#sonya marmeladov

[adobongsiopao]

Jane Eyre 🤝 Sonya Marmeladova

Two women able to forgive and show empathy to the men they love (Mr. Rochester and Raskolnikov) but told them to seek God to gain redemption and take responsibility by telling the truth.

[wretchedvulgarian]

“So you pray very much to God, Sonya?” he asked her.

Sonya was silent; he stood beside her, waiting for an answer.

“And what would I be without God?” she whispered quickly, energetically, glancing at him fleetingly with sudden flashing eyes, and she pressed his hand firmly with her own.

— Fyodor Dostoevsky, Crime and Punishment (trans. Pevear and Volokhonsky, pp. 323-4)

[possessedbydevils]

My friend gave me a kids ver of cno with illustrations

It's so cute 😭

[deathbypickles]

been over a year since i made this redraw and subsequently forgot about it LOL

[archiveandpunishment]

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

[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.

[boisterous-retribution]

i think it should be socially acceptable to talk about your favourite fictional character out in public for no specific reason at all. like if you were to come up to and ask me how i'm doing, you should be okay when i tell you, "hey did you know this dude that killed a pawnbroker and he happened to be a Napoleon fanboy? see how crazy is that?" which is more interesting? me or the Napoleon fanboy? you tell me.

[killkaramazov]

people will clown on me for this because he killed two people but I just love how sweet Rodya is. He is so cruel and mean and uncouth a lot or even most of the time, but then he does things like constantly thoughtlessly give the last of his money away to anyone who needs it more than him, cries when he’s in his psychotic episode and can’t remember who Razumikhin is, has that very sweet and tender moment with Polenka, begs the police to get a doctor for Marmeladov and says he’ll pay for it despite having nothing at all himself. At the same time he is capable of terrible things and is often terrible specifically to the people who love him and want to help, and oscillates wildly between the two. It’s that juxtaposition that holds so much of the interest of the narrative itself for me. A lot of people focus on how awful he is and while that is also honestly such a fun part of his character, that alone is not what makes him compelling to me. I have so much tenderness for his character despite what he’s done because he is just so mentally ill and has been through and been witness to so much hardship. He is not easy to love or understand but it’s so beautiful and sweet that Razumikhin, Sonya, his family and his other friends love him so dearly anyway. I truly think the suffering he is constantly surrounded by is the thing that has driven him to psychosis. Specifically I think of when he goes to the police station in part two and says he has been “shattered by poverty.” In these little moments of sweetness and lucidity towards others, even in the depths of his illness, we can still see the little boy in him who so desperately wanted to help that poor horse.

[everything-on-red]

i feel the need to add to the sonya propergander. because she is falling behind. this should not be happening.

like ok yeah dunya is composed. dunya makes sacrifices. dunya has a gun.

but so much of sonya’s entire heart and soul runs through the narrative’s veins. she has unspoken depths that she reveals through her devotion to god and her family and her father and raskolnikov, but these depths are not simple and pure. she has as fraught a relationship with god as she does with her family, but she loves them even more for this. she feels an unwavering obligation to the work of compassion and this scares her as much as it leaves her in awe of her own capability for forgiveness. she doubts the validity, the usefulness of her suffering. she feels the immense power of the small moments of love that lie all around in this story of grime and pain and finality. she is not a virginal paragon, she is not a self-flagellating hedonist, she is not a legal or moral or social genius, she is not a perfect victim. she is enough.

Dunya propergander: pls pls pls pls

Sonya propergander: Main girl. Love her, so nice & sweet & very nicesies

[hamliet]

Hey first just wanna say it’s cuz of you that I caught an intrigue for Russian literature, and have decided to read most of dostoevskys bibliography, and I just finished crime and punishment. Obviously I’m absolutely floored by the entire thing but someone that stood out to me was svirdgailov. Those last couple scenes of him were absolutely amazing and had me reeling, I wanted to know your opinion on him

Hello! And ahhh I'm so happy to hear that!!

Svidrigailov is indeed a very interesting character. He's an antagonist, but the vast majority of his crimes are in the past. Yet they're significant: he rapes an underage girl and she commits suicide. He murders his wife. He propositions Dunya and then corners her. But he also then does some charitable things like actually providing for Sonya's stepsiblings after Katarina dies, and giving Sonya enough money to leave her profession and move to Siberia with Raskolnikov.

So, he's done the worst deeds imaginable in the story--worse than Raskolnikov. And rather than face guilt, he kills himself. Yet, he also is the one who provides for others for absolutely no benefit to himself.

You'll often find Sonya and Svidrigailov compared as foils who represent two alternate paths for Raskolnikov: life or death, suffering or escape.

Rask is obviously another foil. Raskolnikov's name means "schism." and that's because he's both extremely generous and extremely cruel--kinda like Svid. He also donates all his money to Marmeladov's family before he even knows them, when it benefits him not at all. Yet he murders Alyona to benefit humanity... and Lizaveta to protect himself.

The guilt over his crimes haunts him and forces him to face suffering via turning himself in and serving his sentence. But he's in part only able to do this (and eventually to truly repent) because of love. His family and Sonya love him. Svidrigailov wants Dunya to be his Sonya; however, there are some key differences. Raskolnikov empathizes with Sonya, but Svidrigailov doesn't empathize with Dunya very much.

I'd say he desperately wants to use Dunya to feel better about himself. And he wants her to love him, because he's incredibly lonely and lost. When she finally convinces him that she never, ever will, he then donates all his money to Sonya (whom he sees as Raksolnikov's Dunya, and Dostoyevsky makes this especially clear when Svidrigailov literally eavesdrops on Sonya and Raskolnikov's conversations) and commits suicide.

Yet the problem is that Svidrigailov doesn't see Dunya in the same human sense that Raskolnikov sees Sonya--he sees her as a Good Girl who can save him from himself, but doesn't actually try to explore what makes her "good," or what she wants out of life. Even his chasing Dunya down comes after he betrayed her by propositioning her while he was her married employer, then allowed her to be badmouthed and fired which could have destroyed her entire life, and then he made amends... yet murdered his wife to chase after Dunya. That would be like Raskolnikov murdering Katarina Ivanovna and Sonya's siblings to chase after her. It kinda provokes a different response.

Svidrigailov wants to be saved from himself. But the way to save himself is to look at himself at his core, to kiss the earth and confess, as Sonya tells Raskolnikov to do. Raskolnikov's motives are also very interior, and they have always been so--he wanted to prove himself an ubermensch of sorts, but failed. Svidrigailov's seem to be more about avoiding himself, yet still, as with Raskolnikov, the truth of who they are still seeps out despite attempts to avoid it.

You can only run so far from yourself.

Svidrigailov is a tragic character, and if you were drawn to him, he's also a prototype for other characters in Dostoyevsky's works: Rogozhin from The Idiot, and most obviously, Stavrogin from Demons--in which essentially the entire book revolves around the enigma that is Stavrogin.

[kwebtv]

Crime and Punishment - BBC Two - February 12-13, 2002

Crime Drama (2 Episodes)

Running Time: 90 minutes

Stars:

John Simm as Rodya Raskolnikov

Ian McDiarmid as Detective Porfiry Petrovich

Shaun Dingwall as Razumikhin

Geraldine James as Pulcheria

Kate Ashfield as Dounia

Lara Belmont as Sonya

Mark Benton as Zosimov

Katrin Cartlidge as KaterinaJo

Alice Connor as Polya

David Haig as Luzhin

Martin Hancock as Koch

Valerie Lilley as Pawnbroker

Anna Hope as Nastasya

Philip Jackson as Marmeladov

Sean McKenzie as Semyonobvich

Roger Morlidge as Lt. Gunpowder

Jake Nightingale as Artisan

Tim Potter as Nikolai

Nigel Terry as Svidrigailov

Darren Tighe as Zamyotov

Heather Tobias as Lizaveta

[fttlouie]

Crime and Punishment in Young Royals

I don't know if there is already existing meta on this but I don't know how I could have missed good ol' Dostoyevsky reference in a show that regularly talks about "privilege and punishment'. It feels so obvious now that I have noticed that August is our Raskolnikov and Sara being Sonya.

There are several parallels and its been a while since I've visited the book so I will lay out things that I remember. I also have some speculation about season 3 on here but take it with a grain of salt.

Raskolnikov fantasises several times about killing the pawn broker. aka. committing the crime, but does not do so until he finds out the situation that his sister Dunya is in due to his family's poverty. Similarly, August does not post the video aka. commit the crime, but only does so after his family's financial position comes to light, also after his mother's situation and her poverty is known.

Speculation: One fascinating thing here is Raskolnikov despises his sister's (Dunya) position while August hates his mother's position. In Crime and Punishment (C&P), eventually Dunya leaves her fiancée. I am not sure if the same will happen to his mother by her divorcing her now husband. The parallel is strong but the story is not an exact replica so it might not happen.

2. After he commits the crime, Raskolnikov conceals the stolen item aka. result and weapon of crime. Similarly with August, he hides the phone aka. the result - video, and weapon - the phone.

3. Raskolnikov then becomes delirious with the guilt and weighing exhaustion of crime until he faces the consequence. We know from Season 2 that August feels guilty and illness can be the nervous attack that occurs in S 1 Ep 1 infront of Sara.

Speculation: It is known in the story that Raskolnikov becomes progressively worse in his delirium until he confesses. He also becomes apathetic to his crime and the morality of his actions during his journey, all which we can see with August. However, August like Raskolnikov might be given reduced statement (Raskolnikov is sent to prison for 8 years for murders, since August's crime is of lesser magnitude, he probably wont serve in prison or his sentence will be very significantly reduced) and is considered to be ultimately redeemable once he faces consequence of his actions. He will also be happier and freer, aka. he might leave his addiction with pills behind by the end of show.

4. Raskolnikov angers the workmen and his caretakers by asking casual questions about the crime he committed, even suggesting that they accompany him to the police station to discuss it. We know that August reaches this stage several times subtly as he asks about what would happen if he confesses and is present in the room when rest of the boys are discussing who filmed the video.

5. As Raskolnikov contemplates whether or not to confess, he sees Marmeladov, Sonya's (aka Sara) dad, who has been struck mortally by a carriage. He rushes to help and succeeds in conveying the stricken man back to his family's apartment. However, Marmeladov ends up dying in his daughter's arms. Raskolnikov later hands Sonya money for his funeral.

This is a speculation now but I am wondering if we will get any interaction between Mikke and August in Season 3. If there is, it would probably be in the context of August helping Sara. In C&P, Raskolnikov also acts as the catalyst to reconciliation between Sonya and Marmeladov, excited to see if the writers follow through to show that August will bring Mikke and Sara into an understanding. Hopefully Mikke won't die like C&P, although he might be sent away (maybe he will be punished for his alcohol trade or drugs idk).

6. In C&P, Sonya is pure and righteous although she falls in love with a criminal. Sonya also urges Raskolnikov multiple times to confess his crime to free himself of the mental burdens. Raskolnikov goes back and forth few times but ends up confessing because of her. We can see that in YR, Sara is actually primary reason August takes a step towards his redemption, although he goes back and forth with it.

Speculation: Sara and August will reconcile. In C&P, Sonya helps Raskolnikov when he is serving his sentence in Syberia. Sonya loves Raskolnikov despite knowing his darkest side, this is true for Sara who loves August's true self. Only hurdle is Simon, who is a wild card in their love story as his character is not present in C&P. Despite that, very high chance that atleast there will be an hopeful ending of being together in the future for Sara and August.

7. Another fascinating parallel between C&P and YR that solidified to me that the story follow closely to one another is the fact that before Raskolnikov goes to confess his crime, there is already someone else, Porfiry, who confesses to his crime saying it is them. This Porfiry is clearly Alexander. However, after Porfiry's confession, Raskolnikov aka August, becomes more fearful that he will never have a peace of mind which drives him to confess his crimes in great detail.

Speculation: Alexander has done his job as the decoy already in season 2. It is unlikely that he will play a role that parallels C&P. Any more action that this character takes will be entirely new which exists outside the C&P parallel, because according to C&P, this is the end of his role in the story.

I can't remember anything else for now. Here are some interesting details about C&P, do what you will with this information:

Dunya's fiancée commits suicide after she breaks off their engagement. Here, Dunya is August's mom, therefore the fiancée could either be August's real dad who already committed suicide or his step-dad who is yet to meet the same fate. I think it is the former but idk.

Raskolnikov's motive for committing the crime was the class disparity in then Russia. He was, in a sense, jealous that some people can get money and status in the society while he has to be in financial hardship. Very close to August's motive although he belongs in the same social class.

Sonya is accused of stealing the money that Raskolnikov gives her for funeral for the death of Marmeladov in C&P. Similarly, August's kindness to Sara could be misunderstood by other people in a major way, either this has already happened subtly in Season 2 or it has yet to come in a big way in Season 3, especially to do with money and reputation.

Some story details may vary as I wrote this from memory, please double check the source to confirm and let me know if there is existing meta on this.

[everything-on-red]

this is such cool analysis. i think i'll always associate the book more with summer, because i feel like that contrast is a lot of what gives the book its character, but i can totally see why someone would label it as a winter book. this definitely extends to a lot of other themes of contrast in the book, especially with light. where the world is perpetually bright, but raskolnikov's mind, and by extension his room, is dark and murky. another reason why i really love sonya's candle motif--her gentle introduction of light and faith into his life is not harsh and all-consuming, like the heat of summer and the midnight sun, but yielding and enduring, like warmth in the cold of winter. she herself is suffering through an internal winter of sorts.

still summer vibes for me though. maybe it's because i tend to get more heavily depressed in the summer, idk lol.

Crime & Punishment is winter, Brothers Karamazov is autumn, The Idiot is spring, argue with the wall

[possessedbydevils]

Love how Raskolnikov is trying so DESPERATELY to justify his actions by comparing himself to Napoleon. He's trying SO HARD to convince himself that he isn't like the old woman he killed, Pyotr who wants a wife that will let him control her, and Marmeladov who uses the money Sonya gathers by destroying herself. Bro is so delusional for saying "Wait no, I'm better than them, they corrupt the youth and are the cause of bad things in other people's lives but I'm better because l killed the cause of it. Even though l killed her sister, who did nothing wrong, too, sacrifices must be made to erase the bad. Napoleon did TONS of bad things to other people, including his country, but the good things he did had more effect and therefore he is praised instead of insulted, so who cares if l murdered a girl who wasn't like her big bad sister? My good doing(killing the evil, old woman) will surely cover the bad thing l did, which is killing her little, insulted sister... Right?". Like that's a whole other level of hypocrisy.

[kikuism]

i love how raskolnikov's guilt manifests in so many different ways—the feverish deliriums yes but also his insistence in saving a dying marmeladov and providing for his family as though he can somehow compensate for the lives he's taken. how he feels he would be able to suffer easily if he wasn't so loved by those around him.

the way he acknowledges this love despite the absolute wretched state he's in ... 'he's capable of loving deeply' in regards to razumikhin and 'mama, no matter what happens ... will you go on loving me as you do now?' it's like in the barren scorched wasteland of his fevered mind, love is the only thing that's left. i teared up when he visited his mother for the last time.

and his oscillating state of mind in regard to the murder. sometimes he justifies it, that he did it for the greater good, other times he insists it was for his own sake alone, to see whether or not he could take that power in his own hands

throughout the novel raskolnikov grapples with whether he sees the murder as a crime or not and whether he himself feels guilt at his actions or not. at times he is insistent he has done nothing wrong ...

... yet at times he is so assured of his own guilt, what a relief it would be to finally turn himself in and be done with this whole ordeal, to the point where the thought of being found innocent terrifies him. he's feverish and delirious and unable to function and wants nothing more than to end this torment.

there's also an interesting discussion on the effects of the environment, from the suffocating, cramped, squalid living quarters raskolnikov lives in—to the point where someone comments to him that he needs 'air, air, air'—to the poverty crushing down on everyone in petersburg.

was it circumstance that drove raskolnikov to murder? or was it the innate workings of his own mind, this question of whether or not he could take that first step; was he capable of harnessing such power for himself? but both are so inextricably linked that it's impossible to pinpoint from where the impulse arose.

i also noticed an interesting pattern at three crucial moments: at the time of the murder, at a time of guilt, and at the time of confession. these three scenes all contain the element of childlike fear.

lizaveta looks at him with childlike fear right before she is murdered, sonya looks at him with childlike fear hearing his confession, and raskolnikov insists with childlike fear that he is not a murderer. at times of great duress you are reduced to a mere child, still innocent, still protected from the harsh realities of life. fear reduces you to a childlike state, where you aren't in complete control of your faculties. this marks raskolnikov's final confession, spoken clearly and without hesitation, as the return of his rationality and sensibility, showing that he is fully committed to suffer for what he's done.

no matter how he justifies it, raskolnikov knows he has done something irreversible and that he will never be the same.

but at the very end:

“love had resurrected them; the heart of one contained infinite sources of life for the heart of the other.”

[everything-on-red]

c&p vent art i made a few days ago with a banger quote.