Within Crime and Punishment, Dostoevsky is able to clearly reveal Raskolnikov's extreme protection for his sister even though he is mentally unstable. Constantly, Raskolnikov insists that Dunia, his sister, shall not marry the wrenched Peter Petrovich Luzhin. Upon receiving the news of their engagement, "his face was pale and distorted and a bitter, wrathful and malignant smile was on his lips" (40). As soon as his sister and mother come and visit him, he informs Dunia that he strongly disapproves of her new fiance. In fact, he will deny any further contact with her if she continues on with this engagement. This extreme behavior will not only result in Raskolnikov's sister losing trust in him, but possibly Raskolnikov losing his sister all together.
Raskolnikov has several rationalities for why Dunia should not marry Luzhin. He believes that she is marrying him for the wrong reasons. Some of which are, to save herself from the life she had been stuck with and also to help her family escape poverty. Also, Raskolnikov believes Luzhin is only taking advantage of his poor sister. When they first meet, they are not pleasant with each other. This only causes Raskolnikov to officially tell Dunia to leave Luzhin. But it is difficult for Dunia to make a decision considering Raskolnikov's mental state. Yet, she stays loyal to her brother and decides that when Luzhin said to have only Dunia meet him, that she shall bring her family too and force Luzhin to decide.
Due to Raskolnikov's instability because of the guilt he feels for the murder, he constantly is at the brink of a fight with others. He cannot deal with society because he is trying to rationalize the crime he committed. Included with society is Dunia. He is being the archetypal protective brother, yet he takes it too far. He does not even take the opportunity to be acquainted with Luzhin before making accusations about him. He lacks the courtesy to do anything but bash Luzhin. Even though brothers do have a tendency to be disrespectful to any man their sister is associated with, the fact that he is stopping her from making a life changing decision that she chose is ridiculous. Dunia should have to right to marry whomever she wishes and it should not be influenced by what her brother says. This is just another form of feminism which is struggling to be present within the novel. It is only sparking bits of ideas in which the reader can translate into either submission from women or the desire for freedom.
Great thoughts aired at the end Carissa! We'll look at critical theory "lenses" later on this quarter-- you just tapped into the school of feminist criticism by discussing how Dunia, who is CLEARLY a strong minded, intelligent, willful woman, is nevertheless ruled by the various male figures in her life. We could extend that feminist lens beyond Dunia as well-- what might a feminist critic say about the portrayal of Sonia, or Katarina Ivanovna?
ReplyDeleteYour ending commentary is definitely the direction we want to move in. Much of this is more of an overview of Raskolnikov and Dunia's relationship, but what is the SIGNIFICANCE of the nature of their relationship? Does it reveal a softer, more moral side to Raskolnikov, along the same lines of the random acts of charity Dostoyevsky awards him? Does it reveal him to be that much MORE unhinged? Is it a commentary on the subjection of women? Try to get deeper into the analysis-- move beyond summary.
7/10