Question for the Day

In the Novel, Crime and Punishment, Raskolnikov is depicted, at first, as a self-centered individual with little to no regard for other peoples' feelings. This is true for most of the novel, in fact. This changes, however, during a crucial part in the novel, and allows the reader to realize that Raskolnikov does have empathy for others.

At what point in the novel does this happen?
What other significant event happens during this time?

No, there are no hints. I have been asked to make these questions, well, difficult! I will present one a day (or try to) until such time as others have completed with the novel and grow tired of discussing it, or tired of my questions. They will all appear in this thread, so come back daily to see the question(s).

Acquaintance with Marmeladov's family; and seeing how miserable they are and what sacrifice Sonya made for them and realization of beauty of her soul.

Perhaps his dream about the horse being whipped.

Bazarov is close, but no cigar. I will let the others chime in first before I reveal the answer. :bawling:

Speaking to Marmeladov in the bar while everyone else ignores him? I could have sworn it was the horse, too.

Is Raskolnikov's empathy for others hinted at even in Chapter 1?

In the corner a light was burning before a small ikon. Everything was very clean; the floor and the furniture were brightly polished; everything shone.

"Lizaveta's work," thought the young man. There was not a speck of dust to be seen in the whole flat.

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Originally Posted by mea505

In the Novel, Crime and Punishment, Raskolnikov is depicted, at first, as a self-centered individual with little to no regard for other peoples' feelings. This is true for most of the novel, in fact. This changes, however, during a crucial part in the novel, and allows the reader to realize that Raskolnikov does have empathy for others.

At what point in the novel does this happen?
What other significant event happens during this time?

No, there are no hints. I have been asked to make these questions, well, difficult! I will present one a day (or try to) until such time as others have completed with the novel and grow tired of discussing it, or tired of my questions. They will all appear in this thread, so come back daily to see the question(s).

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This is just a shot in the dark, but is it when Raskolnikov goes to Sonia's house (chapter 4 of part 4)? The part when Raskolnikov makes her read the resurrection of Lazarus?

An excerpt from the chapter:

Five minutes passed. He paced silently up and down without looking at her. Then he went up to her. His eyes flashed. He took her by the shoulders with both his hands and looked straight into her grieving face. His glance was dry, inflamed, piercing; his lips trembled violently. Suddenly and swiftly he stooped all the way down, fell to the floor, and kissed her foot. Sonia drew back from him in horror, as from a madman. Actually, he looked quite mad.

"What are you doing that for, to me of all people?!" she muttered, and turned pale. Her heart pulsed with great pain.

He rose at once. "It wasn't you I bowed down to. I bowed down to all of suffering humanity," he said wildly, and walked off to the window. "Listen"---after a minute he turned to face her---"I told a blackguard just now he wasn't worth your little finger . . . I told him I did my sister an honor today by seating her beside you."

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Originally Posted by Dori

"...I told him I did my sister an honor today by seating her beside you."

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Dostoevsky at his subtle best!

In Part IV, Chapters I-III, it is the breaking of the engagement between Dunya and Luzhin, which is a major event not only for Dunya but also for Raskolnikov. His sudden irritation after Luzhin's departure seems, at first, abrupt, but a close look at the timing of his decision to leave reveals its significance. Only after he realizes that Razumikhin will take care of Dunya and Pulcheria Alexandrovna does Raskolnikov announce his need to separate from them. Tainted by his crime, he wishes to distance himself from them, but is unwilling to do so until he knows that they will be cared for. This consideration marks the beginning of a character change; for the first time, he seems to care for others and not just himself.

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Originally Posted by mea505

In Part IV, Chapters I-III, it is the breaking of the engagement between Dunya and Luzhin, which is a major event not only for Dunya but also for Raskolnikov. His sudden irritation after Luzhin's departure seems, at first, abrupt, but a close look at the timing of his decision to leave reveals its significance. Only after he realizes that Razumikhin will take care of Dunya and Pulcheria Alexandrovna does Raskolnikov announce his need to separate from them. Tainted by his crime, he wishes to distance himself from them, but is unwilling to do so until he knows that they will be cared for. This consideration marks the beginning of a character change; for the first time, he seems to care for others and not just himself.

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Ah, close enough.

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Originally Posted by mea505

Only after he realizes that Razumikhin will take care of Dunya and Pulcheria Alexandrovna does Raskolnikov announce his need to separate from them...but is unwilling to do so until he knows that they will be cared for...for the first time, he seems to care for others and not just himself.

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Sorry, Mea, but I am unconvinced. This is a turning point only in the sense that Raskolnikov is now free to give himself up to the police.

Irrespective of Razumikhin's kind intervention, Raskolnikov's imminent separation from his family is almost inevitable, whether by flight, suicide or prison. Caring for his family is becoming impossible for him.

I think Raskolnikov deeply cares 'for others and not just himself', from the first chapter onwards. The novel hinges on his deep compassion for Lizaveta, Marmeladov, Sonia, Dunya, the molested girl, the whipped horse, and others.

The whipped horse is very explicit, and in my opinion placed there by Dostoevsky for the purpose of conveying Raskolnikov's compassion.

After reading the posts, I do concede, now, that there were more than one instance in the novel when he had a turning point, with respect to his character; therefore, I stand corrected!

Thanks for the help with the picture, Bazarov! I finally got it to upload.

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Originally Posted by mea505

there were more than one instance in the novel when he had a turning point, with respect to his character

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I don't believe Raskolnikov had a turning point at all.

Unlike Svidrigailov, Raskolnikov is, by nature, a compassionate man. That is the paradox of the novel: Raskolnikov is compassionate but also lethally rational.