In Crime and Punishment, the murderer is really a saint, and the prostitute is really an angel, and the husband is really a specter, and the punishment for confessing a crime is actually liberating, and the perfect beauty is within the accepting of one’s own loving, social nature. But the unattainable is living a self-oriented existence that rejects both human companionship and the loving qualities of one’s human nature. Although the narrator at first appears to depict Raskolnikov as the conceited notion of Nietzsche's “Übermensch”, or Superman, the developing inconsistencies within Raskolnikov’s own character and the presence of his own “caring” human nature actually make it impossible for him to truly possess all of its qualities and live
…show more content…
In combination with his abandonment of such an inherent part of his being, Raskolnikov often finds himself confined to the shackles of his own ambition and internal personal struggles, consuming him to the point that he ultimately becomes a prisoner to that which he also views as helpless, the order of justice within society. Even though he deems himself the sole ruler of his own world, Raskolnikov, much like James McAvoy’s character role in the movie Split, still suffers from psychological, internal conflicts that stem from uncertainties pertaining to his character and what he truly stands for after the murders took place. In order to truly find himself and discover his worth as a person, Raskolnikov must depend upon the guidance and his observance of pivotal characters within the story. As seen in his interactions with Svidrigailov and Sonya, Raskolnikov’s malleable perception of himself is still shaped and influenced by the interactions with those around him, a trait that is native to Nietzsche's tyrannical and individualistic notion of the Superman. In Raskolnikov’s eyes, Svidrigailov represents the pure characteristics of the Übermensch. Upon his unexpected interaction with Svidrigailov, a character that he loathed deeply for his previous actions …show more content…
But his path to redemption has just begun. To be the prisoner of his own power-hungry theory, a representation of his figurative imprisonment, should be the most contradicting experience of a man that once viewed himself as the focal point of his own world, yet now we are able to find that Raskolnikov experiences true happiness and freedom behind bars, an example of his literal imprisonment. Because he is with Sonya, the longing for power and isolation has been replaced with a yearning for forgiveness from a higher power, God, and human companionship. At last Raskolnikov establishes a sense of liberation by rejecting his twisted theory of the Übermensch and joining in communion with the prisoners and his closest friends and family. By living a life that is absent of his twisted theory while he is incarcerated, Raskolnikov also realizes that it is indeed possible for life to go on if one embraces suffering, searches for forgiveness, and accepts their own inherent, human nature. The forgiveness that he now humbly desires is the antithesis of the unlawful nature of the mythical Superman that he once idealized- ultimately signifying that the guilty conscience that he possessed during his literal freedom equated to his figurative
In combination with his abandonment of such an inherent part of his being, Raskolnikov often finds himself confined to the shackles of his own ambition and internal personal struggles, consuming him to the point that he ultimately becomes a prisoner to that which he also views as helpless, the order of justice within society. Even though he deems himself the sole ruler of his own world, Raskolnikov, much like James McAvoy’s character role in the movie Split, still suffers from psychological, internal conflicts that stem from uncertainties pertaining to his character and what he truly stands for after the murders took place. In order to truly find himself and discover his worth as a person, Raskolnikov must depend upon the guidance and his observance of pivotal characters within the story. As seen in his interactions with Svidrigailov and Sonya, Raskolnikov’s malleable perception of himself is still shaped and influenced by the interactions with those around him, a trait that is native to Nietzsche's tyrannical and individualistic notion of the Superman. In Raskolnikov’s eyes, Svidrigailov represents the pure characteristics of the Übermensch. Upon his unexpected interaction with Svidrigailov, a character that he loathed deeply for his previous actions …show more content…
But his path to redemption has just begun. To be the prisoner of his own power-hungry theory, a representation of his figurative imprisonment, should be the most contradicting experience of a man that once viewed himself as the focal point of his own world, yet now we are able to find that Raskolnikov experiences true happiness and freedom behind bars, an example of his literal imprisonment. Because he is with Sonya, the longing for power and isolation has been replaced with a yearning for forgiveness from a higher power, God, and human companionship. At last Raskolnikov establishes a sense of liberation by rejecting his twisted theory of the Übermensch and joining in communion with the prisoners and his closest friends and family. By living a life that is absent of his twisted theory while he is incarcerated, Raskolnikov also realizes that it is indeed possible for life to go on if one embraces suffering, searches for forgiveness, and accepts their own inherent, human nature. The forgiveness that he now humbly desires is the antithesis of the unlawful nature of the mythical Superman that he once idealized- ultimately signifying that the guilty conscience that he possessed during his literal freedom equated to his figurative