#Katerina Ivanovna Marmeladov

[archiveandpunishment]

Black and White Illustrations for Crime and Punishment by Philip Reisman, 1945

[ghaarem]

since I have already told you about crime and punishment puppet performance, why don't I show you those incredible babygirls

yipee

[everything-on-red]

ok so i finished my little stylized designs for crime and punishment characters!

top: raskolnikov, sonya, svidrigailov, porfiry, luzhin.

bottom: dunya, razumikhin, lizaveta, alyona, marmeladov, katerina.

i had a lot of fun with little design details, like katerina having a widow’s peak, or making the buttons on dunya’s dress match raskolnikov’s coat.

[incorrectclassicbookquotes]

Semyon Marmeladov: I've never wanted a beer worse in my life.

*Katerina Ivanovna hands him a beer*

Semyon Marmeladov: I love you, honey.

Katerina Ivanovna: Are you talking to me or the beer?

Semyon Marmeladov: To you my bubbly, long-necked, beechwood-aged lover.

[macethelaboratoryrat]

I hadn't realized on the previous read how incredibly uncomfortable the Marmeladov death scene is.

Because first, the man gets run over by a HORSE CARRIAGE, which is an incredibly strange thing to have happen, and it's almost comical. But like, the driver is just trying to get off the hook for severely injuring a man, and the police don't care because they also want to make sure the rich people's cab arrives on time and the man gets out of the road.

And then Rodion is Raskolnikov-ing, which is honestly kind of weird because we haven't seen this side of his character anywhere in the book, which is also kind of awkward. The way he spends money in general stresses me out as well, so the "I'll pay for everything" attitude contributes that to my interpretation of the scene.

So a bunch of (ultimately apathetic) cheerful townspeople are carrying an entire man into these people's apartment. And on one hand, there's the beef between Katerina Ivanovna and her landlady, and all of the people who enjoy listening to them fight, and there are all of these spectators, and Rodion is very pleased with himself, and it all has this light-hearted air, even though a man is dying. And even in Marmeladov's introduction, people tend to just laugh at him and make fun of him, and his character and actions are deplorable, so his death doesn't mean much to "us" as the audience. And maybe it even is kind of funny.

But then there is Katerina Ivanovna and their children. And that really turns the scene on its head for me. Because the children are in multiple stages of dress, they're practically helpless, the oldest has to take care of the younger two. Katerina Ivanovna is having smoke poured on her from the apathetic inhabitants in the other apartment, and she's working her ass off trying to maintain some semblance of nobility and her former self, even though she's very sick. People just stand there gawking at her, and at all of them.

Marmeladov's entrance in this scene interrupts a significant and fragile ritual in their lives. They can barely manage as it is, and then they have to take care of him, and the children are afraid. But once again, people are coming out to make some spectacle of this family that is hanging on by a thread and has just had the rug pulled out from under it.

Katerina Ivanovna's and Marmeladov's relationship is really something. And she's an absolute firecracker. And her pride almost dissociates the mood of the scene in my opinion.

Sonia in herself almost brings more to the "spectacle" which degrades the scene more. But then, in spite of what she's wearing and her notoriety she still has a tender moment with her dying father. (I wish I could say more about Sonia, but I'm having trouble describing her well because in Rodion's eyes she's an object of shame and pity. And I think his opinion of her is absolutely rancid and disgusting. But she's described through that lens throughout the whole book.)

I think it's because it makes the personal impersonal. What should be a personal and quiet family scene has open doors and flies on the wall. And Rodion's whole expression just feels really off. He's a stranger, and he offers them money. He feels sorry for them over something a stranger wouldn't normally know about.

yeah...

[crowwithinternetaccess]

Crime and Punishment Warrior Cats AU

Okay, so for organizational purposes, I'm going to make a list of characters I'm going to keep in the AU, then a list of characters I'm not keeping and why. Obviously, when translating this story into the warrior cats universe, there are going to be things that just don't fit. (btw ✅ means I've finished their ref sheet and successfully turned them into a kitty cat.)

Raskolinikov ✅

Pulkheria Alexandrovna ✅

Avdotya Romanovna (despite her and her mother living in a different place than Raskolnikov, I'm going to omit that from this AU, since they end up coming to St. Petersburg anyways, and warrior cats characters basically stay in the same place for their whole lives.) ✅

Razumikhin ✅

Alena Ivanovna (Moneylenders don't exist in warriors so I'll need to figure out a different reason for why Raskolnikov would have been doing business with her and for why Porfiry Petrovich originally began to suspect Raskolnikov.)

Lizaveta Ivanovna

Marmeladov (I think I'm gonna make it so he ran away from the clan, like how Marmeladov in the book ran away from his family?)

Katerina Ivanovna

Sofya Semenovna ✅

Polya, Lenya, and Kolya (they will be kits and the same age. No way a cat had three separate single babies loll)

Svidrigaylov (He will be from another Clan. I need to figure out how and why he would come to the clan Raskolnikov lives in, and how Dunya could have gone to live with him. Maybe by bending the Warrior Code in my universe to make it more common for cats to move clans like how people irl can move cities...? Idk yet)

Marfa Petrovna

Peter Petrovich (same deal with Svidrigaylov; he will be from a different clan)

Lebezyatnikov (tbh he only stays because he was important for one scene LMAO)

Zosimov (He will be the medicine cat, obviously :3)

Porfiry Petrovich (He will be the clan deputy; I want him to hold some power in the clan, but not enough that he'd be able to exile Raskolnikov without having to prove he was the murderer. I still dk who the clan leader will be...)

Nikolay and Dmitri (will just be regular warriors that just so happened to see Raskolnikov at the crime scene.)

The rest of the characters I add will just be NPCs to fill out the clan. Maybe I'll base some of their personalities on the characters I left out. The left out characters are:

Raskolnikov's landlady (whose name I wouldn't even remember if it weren't listed at the end of the book) and Nastasya. As much as I liked Nastasya, there's no real reason to keep the landlady character in the AU at all, since landladies don't exist in Warriors. Like I said above, I may keep Nastasya as a background character, maybe just some concerned cat who comes to check in on Raskolnikov from time to time. Though I can't really think of a reason for why she would do that unless it were her job.

Natalia Egorevna. The only purpose she served in the book was that Raskolnikov was going to marry her in exchange for living in Zarnitsyna's apartment or whatever it's called. Dostoevsky had his reasons for including this, I'm sure, but I don't see it as all that important and it just doesn't make sense for Warriors. RIP.

Amalia Ivanovna. Another landlady. Again, I might keep her as a background character, but the only role she'd fill is stirring up trouble at Marmeladov's vigil and pissing off Katerina Ivanovna so bad she loses it.

Kapernaumov. He literally doesn't even speak once in the book. Does anyone care that I'm not including him?

Zametov, Nikodim Fomich, and Ilya Petrovich. They can all be condensed into one character, which is Porfiry. All the police station scenes can be changed so that it was Porfiry he was talking to instead. They serve their purpose in the book so that Porfiry would be suspicious of Raskolnikov without them having to meet face-to-face yet, but I can change things around to fix that. Maybe Raskolnikov goes to see the leader instead, and the leader wouldn't be suspicious but Porfiry is. Or I can just say the part where Raskolnikov meets him for the first time in the book isn't the first time in the AU, because why would Raskolnikov not know the clan deputy, at least as acquaintances?

OK rambling over! If no one reads this but me, that's fine, as I'm mainly keeping this so that I know who to make ref sheets for. Esp since I'm going to have to return my copy of Crime and Punishment to the library soon LOL. If anyone has suggestions for names or ways I can change characters and events to fit better into the Warriors universe, please tell me! :D

[kikizoshi]

I think I finally figured out how to describe how I like to think of Fyodor's thoughts about Nikolai.

My Fyodor sees Nikolai as a beetle on a chessboard. He doesn't see Nikolai as a piece he can direct, or even part of the game at all. If Nikolai happens to nudge a piece in another direction or even knock one off entirely, that still doesn't really have anything to do with the game--it's not like Fyodor can change or predict Nikolai's actions (well, actually, he might be able to, but he refuses to). So, the only thing he can really do is decide what he'll do in the wake of the beetle (since he also refuses to kill Nikolai).

The reason he doesn't just manipulate or kill Nikolai is that they're friends, and the foundation for their friendship has always been mutual understanding and honouring of free will. If Fyodor were to try to direct Nikolai, he'd be breaking his trust, and therefore forming cracks in the foundation of their friendship. If Fyodor were to kill Nikolai, he'd be killing his friend, which he absolutely will never do (unless either a, Nikolai asks, or b, Fyodor succeeds in his final goal).

A reasonable question would be, then, "Wouldn't Nikolai wanting/trying to kill Fyodor also form pretty massive cracks in their friendship?" And reasonably, it would, but Fyodor doesn't actually put any blame on Nikolai for that, surprisingly. In his mind, if Nikolai manages to kill him, that's Fyodor's own problem. Though, of course, that's all theoretical. I don't think, if Nikolai were actually to try to kill Fyodor, he would just be unaffected. I think he'd be pretty upset. But right now, he doesn't put much weight in it.

I'm still not quite sure how to put this... Fyodor isn't removing Nikolai's agency from the decision, but more like... he views Nikolai's struggle for freedom as something only Nikolai himself can resolve, and only Nikolai can decide what form his 'freedom' will take. Fyodor can listen and give his thoughts, but ultimately, he can only encourage and help Nikolai to fulfill his goal. And since he wants to help, he does what he can for Nikolai (like getting him that role in the DOA).

It's a bit unfortunate, then, when Nikolai decides that he needs to kill Fyodor, because that means Fyodor can't really help him at all (well, other than talk to him about it, but since he's not willing to try to manipulate Nikolai's thoughts, all he can really do is listen and give his reflections). But it's still kinda weird to me. Fyodor can acknowledge that Nikolai's fully capable of killing him, and if he really decided to, there's actually not much Fyodor could do about it while being unwilling to manipulate or kill him. He also thinks Nikolai's probably capable of killing him, capable of overcoming the 'innate moral brainwashing' not to.

But for some reason, Fyodor just... isn't concerned. He isn't upset with Nikolai. He isn't worried Nikolai's going to kill him. I guess it kinda reminds me of Dostoyevsky, and how he never seems very upset with his father, despite, well, how his father was (taken from his letters to his brother). I've found how Dostoyevsky talks about his father similar to how Marmeladov talks about Katerina Ivanovna (obviously, without any sort of romantic element). Though, there is a pretty massive difference there. While Dostoyevsky and Marmeladov refer to these people as having a 'childlike naivety' that keeps them from changing or growing, Fyodor sees Nikolai as a mature, perceptive and capable person who has the potential to change and/or resolve his philosophical problems.

Anyway, there's something about Fyodor that makes him unwilling to negatively judge those close to him, and so he ends up not having much negative feelings towards the thought of Nikolai killing him (only some small sadness). That's my theory, anyway. All I really know is that, for some reason, Fyodor isn't upset or concerned.

And when it comes down to it, if Nikolai kills him, Fyodor finds that to be more of a failing on his part than a fault with Nikolai. He respects that Nikolai will do whatever he thinks he has to to 'oppose God', but at the same time, Fyodor himself isn't willing to die for Nikolai. But if he does die to Nikolai, that would be due to his own lack of planning, and it's not Nikolai's fault that he failed. (That said, this is all theoretical in Fyodor's head. As I said, when it comes down to the act itself, were it to play out, I'm pretty sure Fyodor would be extremely upset that he failed his goal, and a bit scared to die in general. Not sure whether he'd be willing to kill Nikolai then, though.)

[fishtish]

[ID: A tweet from @ BatkaA02 that reads, “Scientific experiment: we gave a redditor a book to read that isn’t Harry Potter. Attached is a screenshot of a Reddit post from watzor2332 posted on Jan. 15, 2016. It reads, “The content isn’t difficult however what I personally really struggled with was the names. You have Rodion Raskolnikov, Avdotya Raskolnikov, Marmeladov, Svidrigailov, Razumikhin, Katerina Ivanovna etc etc. I had a hard time remembering who was who. My solution was, because I was reading on Kindle, to save the .mobi file to my computer, open it with a free editor I downloaded and do some bulk replaces. I replaced them with common English names, Pete, Roger, Kate etc.” / END ID]

[kishiqo]

so you're telling me that if Katerina Ivanovna hadn't been nice to Marmeladov, he wouldn't have been pushed to drink?

[mystacoceti]

“Well,” the orator began again stolidly and with even increased dignity, after waiting for the laughter in the [tavern] to subside. “Well, so bet, I am a pig, but she is a lady! I have the semblance of a beast, but Katerina Ivanovna, my spouse, is a person of education and an officer’s daughter. Granted, granted, I a ma scoundrel, but she is a woman of noble heart, full of sentiments, refined by education. And yet . . . oh, if only she felt for me! Honoured sir, honoured sir, you know every man ought to have at least one place where people feel for him !! But Katerina Ivanovna, though she is magnanimous, she is unjust. . . . And yet, although I realise that when she pulls my hair she only does it out of pity—for I repeat without being ashamed, she pulls my hair, young man,” he declared, with redoubled dignity, hearing the sniggering again—“but, my God, if she would but once. . . . But no, no! It’s all in vain and it’s no use talking! No use talking! For more than once, my wish did come true and more than once she has felt for me but . . . such is my fate and I am a beast by nature!”

“Rather!” assented the inn-keeper, yawning. Marmeladov struck his fist resolutely on the table.

“Such is my fate! Do you know, sire, do you know, I have sold her very stockings for drink? Not her shoes—that would be more or less in the order of things, but her stockings, her stockings I have sold for drink! Her mohair shawl I sold for drink, a present to her long ago, her own property, not mine; and we live in a cold room and she caught cold this winter and has been coughing and spitting blood too. We have three little children and Katerina Ivanovna is at work from morning till night; she is scrubbing and cleaning and washing the children, for she’s been used to cleanliness from a child. But her chest is weak and she has a tendency to consumption and I feel it! Do you suppose I don’t feel it? And the more I drink the more I feel it. That’s why I drink too. I try to find sympathy and feeling in drink. . . . I drink so that I may suffer twice as much!” And as though in despair he laid his head down on the table.

from Crime and Punishment, Fyodor Dostoevsky, tr. Constance Garnett

[raskolnikovbaby]

katerina, at marmeladov's farewell dinner: alright, listen up you little shits

katerina: not you rodion romanovich, you're an angel and i'm glad you're here

[vintageshits]

right?!?

can we also talk about katerina ivanovna???? she explains a lot of sonya’s sacrifices, and it’s also heartbreaking to see her downfall in such few pages and know her backstory just by marmeladov’s talk with rodya at the very beginning.

and i know rodya has already been mentioned, but i found myself wondering a lot about how he was when was a kid, and during his early youth/teenage years, and then comes dostoevsky to ruin my heart with that part where he goes to say goodbye to Pulcheria and lets us know that they were poor as sin, even when his father was alive, that he was a cry baby than ran to his mother when he needed to, and that he mourned his father’s death deeply, along with his mother and dunia.

bye, i’m gonna rip my face off.

so I’ve been rereading c&p (I’ve been stressed out lately and decided that would fix me) and am once again in awe of dostoevsky’s characterization. like obviously there’s raskolnikov and all his eccentricities that make him relatable in spite of himself. and razumikhin with his indomitable optimism and cute little colloquialisms (we do want money like a bear wants molasses you’re so right my friend). and nastasya who pokes fun at raskolnikov but still brings him meals even when the landlady tells her not to. the landlady doesn’t even appear other than peeking through the door and dostoevsky still gives her her due. and dunya who’s a paradoxical mix of coolness and tenderness (she is a raskolnikov after all). and don’t get me started on sonya who fills a trope in the story but is then made to feel the weight of it. and pulcheria and lizaveta and even I would argue alyona ivanovna plus many others I’m not mentioning. like who would want to be an extraordinary man when the ordinary ones are so much richer

[la-esmerqlda]

So I’ve been on the discord right and that inspired me to make this.

What crimes you would be arrested for based on your Dostoevsky kins

Rodion Raskolnikov: first degree murder for pushing your landowner down the stairs

Dmitri Razumikhin: running a red light to say hi to a friend on the other side of the street and causing two other cars to crash

Avdotya Raskolnikov: second degree murder and possession of illegal firearms #girlboss

Sonya Marmeladov: taking the wrong kid home from the park

Pyotr Verkhovensky: I don’t have enough space or time to list all of the crimes here. Just know that it is every single charge above a misdemeanor.

Nikolai Stavrogin: child abuse and abandonment

Alexei Kirillov: arson as well as breaking into a Chucky Cheese to find out what’s inside of the animatronics. Assaulted two employees in the process.

Ivan Shatov: tax evasion despite owing less than nine hundred dollars in taxes

Alyosha Karamazov: political terrorism against the federal government and leading a revolutionary domestic terrorist group

Ivan Karamazov: starting a successful black market ring, money laundering, blackmail, exhortation

Pavel Karamazov: curb stomping a child

Dmitri Karamazov: accidentally running your vehicle into an electrical wire, knocking it down, and burning down multiple buildings

Grushenka Alexandrovna: castrating various sex offenders and then sending it back to them in a jar that says “lmao I took your dick”.

Katerina Ivanovna: exploitation of workers, usage of child labor, and workplace safety violations

[alexsrussianlitblog]

Ten Interesting Russian Novels

Crime and Punishment - Fyodor Dostoevsky

Rodion Romanovich Raskolnikov, a former student, lives in a tiny garret on the top floor of a run-down apartment building in St. Petersburg. He is sickly, dressed in rags, short on money, and talks to himself, but he is also handsome, proud, and intelligent. He is contemplating committing an awful crime, but the nature of the crime is not yet clear. He goes to the apartment of an old pawnbroker, Alyona Ivanovna, to get money for a watch and to plan the crime. Afterward, he stops for a drink at a tavern, where he meets a man named Marmeladov, who, in a fit of drunkenness, has abandoned his job and proceeded on a five-day drinking binge, afraid to return home to his family. Marmeladov tells Raskolnikov about his sickly wife, Katerina Ivanovna, and his daughter, Sonya , who has been forced into prostitution to support the family. Raskolnikov walks with Marmeladov to Marmeladov’s apartment, where he meets Katerina and sees firsthand the squalid conditions in which they live. (https://www.sparknotes.com/lit/crime/summary/)

Fathers and Sons - Ivan Turgenev

Bazarov is a young, cynical man, and he prides himself on his self-proclaimed nihilist outlook on life. He is a complete turnaround from his father and the previous generation as he strongly rejects their romanticized lens of society. Bazarov’s controversy comes as he chooses to forego the age-old traditions of the society he was born into and his father celebrates. (https://www.sparknotes.com/lit/crime/summary/)

Dead Souls - Nikolai Gogol

Set in Imperial Russia, the plot of Dead Souls follows scandalized government official Pavel Ivanovich Chichikov as he manipulates the inefficiencies of the Imperial Russian government by purchasing the rights of dead serfs from middle-class landowners to amass a personal fortune. The golden thread that ties the disparate, episodic encounters that comprise Gogol's picaresque novel together is the purchase of dead serfs, also called dead souls. The Russian government taxed landowners according to the number of souls on a property. The infrequent nature of official censuses meant that landowners were often taxed for deceased serfs. The following sections are a summary of the book Dead Souls. (https://study.com/learn/lesson/dead-souls-by-nikolai-gogol-summary-analysis.html)

A Hero of Our Time - Mikhail Lermontov

A Hero of Our Time - Mikhail Lermontov

Grigory Pechorin is a bored, self-cented, and cynical young army officer who believes in nothing. With impunity he toys with the love of women and the goodwill of men. He impulsively undertakes dangerous adventures, risks his life, and destroys women who care for him. (https://www.britannica.com/topic/A-Hero-of-Our-Time-novel-by-Lermontov)

One Day in the Life of Ivan Denisovich - Alexander Solzhenitsyn

A wake-up call sounds in a Stalinist labor camp in 1951, on a bitterly cold winter morning. Ivan Denisovich Shukhov, a prisoner in Camp HQ, is usually up on time, but this morning he suffers a fever and aches, and yearns for a little more time in bed. Thinking that a kindly guard is on duty, he rests past the wake-up call a while. Unfortunately, a different guard is making the rounds, and he punishes Shukhov for oversleeping with three days in the solitary confinement cell, which the characters call “the hole.” Led off, Shukhov soon realizes that the sentence is just a threat, and that he will only have to wash the floors of the officers’ headquarters. Shukhov removes his shoes and efficiently completes the job, proceeding quickly to the mess hall, where he worries he has missed breakfast. He meets the sniveling Fetyukov, a colleague who has saved Shukhov’s gruel for him. After breakfast, Shukhov heads to sick bay to get his fever and aches examined. The medical orderly, Kolya, tells him he should have been ill the previous night, since the clinic is closed in the morning. Shukhov’s fever is not high enough to get him off work. (https://www.sparknotes.com/lit/denisovich/summary/)

The Funeral Party - Lyudmila Ulitskaya

August 1991. In a sweltering New York City apartment, a group of Russian émigrés gathers round the deathbed of an artist named Alik, a charismatic character beloved by them all, especially the women who take turns nursing him as he fades from this world. Their reminiscences of the dying man and of their lives in Russia are punctuated by debates and squabbles: Whom did Alik love most? Should he be baptized before he dies, as his alcoholic wife, Nina, desperately wishes, or be reconciled to the faith of his birth by a rabbi who happens to be on hand? And what will be the meaning for them of the Yeltsin putsch, which is happening across the world in their long-lost Moscow but also right before their eyes on CNN? This marvelous group of individuals inhabits the first novel by Ludmila Ulitskaya to be published in English, a book that was shortlisted for the Russian Booker Prize and has been praised wherever translated editions have appeared. Simultaneously funny and sad, lyrical in its Russian sorrow and devastatingly keen in its observation of character, The Funeral Party introduces to our shores a wonderful writer who captures, wryly and tenderly, our complex thoughts and emotions confronting life and death, love and loss, homeland and exile. (https://www.goodreads.com/book/show/837341.The_Funeral_Party)

Eugene Onegin - Alexander Pushkin

The main themes of the novel are poetry, literature, romance, passion, cynicism, and remorse. In contrasting Lensky’s hotheaded passion with Onegin’s cold cynicism, Pushkin shows the folly of both temperaments; while Lensky’s arguably unrequited, blind love for a woman leads him to his doom, Onegin’s cold aloofness causes him to miss an opportunity for romance which he will forever regret. Another core theme of the novel is the comparison between literature and real life; the poetic style in which the novel is narrated makes the reader share Tatyana’s suspicion that Onegin is not a real person but a tragic hero from one of his own novels. (https://www.supersummary.com/eugene-onegin/summary/)

Life and Fate - Vasily Grossman

A book judged so dangerous in the Soviet Union that not only the manuscript but the ribbons on which it had been typed were confiscated by the state, Life and Fate is an epic tale of World War II and a profound reckoning with the dark forces that dominated the twentieth century. Interweaving a transfixing account of the battle of Stalingrad with the story of a single middle-class family, the Shaposhnikovs, scattered by fortune from Germany to Siberia, Vasily Grossman fashions an immense, intricately detailed tapestry depicting a time of almost unimaginable horror and even stranger hope.Life and Fate juxtaposes bedrooms and snipers’ nests, scientific laboratories and the Gulag, taking us deep into the hearts and minds of characters ranging from a boy on his way to the gas chambers to Hitler and Stalin themselves. This novel of unsparing realism and visionary moral intensity is one of the supreme achievements of modern Russian literature. (https://www.amazon.com/Life-Orange-Inheritance-Vasily-Grossman-ebook/dp/B007WL0LFY/ref=sr_1_1?s=books&ie=UTF8&qid=1412777502&sr=1-1&keywords=Life%25252Band%25252BFate%25252Bby%25252BVasily%25252BGrossman&tag=offtheshelf-20)

And Quiet Flows the Don - Mikhail Sholokhov

The plot revolves around the Melekhov family of Tatarsk, who are descendants of a Cossack who, to the horror of many, took a Turkish captive as a wife during the Crimean War. She is accused of witchcraft by Melekhov's superstitious neighbors, who attempt to kill her but are fought off by her husband. (https://en.wikipedia.org/wiki/And_Quiet_Flows_the_Don)

The Brothers Karamazov - Fyodor Dostoevsky

The Brothers Karamasov is a murder mystery, a courtroom drama, and an exploration of erotic rivalry in a series of triangular love affairs involving the “wicked and sentimental” Fyodor Pavlovich Karamazov and his three sons―the impulsive and sensual Dmitri; the coldly rational Ivan; and the healthy, red-cheeked young novice Alyosha. Through the gripping events of their story, Dostoevsky portrays the whole of Russian life, is social and spiritual striving, in what was both the golden age and a tragic turning point in Russian culture. (https://www.amazon.com/Brothers-Karamazov-Fyodor-Dostoevsky/dp/0374528373/ref=sr_1_1?s=books&ie=UTF8&qid=1412775443&sr=1-1&keywords=the%252Bbrothers%252Bkaramazov%252Bby%252Bfyodor%252Bdostoevsky&tag=offtheshelf-20)

[macethelaboratoryrat]

Back to my old (what's the expression?)... chopping block?... cutting board... thing... I don't know.

The Marmeladovs... or I guess Marmeladovas at this point. The funeral: Katerina Ivanovna is evicted just because the landlady gets a little too pissed off, not because of her actions but the party attendees. The landlady was just annoyed and decided to ruin an entire family's lives on the day of their husband's/father's funeral. Wow, ok.

The worst part to me is that Sonya leaves, and I imagine she thinks leaving is inconsequential, because she's been humiliated and she doesn't know her family has been evicted. And then Katerina Ivanovna is left to her own devices, and she ends up leaving the party all together-- leaving her children in the house, with no one to take care of them, will all of the hubbub that was going on, and the landlady who wants them out of there-- for reasons that could only be understood by Katerina Ivanovna and her special mind.

And then the absolute main character energy Rodion has of "I guess it's time to go confess to Sonya now", with absolutely no comprehension of what's going on, no awareness of her mental state or the state of the family he assumed himself to shepherd over-- what? two days before. And so, he also just leaves the kids there...

And those kids are in that house with no parents or guardians... I just... like... everyone forgot about the children. Except for the narrator-- Dostoevsky I suppose-- who pointed them out so that we wouldn't forget.

[ladiesdrinkpurealcohol]

Crime and punishment characters as pictures saved on my phone

Raskolnikov

Razumikhin

Alyona Ivanovna

Porfiry Petrovich

Katerina Ivanovna Marmeladova

Semyon Marmeladov