"Raskolnikov's Dream in Crime and Punishment" Summary In Raymond J. Wilson's "Raskolnikov's Dream in Crime and Punishment" he examines the ways in which Raskolnikov's horse-beating dream can help us interpret the nature of his character.
Wilson then discusses RaskolnikoVs placement in the dream, saying that "All of the characters of the dream are the dreamer" (Wilson). He then explains the role of the little boy, the onlooker, and the brute in his personality then ventures further, putting them into more specific situations seen throughout the book.In the first section Wilson describes Raskolnikov's feelings of guilt he feels in his dream and relates the guilt and horror the little boy because of his inability to stop the Mikolka from administering the crime. Then Wilson shows Raskolnikov's reluctance to admit to his crime and how it linked it to that of the little boys father, an onlooker so tells him to keep quiet. Wilson states that "Each of the three main actors in Raskolnikov's dream--Mikolka, little boy, and onlooker--reflect ways of reacting that Raskolnikov consistently demonstrates in the novel"(Wilson).Wilson then links these examples from Raskolnikov's dream to other instances inside the book.
First with the peasant Mikolka, then in RaskolnikoVs interviews by displaying a different character in each interview. Wilson then states that even with this information the "real test of the dream characters' explanatory value is whether they contribute to the reader's understanding of Dostoevsky's depiction of RaskolnikoV' (Wilson), then he proceeds with eight examples, demonstrating their value. 1) Raskolnikov's reunion with his sister: In this selection Raskolnikov rashly enounces his sister's wedding, thinks it over distancing himself from the situation, then has a little public reconciliation. He behaves as the brute in his act of outrage at his sister. Then he realizes that is was none of his business showing the view of the onlooker.
Finally he makes things right with the "charm of a little boy' (Wilson). (2) The murder itself. In this selection Raskolnikov before he commits the crime the "the onlooker [in his character] feels no identity with the Raskolnikov who can be brutal".But when the time for the murder arrives like Mikolka in RaskolnikoVs dream he trikes and kills Alyona. Like the boy in the dream Raskolnikov reacts in horror at the crime.
(3) Raskolnikov's meeting with Zametov. In this selection Raskolnikov tries to talk of the axe murder as if it were not himself, but his murderous personality arises illustrating to Zametov RaskolnikoVs brutish nature. Then pulls himself together successfully acting as if the murder was none of his business appearing innocent like the child. (4) Raskolnikov's return to the scene of the crime. In this selection Raskolnikov viciously insults Razumikhin like the brut.Then like the observer he tood idle watching an attempted suicide.
He must then go to the scene of the murder pretending to not be associated with the murder. MarmeladoVs death distracts him and he gives all his money to his widow. "This little-boy generosity stirs Raskolnikov to great JOY' (Wilson). (5) The confession to Sonya. In this selection overcoming the onlooker urging him not to.
She vows to follow him to prison and then in declining the offer, the voice of the murder reemerges. (6) Raskolnikov's impulse to murder Svidrigaylov and to commit suicide. In this selection Raskolnikovs ecret is no longer only known by him but by several.Wilson remarks that the "onlookers indifferent position more difficult to maintain" (Wilson). Then the Murder was dominant when Raskolnikov decides to kill Svidrigailov, but then in a turn of events Raskolnikov debates suicide, when Svidrigailov Jumps off himself. (7) Raskolnikov's last interview with his mother.
In this selection Raskolnikov exerts his personality of the boy when confessing his crime to his mother, who cries embracing him. He described his feeling as an external emotion that had not happened to him t all, combining the murder and the onlooker. 8) Raskolnikov's final confession to the police, and the eventual reintegration of his personality. In this selection Raskolnikov confesses his crimes to the police. He begins this by deciding that he can no longer pretend like it was none of his business.
But he still holds contempt for Alyona, like Mikolka in his dream. The problem is that he cannot seem to grasp the crime in what he did, assuming characteristics of the onlooker. He finally accepts this reality allowing the "little boy's triumph [to] pave the way for the slow emergence of a coherent personality.