Understanding The Nature of Raskolnikov Through His Subconscious

Understanding the Nature of Raskolnikov Through His Subconscious

Dreams serve as a profound connection to the unconscious, offering insights that the dreamer may not consciously acknowledge. Sigmund Freud, a pivotal figure in the exploration of dreams, emphasized their psychological significance in the late nineteenth century. However, long before Freud's theories gained prominence, Feodor Dostoevsky adeptly utilized dreams as a psychological tool in his renowned novel, "Crime and Punishment." In particular, Dostoevsky's portrayal of Raskolnikov's dream of a dying horse reveals the roots of his profound isolation and serves as a commentary on his later philosophical theories.

To illustrate Raskolnikov's transformation before and after a pivotal event, Dostoevsky contrasts the young Rodion with the jaded adult he becomes. Initially, Raskolnikov exhibits traits of spirituality and compassion, as seen in his reverence for the church with its "green cupola" and his emotional act of kissing the grave of a brother he never met. This respect for the deceased brother starkly contrasts with the cold, disdainful Raskolnikov who rejects humanity and treats even his closest friend with contempt. Such a juxtaposition suggests that a significant event alters Rodion's character, necessitating a later attempt to reclaim the compassion he once possessed.

Rodion's reaction to the horse's brutal beating is particularly telling, revealing a depth of emotion that is conspicuously absent in his adult persona. His innocence is underscored by his designation as "the child," and the presence of his father in the dream symbolizes a protective figure that Rodion lacks in adulthood. Through this dream, Dostoevsky provides a psychological explanation for Raskolnikov's fractured identity. Vyacheslav Ivanov notes that Raskolnikov's name—derived from "Raskol," meaning "split" or "schism"—captures his duality: the intellectual criminal and the martyr to humanity. The stark contrast between the young, compassionate Rodion and the nihilistic adult suggests a traumatic event has irrevocably altered his perception of the world.

In addition to depicting cruelty realistically, Dostoevsky weaves important connections to later events in the narrative through imagery and symbolism. The animal's victimization at the hands of a drunken crowd reflects a mentality of superiority that parallels Raskolnikov's own "superman" theory. This irony is profound: Rodion, in his quest for greatness, becomes the very embodiment of the cruelty he detests. Joseph Frank's essay, "The World of Raskolnikov," critiques the notion that a true great man, consumed by a sense of mission, can simultaneously harbor compassion for the suffering he inflicts on others.

The imagery of the weeping horse's eyes resurfaces during Raskolnikov's murder of Lizavetta, reinforcing the thematic connections between the two acts of violence. This layer of irony critiques Rodion's perceived moral superiority, revealing that his actions mirror the brutality he initially condemns. Dostoevsky draws parallels between the horse and other victims in the novel, most notably Sonya, whom he describes as the "eternal victim." The horse's portrayal as "small, lean, decrepit," burdened by the weight of others, resonates with Sonya's plight, emphasizing the shared experience of suffering.

The emotional impact of the horse's death profoundly influences Rodion's outlook on humanity. Dostoevsky captures the intensity of the moment, portraying the child's desperate attempts to alleviate the horse's suffering. One of the most poignant images is Rodion kissing the horse's weeping eye, a symbol of compassion that starkly contrasts with the callousness of the adult world. The crowd of drunks, characterized by their red faces and excessive behavior, serves to highlight the stark difference between the innocent child's perspective and the harsh realities of adult cruelty. This scene illustrates how childhood experiences shape one's worldview, with Rodion carrying the burden of this traumatic event into adulthood.

Furthermore, Dostoevsky's strategic placement of the dream sequence amplifies its significance within the narrative. Frank praises Dostoevsky's craftsmanship, noting that the juxtaposition of the tavern scene—where Raskolnikov overhears a conversation about justifying murder—immediately precedes the dream. This structural choice allows readers to understand Raskolnikov's motivations just before he commits his crime. The dream follows shortly after Raskolnikov's decision to avoid his friend Razumikhin, further emphasizing his deepening isolation. This placement enhances the dream's role as a source of insight into Raskolnikov's psyche, showcasing Dostoevsky's literary brilliance.

Ultimately, the psychological ramifications of Raskolnikov's dream culminate in his disdain for humanity, leading him to adopt a false sense of superiority rooted in compassion. This mindset isolates him from society, creating a tragic irony: his actions render him just as brutal as those he deems inferior. In his attempts to validate his "great man" theory through the murder of innocent women, Raskolnikov embodies the very cruelty he seeks to transcend. Dostoevsky masterfully employs imagery, symbolism, and the dream's placement to unravel the complexities of Raskolnikov's character, offering readers a glimpse into his subconscious. As Dostoevsky aptly notes, dreams are "artistically in harmony with the whole picture," serving as a critical lens through which we can understand and empathize with Raskolnikov's plight.

References:

• Frank, Joseph. "The World of Raskolnikov."
• Ivanov, Vyacheslav. "The Duality of Raskolnikov."
• Rahv, Philip. "Dostoevsky and the Eternal Victim."