賲賵乇丿 趩蹖夭蹖 賯囟丕賵鬲 讴賳賲 賵 賲丨讴賵賲 讴賳賲 賵賯鬲蹖 禺賵丿 亘賴 賵賮賵乇 丕賳噩丕賲卮 賲蹖鈥屫囐�. 倬爻 亘賳賵卮 丕蹖賳 賲卮鬲 噩丕丿賵蹖蹖 乇丕...
賯爻賲鬲蹖 丕夭 乇蹖賵蹖賵蹖 賯亘賱蹖:
丕夭 賲毓丿賵丿 讴鬲丕亘 賴丕蹖蹖 讴賴 亘毓丿 丕夭 倬丕蹖丕賳 亘乇丿賳卮貙丕丨爻丕爻 禺丕氐蹖 賳丿丕卮鬲賲
乇丕爻鬲卮 賳賲蹖鬲賵丕賳賲 讴鬲丕亘 乇丕 亘丿 蹖丕 禺賵亘 亘賳丕賲賲
丕诏乇 亘丿 亘賵丿 趩诏賵賳賴 鬲賵丕賳爻鬲賲 讴鬲丕亘 乇丕 鬲丕 丌禺乇 亘禺賵丕賳賲
賲賳 讴賴 鬲噩乇亘賴 倬乇鬲 讴乇丿賳 讴鬲丕亘 蹖讴 毓丕卮賯丕賳賴 丌乇丕賲 賳丕丿乇 丕亘乇丕賴蹖賲蹖 倬爻 丕夭 禺賵丕賳丿賳 丿賴 氐賮丨賴 乇丕 丿丕卮鬲賲
賵 丕诏乇 禺賵亘 亘賵丿 趩乇丕 丕夭 賱匕鬲 禺賵丕賳丿賳卮 賲爻鬲 賳賲蹖卮丿賲責
倬丕爻禺: 賮讴 賲蹖鈥屭┵嗁� 鬲賳賴丕 賴賳乇 乇賵丕賳讴丕賵蹖 丿丕爻鬲丕蹖賵賮爻讴蹖 亘丕毓孬 卮丿 亘鬲賵丕賳賲 丕蹖賳 讴鬲丕亘 乇丕 倬丕蹖丕賳 亘亘乇賲 賵 丕蹖賳 亘賴 毓賱丕賯賴 禺丕氐蹖 讴賴 亘賴 毓賱賲 乇賵丕賳卮賳丕爻蹖 丿丕乇賲 亘乇 賲蹖 诏乇丿丿貙 賵诏乇賳賴 爻乇賳賵卮鬲 乇丕爻讴賵賱賳蹖讴賮 賵 爻丕蹖乇 丿丕乇丿賵爻鬲賴 爻賳 倬鬲乇夭亘賵乇诏蹖 丕蹖賳 讴鬲丕亘貙 讴賲鬲乇蹖賳 毓賱丕賯賴 丕蹖 丿乇 賲賳 禺賵丕賳賳丿賴 亘乇 賳賲蹖 丕賳诏蹖禺鬲賳丿
September 16, 2022
乇丕爻賰賱賳賰賵賮 丕賱匕賷 賯鬲賱 賱賷丐賰丿 匕丕鬲賴
..賱賷孬亘鬲 賱賳賮爻賴 丕賳賴 賲賳 鬲賱賰 丕賱賮卅丞 丕賱丕爻鬲孬賳丕卅賷丞 賲賳 丕賱亘卮乇 賲賲賳 賱賴賲 賰賱 丕賱丨賯 賮賷 鬲丨丿賷 丕賱賲噩鬲賲毓 賵 丕賱賯丕賳賵賳 .. 乇丕爻賰賱賳賰賵賮 賴賵 丕丨丿 囟丨丕賷丕 賳賷鬲卮賴 丕匕賳
鬲亘丿兀 丕賱乇賵丕賷丞 亘卮賰賱 丨賲丕爻賷 賲亘丕賱睾 賮賷賴 亘丕賱噩乇賷賲丞 賮亘毓丿 丕賳 丕毓鬲氐乇 丕賱賮賯乇 丕賱卮丕亘 丕賱賲孬賯賮. .賷賯乇乇 丕賳 丕賱賲噩鬲賲毓 賱賳 賷禺爻乇 卮賷卅丕 亘賲賯鬲賱 丕賱賲乇丕亘賷丞 丕賱毓噩賵夭 ..賵 賱賰賳賴 亘賲賯鬲賱賴丕 爻賷賳賮匕 賳賮爻賴 賵 兀爻乇鬲賴 賵丕丨亘丕丐賴 丕賱匕賷賳 賷禺爻乇賴賲 鬲亘丕毓丕 賱賯賱丞 丕賱賲丕賱. ...賵 亘毓丿 丕賱噩乇賷賲丞 賷睾乇賯賳丕 丿賷爻鬲賵賮爻賰賷 賮賷 丕賱毓賯丕亘
賵 賰丕睾賱亘 乇賵丕賷丕鬲賴 賳乇賶: 丕賱爻賯賵胤 孬賲 丕賱禺賱丕氐 賱賱丕賮賱丕鬲 賲賳 丕賱賱毓賳丞..爻賷睾乇賯賰 丕賱賳賯丕丿 賮賷 賰賱丕賲 賰孬賷乇 毓賳 丕賱丨賱賲 丕賱賳丕亘賱賷賵賳賷 ..賵丕賳 丕賱乇賵丕賷丞 賳亘賵亍丞 亘丕賱孬賵乇丞 丕賱亘賱卮賮賷丞 賲賳匕 1866 賵 ..
賲賳 丕賱賲丐賰丿 兀賳 賰賱 丿丕乇爻 賱賱丕丿丕亘 賱丕亘丿 賵 丨鬲賲丕 毓賱賷賴 丕賳 賷賯乇兀賴丕. .賮賴賷 兀賮囟賱 賲丕鬲賲 賰鬲丕亘鬲賴 毓賳 毓匕丕亘 丕賱囟賲賷乇. .賵 鬲丨賲賱 毓賵丕賯亘 兀賮毓丕賱 賱丕 賷鬲丨賲賱賴丕 噩賴丕夭賰 丕賱毓氐亘賷
賵 賱賰賳賷 賱賱丕爻賮 丕毓鬲乇賮 兀賳賳賷 賱賲 兀丨亘賴丕 丨賯丕賸...丕賰賲賱鬲賴丕. .賮亘賴丕 禺胤丕 鬲卮賵賷賯賷丕 亘賵賱賷爻賷丕. .賱賰賳賴丕 賰卅賷亘丞 丨賯丕 廿賱賶 丕亘毓丿 丕賱丨丿賵丿..賰卅賷亘丞 賱丨丿賵丿 毓亘孬賷丞 丕丨賷丕賳丕
亘丕賱胤亘毓 賲賱丕賷賷賳 賷禺鬲賱賮賵賳 賲毓賶 賵 賷賮賴賲賵賳賴丕 丨賯丕 ..賵 賱賰賳 丕賳丕 爻丕馗賱 丕鬲爻丕卅賱
賰賷賮 丕鬲毓丕胤賮 賲毓 亘胤賱 賷孬亘鬲 賱賳賮爻賴 丕賳賴 賯丕丿乇 毓賱賶 賮毓賱 賰賱 賲丕賴賵 賯丕爻賷 賵 賲賳賮乇 ..賲丕丿丕賲 賷毓鬲賯丿 兀賳賴 氐賵丕亘責
..賱賷孬亘鬲 賱賳賮爻賴 丕賳賴 賲賳 鬲賱賰 丕賱賮卅丞 丕賱丕爻鬲孬賳丕卅賷丞 賲賳 丕賱亘卮乇 賲賲賳 賱賴賲 賰賱 丕賱丨賯 賮賷 鬲丨丿賷 丕賱賲噩鬲賲毓 賵 丕賱賯丕賳賵賳 .. 乇丕爻賰賱賳賰賵賮 賴賵 丕丨丿 囟丨丕賷丕 賳賷鬲卮賴 丕匕賳
鬲亘丿兀 丕賱乇賵丕賷丞 亘卮賰賱 丨賲丕爻賷 賲亘丕賱睾 賮賷賴 亘丕賱噩乇賷賲丞 賮亘毓丿 丕賳 丕毓鬲氐乇 丕賱賮賯乇 丕賱卮丕亘 丕賱賲孬賯賮. .賷賯乇乇 丕賳 丕賱賲噩鬲賲毓 賱賳 賷禺爻乇 卮賷卅丕 亘賲賯鬲賱 丕賱賲乇丕亘賷丞 丕賱毓噩賵夭 ..賵 賱賰賳賴 亘賲賯鬲賱賴丕 爻賷賳賮匕 賳賮爻賴 賵 兀爻乇鬲賴 賵丕丨亘丕丐賴 丕賱匕賷賳 賷禺爻乇賴賲 鬲亘丕毓丕 賱賯賱丞 丕賱賲丕賱. ...賵 亘毓丿 丕賱噩乇賷賲丞 賷睾乇賯賳丕 丿賷爻鬲賵賮爻賰賷 賮賷 丕賱毓賯丕亘
賵 賰丕睾賱亘 乇賵丕賷丕鬲賴 賳乇賶: 丕賱爻賯賵胤 孬賲 丕賱禺賱丕氐 賱賱丕賮賱丕鬲 賲賳 丕賱賱毓賳丞..爻賷睾乇賯賰 丕賱賳賯丕丿 賮賷 賰賱丕賲 賰孬賷乇 毓賳 丕賱丨賱賲 丕賱賳丕亘賱賷賵賳賷 ..賵丕賳 丕賱乇賵丕賷丞 賳亘賵亍丞 亘丕賱孬賵乇丞 丕賱亘賱卮賮賷丞 賲賳匕 1866 賵 ..
賲賳 丕賱賲丐賰丿 兀賳 賰賱 丿丕乇爻 賱賱丕丿丕亘 賱丕亘丿 賵 丨鬲賲丕 毓賱賷賴 丕賳 賷賯乇兀賴丕. .賮賴賷 兀賮囟賱 賲丕鬲賲 賰鬲丕亘鬲賴 毓賳 毓匕丕亘 丕賱囟賲賷乇. .賵 鬲丨賲賱 毓賵丕賯亘 兀賮毓丕賱 賱丕 賷鬲丨賲賱賴丕 噩賴丕夭賰 丕賱毓氐亘賷
賵 賱賰賳賷 賱賱丕爻賮 丕毓鬲乇賮 兀賳賳賷 賱賲 兀丨亘賴丕 丨賯丕賸...丕賰賲賱鬲賴丕. .賮亘賴丕 禺胤丕 鬲卮賵賷賯賷丕 亘賵賱賷爻賷丕. .賱賰賳賴丕 賰卅賷亘丞 丨賯丕 廿賱賶 丕亘毓丿 丕賱丨丿賵丿..賰卅賷亘丞 賱丨丿賵丿 毓亘孬賷丞 丕丨賷丕賳丕
亘丕賱胤亘毓 賲賱丕賷賷賳 賷禺鬲賱賮賵賳 賲毓賶 賵 賷賮賴賲賵賳賴丕 丨賯丕 ..賵 賱賰賳 丕賳丕 爻丕馗賱 丕鬲爻丕卅賱
賰賷賮 丕鬲毓丕胤賮 賲毓 亘胤賱 賷孬亘鬲 賱賳賮爻賴 丕賳賴 賯丕丿乇 毓賱賶 賮毓賱 賰賱 賲丕賴賵 賯丕爻賷 賵 賲賳賮乇 ..賲丕丿丕賲 賷毓鬲賯丿 兀賳賴 氐賵丕亘責
July 13, 2008
My star rating is purely subjective and means only what GR says it means: I didn't like it. It didn't mean anything to me, sadly, and I didn't even find it to be an interesting story. I'm not saying it's a terrible book; in fact, I'd be very interested to hear what others think (reviews are a bit light for this book here I see).
First, I have a confession to make: I got two thirds of the way through and skimmed the rest. Well, worse than that: I flipped through and got the gist, but such is the way it's written you can't even skim. I just really had to put the book to rest, and it made me feel miserable thinking about making myself keep reading it. Reading should never make you miserable, so I did something I rarely ever do, and it nags at me but, well, there you have it.
The premise sounds interesting, and I had high hopes it would be one that would suck me in and captivate me. It's not that I had particularly high expectations - I didn't really have any expectations, though I thought it might be heavy on the intellectual side of things - but it was apparent from fairly early on that it wasn't going to be my kind of book.
It's Petersburg and a young student, Raskolnikov, is pawning his only valuables to an old crone, Alyona Ivanovna, who lives in a small apartment with her sister Lizaveta. He hasn't been able to afford to go to uni in several months, and his dress and manner makes him seem even lower class than he is. In desperation he hatches a plan to murder Alyona and rob her. He carries this out, killing not just her but her simple-minded sister who returns home unexpectedly, and in his fear and haste flees the scene with only some pawned trinkets and a small pouch.
His guilt manifests itself in fever and delirium, and he behaves very strangely thereafter. His friend and fellow student, Razumikhin, puts up with an awful lot and generously gives his time and efforts to help Raskolnikov; his mother, Pulcheria Alexandrovna and his sister, Dunechka, come to town to prepare for Dunya's marriage to an odious man; and Raskolnikov becomes somewhat obsessed with the family of a poor alcoholic who dies early on, in particular his eldest daughter Sonya, who had to become a prostitute in order to make some money for her family.
There's a lot of twoing and froing, a lot of agonising on Raskolnikov's part, and a lot of exclaiming. I wouldn't even have minded but Raskolnikov became such a bore, I didn't even want to slap, I just wanted to ignore him. It comes down mostly to the way it was written, which I didn't care for and which made the book a real slog.
I know this is some kind of work of genius, but if that's true, then I just felt stupid. It all seemed pretty obvious to me. No doubt if I made the effort I could see something special here, but it's like The Red and the Black - other people find the psychological melodrama truly fascinating, but to me, it's just melodrama, which I loathe. There's also no mystery, and not much suspense. There's a somewhat clever police inspector investigating the murder, but the game of cat-and-mouse the blurb enticed me with fell flat pretty quickly, and there was nothing left to hold me.
The blurb describes the book as "a preternaturally acute investigation of the forces that impel a man toward sin, suffering and grace." Uh huh. You can tell I'm really impressed can't you? It reads more like an account of a man going mad and being really self-centred, but after my sorry lack of appreciation for the equally masterful The Red and the Black, is it any surprise that I didn't like this book at all? If you're looking for a good story, this isn't it.
First, I have a confession to make: I got two thirds of the way through and skimmed the rest. Well, worse than that: I flipped through and got the gist, but such is the way it's written you can't even skim. I just really had to put the book to rest, and it made me feel miserable thinking about making myself keep reading it. Reading should never make you miserable, so I did something I rarely ever do, and it nags at me but, well, there you have it.
The premise sounds interesting, and I had high hopes it would be one that would suck me in and captivate me. It's not that I had particularly high expectations - I didn't really have any expectations, though I thought it might be heavy on the intellectual side of things - but it was apparent from fairly early on that it wasn't going to be my kind of book.
It's Petersburg and a young student, Raskolnikov, is pawning his only valuables to an old crone, Alyona Ivanovna, who lives in a small apartment with her sister Lizaveta. He hasn't been able to afford to go to uni in several months, and his dress and manner makes him seem even lower class than he is. In desperation he hatches a plan to murder Alyona and rob her. He carries this out, killing not just her but her simple-minded sister who returns home unexpectedly, and in his fear and haste flees the scene with only some pawned trinkets and a small pouch.
His guilt manifests itself in fever and delirium, and he behaves very strangely thereafter. His friend and fellow student, Razumikhin, puts up with an awful lot and generously gives his time and efforts to help Raskolnikov; his mother, Pulcheria Alexandrovna and his sister, Dunechka, come to town to prepare for Dunya's marriage to an odious man; and Raskolnikov becomes somewhat obsessed with the family of a poor alcoholic who dies early on, in particular his eldest daughter Sonya, who had to become a prostitute in order to make some money for her family.
There's a lot of twoing and froing, a lot of agonising on Raskolnikov's part, and a lot of exclaiming. I wouldn't even have minded but Raskolnikov became such a bore, I didn't even want to slap, I just wanted to ignore him. It comes down mostly to the way it was written, which I didn't care for and which made the book a real slog.
I know this is some kind of work of genius, but if that's true, then I just felt stupid. It all seemed pretty obvious to me. No doubt if I made the effort I could see something special here, but it's like The Red and the Black - other people find the psychological melodrama truly fascinating, but to me, it's just melodrama, which I loathe. There's also no mystery, and not much suspense. There's a somewhat clever police inspector investigating the murder, but the game of cat-and-mouse the blurb enticed me with fell flat pretty quickly, and there was nothing left to hold me.
The blurb describes the book as "a preternaturally acute investigation of the forces that impel a man toward sin, suffering and grace." Uh huh. You can tell I'm really impressed can't you? It reads more like an account of a man going mad and being really self-centred, but after my sorry lack of appreciation for the equally masterful The Red and the Black, is it any surprise that I didn't like this book at all? If you're looking for a good story, this isn't it.
November 22, 2017
Here's another review as I go! I suppose I just can't let go of Dostoyevsky's squalid, bleak, complicated, and spiritually vexing world, so despite having just finished The Brothers Karamazov, I find myself plunging headlong into Crime and Punishment, a book I last read 20 years ago.
I'm reading the new Oliver Ready translation, and it's wonderful so far.
I can well imagine how shocking this book must have been at the time. It depicts a world where everyone is either taking advantage of someone else or being taken advantage of, where most of the characters are engaged in a mean, petty, and morally bankrupt struggle for survival. Ironically, it's Raskolnikov himself who comes closest to espousing some idealistic notion of virtue among all the squalor, when he criticizes his sister for being engaged to someone she doesn't love, all for the sake of the man's money, with its potential to lift their family out of poverty.
***
Dostoyevsky is brilliant at depicting a character on the edge--one whose thoughts veer between lucidity and paranoia and whose passions overwhelm him even when he can hardly muster the energy to get off his sofa. What's interesting about his passion is the deep moralism that accompanies it--his sense of the world's injustice, as when he rushes to save Marmeladov, a drunkard who was trampled by a horse, and brings the man to his family and feels sorry for them all as he comforts them and gives them money. You get the sense here of a man who deeply feels all the depravity and injustice of the world, one who can hardly stand it, and yet he's the murderer and perhaps the most depraved one of all.
And yet.... Raskolnikov is also quite suspicious of "phonies," to use a Holden Caulfield term, as when he confronts his sister's fiance. Here's another complication in this fascinating character. Is he the most "honest" character in the book? In a way he is, but of course he's hiding the biggest secret. He constantly struggles against his own duplicity and is often on the verge of blurting out his crime. He even does at one point, yet his listener thinks it's a joke, and he plays along, but you can see how the act of dissimulation itself is so painful to him.
***
When Raskolnikov visits the disgraced Sonya, he becomes strangely Christ-like, kissing her feet and claiming he's bowing "to all human suffering." He seems to take all suffering on his shoulders, especially the suffering of children, as he constantly warns Sonya about what will happen to her young siblings should their mother die. But of course this is all complicated by Raskolnikov's avowed athiesm, which he makes clear to Sonya when she says that God would never let their mother die and leave those young children as defenseless and homeless orphans, and Raskolnikov responds, "almost with a sort of malicious glee," by asking: "What if there is no God?"
***
There is certainly no romanticizing of poverty here, as we see Katerina Ivanovna literally go mad and die from her circumstances. What a tragic and pathetic scene when, homeless, she drags her young children to the streetcorner, dresses them up like performers, and demands they sing and dance for coins, all the while they're crying and she's yelling and coughing up blood. Raskolnikov's premonitions come true, when he turns to Sonya afterwards and wonders what will happen to the children now.
***
Raskolnikov, for all his powers of empathy, seems to long for something more--for the power to achieve greatness, to become a great figure of history--and the murder is for him bound up in this quest. He rationalizes that if Napoleon, in order to fulfill his destiny, had to knock off a few lowly people, wouldn't he be justified in doing so? Passages like this presage all sorts of 20th century horrors, and it's fascinating to see them here, spoken by this most complicated character.
***
Hurtling toward the end now, with Raskolnikov having confessed to a distraught Sonya, and Svidrigailov overhearing from the room next door. Svidrigailov tries to use his knowledge to confront Raskolnikov's sister and get her in his power, claiming he'll take Raskolnikov away with him to America to save him, if only Avdotya will succumb to him. In a scene straight out of a pulp novel, she's shocked and pulls out a revolver and shoots at him as he approaches her, only to graze his head. But he realizes she will never love him, and even after she throws the revolver aside, he allows her to escape.
***
Some spoilers may follow, but I'll do my best not to give too much away:
The fate of Svidrigailov was for me the one false note in the book--the one point where Dostoyevsky took the easy way out. I wasn't at all convinced he'd use the revolver in the way he did, and I felt the author basically wanted this troublesome character out of the way.
Otherwise, wow, the ending was just brilliant--the drama of whether Raskolnikov would confess or not was drawn out masterfully. Then, in Siberia, we get what were for me some of the saddest and truest lines of the entire book:
"Existence alone had never been enough for him; he'd always wanted more. And perhaps the only reason he'd considered himself a man to whom more was permitted than to others was the very strength of his desires."
Only at the end, after a sickness, and Sonya's sickness, does Raskolnikov finally shed the torments of his ambition toward greatness--which in many ways was the driver of his entire crime. He becomes, finally, content, because he finally finds love--real deep spiritual love for this woman who'd given up everything to live near his remote penal colony. Love is what finally transforms him and gives him hope that, after seven more years, he'll be able at last to live.
And so ends this amazing journey--one that will remain with me for a long time, one that I'll ponder and dip back into, one that seems so modern and relevant today. In a way it really does presage the entire 20th century, with its exposition of how dreams of greatness can lead to sordid crimes, how greatness is a form of torment and perhaps even a form of demented thinking. I can't help seeing Raskolnikov as a "wanna-be" Stalin, or Hitler, or Mao, or any of those tragically self-aggrandizing men who see crime as simply a means to an end, who believe they're superior beings and are therefore entitled to use "lesser" people to service their own dreams. It's a terrifying mentality, and Dostoyevsky knew it well. If only we'd listened to him.....
I'm reading the new Oliver Ready translation, and it's wonderful so far.
I can well imagine how shocking this book must have been at the time. It depicts a world where everyone is either taking advantage of someone else or being taken advantage of, where most of the characters are engaged in a mean, petty, and morally bankrupt struggle for survival. Ironically, it's Raskolnikov himself who comes closest to espousing some idealistic notion of virtue among all the squalor, when he criticizes his sister for being engaged to someone she doesn't love, all for the sake of the man's money, with its potential to lift their family out of poverty.
***
Dostoyevsky is brilliant at depicting a character on the edge--one whose thoughts veer between lucidity and paranoia and whose passions overwhelm him even when he can hardly muster the energy to get off his sofa. What's interesting about his passion is the deep moralism that accompanies it--his sense of the world's injustice, as when he rushes to save Marmeladov, a drunkard who was trampled by a horse, and brings the man to his family and feels sorry for them all as he comforts them and gives them money. You get the sense here of a man who deeply feels all the depravity and injustice of the world, one who can hardly stand it, and yet he's the murderer and perhaps the most depraved one of all.
And yet.... Raskolnikov is also quite suspicious of "phonies," to use a Holden Caulfield term, as when he confronts his sister's fiance. Here's another complication in this fascinating character. Is he the most "honest" character in the book? In a way he is, but of course he's hiding the biggest secret. He constantly struggles against his own duplicity and is often on the verge of blurting out his crime. He even does at one point, yet his listener thinks it's a joke, and he plays along, but you can see how the act of dissimulation itself is so painful to him.
***
When Raskolnikov visits the disgraced Sonya, he becomes strangely Christ-like, kissing her feet and claiming he's bowing "to all human suffering." He seems to take all suffering on his shoulders, especially the suffering of children, as he constantly warns Sonya about what will happen to her young siblings should their mother die. But of course this is all complicated by Raskolnikov's avowed athiesm, which he makes clear to Sonya when she says that God would never let their mother die and leave those young children as defenseless and homeless orphans, and Raskolnikov responds, "almost with a sort of malicious glee," by asking: "What if there is no God?"
***
There is certainly no romanticizing of poverty here, as we see Katerina Ivanovna literally go mad and die from her circumstances. What a tragic and pathetic scene when, homeless, she drags her young children to the streetcorner, dresses them up like performers, and demands they sing and dance for coins, all the while they're crying and she's yelling and coughing up blood. Raskolnikov's premonitions come true, when he turns to Sonya afterwards and wonders what will happen to the children now.
***
Raskolnikov, for all his powers of empathy, seems to long for something more--for the power to achieve greatness, to become a great figure of history--and the murder is for him bound up in this quest. He rationalizes that if Napoleon, in order to fulfill his destiny, had to knock off a few lowly people, wouldn't he be justified in doing so? Passages like this presage all sorts of 20th century horrors, and it's fascinating to see them here, spoken by this most complicated character.
***
Hurtling toward the end now, with Raskolnikov having confessed to a distraught Sonya, and Svidrigailov overhearing from the room next door. Svidrigailov tries to use his knowledge to confront Raskolnikov's sister and get her in his power, claiming he'll take Raskolnikov away with him to America to save him, if only Avdotya will succumb to him. In a scene straight out of a pulp novel, she's shocked and pulls out a revolver and shoots at him as he approaches her, only to graze his head. But he realizes she will never love him, and even after she throws the revolver aside, he allows her to escape.
***
Some spoilers may follow, but I'll do my best not to give too much away:
The fate of Svidrigailov was for me the one false note in the book--the one point where Dostoyevsky took the easy way out. I wasn't at all convinced he'd use the revolver in the way he did, and I felt the author basically wanted this troublesome character out of the way.
Otherwise, wow, the ending was just brilliant--the drama of whether Raskolnikov would confess or not was drawn out masterfully. Then, in Siberia, we get what were for me some of the saddest and truest lines of the entire book:
"Existence alone had never been enough for him; he'd always wanted more. And perhaps the only reason he'd considered himself a man to whom more was permitted than to others was the very strength of his desires."
Only at the end, after a sickness, and Sonya's sickness, does Raskolnikov finally shed the torments of his ambition toward greatness--which in many ways was the driver of his entire crime. He becomes, finally, content, because he finally finds love--real deep spiritual love for this woman who'd given up everything to live near his remote penal colony. Love is what finally transforms him and gives him hope that, after seven more years, he'll be able at last to live.
And so ends this amazing journey--one that will remain with me for a long time, one that I'll ponder and dip back into, one that seems so modern and relevant today. In a way it really does presage the entire 20th century, with its exposition of how dreams of greatness can lead to sordid crimes, how greatness is a form of torment and perhaps even a form of demented thinking. I can't help seeing Raskolnikov as a "wanna-be" Stalin, or Hitler, or Mao, or any of those tragically self-aggrandizing men who see crime as simply a means to an end, who believe they're superior beings and are therefore entitled to use "lesser" people to service their own dreams. It's a terrifying mentality, and Dostoyevsky knew it well. If only we'd listened to him.....
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