19th Century Theories in Dostoevskys Crime and Punishment Essay

19th Century Theories in Dostoevskys offence and Punishment   I teach you the Superman. Man is something that has to be surpassed. What have you d unitary to surpass him? These words said by Friedrich Nietzsche encompass the theories present in Dostoevskys nineteenth century novel, Crime and Punishment. Fyodor Dostoevsky, living a life of suffering himself, created the character of Raskolnikov with the preconceptions of his own sorrowful and struggling life. Throughout his exile in Siberia from 1849-1859, his sentiments of suffering, sorrow, and the common man surfaced and heightened, inspiring him to experience writing Crime and Punishment in 1859.         The main motif in this novel is that of suffering. It is apparent that all characters, major and minor, experience some sort of ingrained or external affliction. The overall theme of the work is that all mortal men suffer, and that buyback can not be obtained unless this anguish is present. Dost oevskys protagonist, Raskolnikov, must make grow and realize this fact to overcome his conflicts and reach the salvation of peace and tranquillity. Volumes and volumes of critique can be written on where this suffering originated, exclusively Dostoevskys main denseness and focus is not where, but why suffering must exist and how this suffering can be overcome. This is seen from the fact that throughout the six sections of the novel, only one section is focused on the origin of the torment - the Crime, and the remaining five sections are concentrated on Raskolnikovs path to overcoming this anguish - the Punishment.         By focusing simply on the punishment, the internal an... ... all serve a justified purpose in benefiting his moral and rational states. He overcomes the common man through the salvation he obtains from this linear evolution of trials. He suffers not from Marxist classes, but from internal struggle, excluding him as a member of the proletariat, or common man. Though not physically or emotionally fit to survive, his confession becomes his salvation, his survival, and his disclaimer in the Darwin theory of surviving. The common man may survive because he is fit to survive, but Raskolnikov survives because he chooses to survive. Unlike Freuds theory that the everyday man lives his life through his ego, Raskolnikov makes his decisions based on his superego, doing things not just because it would be rational, but because that it the way it should be done.  So then, Is Raskolnikov a Superman? Yes.