Sin and Salvation: A Spiritual RebirthSay no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Sin is an inextricable force that entangles an individual who has committed a crime; only through confession can a man be freed from his sin. In Crime and Punishment, Dostoyevsky manifests Raskolnikov's evil and goodness, describing the need for him to change – the need to confess his sin. Throughout the novel, Raskolnikov is lost and suffers the consequences of his sin. Although he is in a struggle between good and evil, Raskolnikov cannot simply renounce his sins through his own determination; therefore, he must abandon his will and pride and be willing to confess his sin. By emphasizing the theme of confession and redemption, Dostoyevsky effectively depicts the spiritual rebirth that Raskolnikov experiences when he confesses, particularly through the story of Lazarus. Through the biblical allusions in Crime and Punishment, Dostoyevsky illustrates the theme of redemption as Raskolnikov experiences sin and atonement. While Raskolnikov commits the crime of murder and lives in sin, Dostoyevsky emphasizes Raskolnikov's life, revealing the human and sinful nature of those who lack God. By demonstrating vice in Raskolnikov, Dostoevsky reveals Raskolnikov's sinful nature. He is not only a sinner because of his crime of murder, but also because of his self-confidence and self-centeredness; Raskolnikov maintains an inherent and strong belief in himself and places “his trust in himself, not in prayer” (Dostoevsky 88). Ironically, Raskolnikov is confident in himself, even though he is well aware of his own crime. His tendency to trust only himself despite his crime reveals his self-confident nature; he is not willing to listen to the opinions of others or those of God. Therefore, Raskolnikov's sin is not simply the physical sin of committing murder, but also the sin of placing his faith in himself rather than in God. Jacques Madaule affirms that “evil is in man as an unalterable quantity” (41). Raskolnikov's evil exists because his arrogant attitude of trusting only himself causes him to lose his senses, wandering aimlessly as he wishes to absolve himself of his sin. Without trusting God, Raskolnikov will never be able to atone for his evil and find his direction in life. In fact, Dostoyevsky clearly underpins the idea that Raskolnikov is a lost and directionless man: “A young man came out of his little room…and turned slowly and irresolutely” (Dostoyevsky 1). The word resolution appears several times in the novel and shows Raskolnikov's inability to make a decision, particularly whether or not to confess to his crime. Critic Vadim V. Kozhinov notes that “the word “irresolution” [nereshimost”] and various word formations from the same root appear several times in the novel, notably in the final scenes… “insoluble” [nerazreshimo]; “inability to decide” [neveshat’sja]” (17). As revealed throughout the novel, Dostoyevsky gave a lot of thought to the use of same-root words like irresolution. Often describing Raskolnikov's actions as irresolute, Dostoyevsky emphasizes the idea that Raskolnikov is a man lacking true direction and purpose in life, presenting Raskolnikov's extreme emotions in different aspects, which range from the desire to confess his sins to the desire to hide his crime. Unlike Raskolnikov, the Christian belief is to “trust in the Lord with all your heart; and don't lean on your ownintelligence. Acknowledge him in all your ways, and he will make your paths straight” (Proverbs 3:5-6). Contrary to this belief, Raskolnikov depends only on himself and neglects God. His inability to trust God causes him to lose his senses and stumble on his path after committing the murder; he cannot make a firm decision. Dostoyevsky further goes on to reveal Raskolnikov's evil by disclosing the hypocritical life Raskolnikov leads when he is reprimanded by his sister Dunya. As Raskolnikov questions Dounia's marriage to Peter Petrovich, she furiously reprimands him: "Why should you demand from me a heroism of which you yourself are perhaps not capable?" It is tyranny, despotism” (Dostoyevsky, 223). In her speech, she underpins the idea that women are expected to make sacrifices while men do not. Her harsh words cut through Raskolnikov's hypocrisy, especially when she exclaims: "If I destroy anyone, it will be myself and no one else...I have not killed anyone" (Dostoyevsky 223). Through his sister's words, Raskolnikov realizes the depth of his sin and hypocrisy, feeling a heavy burden of guilt on his shoulders. Obviously, his self-confidence makes him suffer more. As a result, Dostoyevsky further emphasizes the devastating nature of pride through Raskolnikov's Napoleonic theory of the superhuman. Raskolnikov believes that “the extraordinary have the right to commit any crime and break all kinds of laws simply because they are extraordinary” (Dostoevsky, 248). In his quest to become superior, Raskolnikov plunges into sin through his act of murder. In going against the law to prove his superiority, Raskolnikov is no different from Adam and Eve when they ate the forbidden fruit from the tree of the knowledge of good and evil (Genesis 3). In both cases there is a desire to become more powerful and go beyond normal human limits. Dostoyevsky illustrates the essence of original sin in Raskolnikov's quest to transcend human boundaries. Ironically, Raskolnikov's desire to become superior only pushes him towards depravity and he suffers the guilt of the crime, thus becoming a weaker and more pitiable man. Through his desire to achieve superiority, Raskolnikov transforms into an impassive man, devoid of compassion, claiming that he “killed not a human being but a principle” (Dostoyevsky 264). Raskolnikov's lack of feeling for life highlights the deterioration of his values ​​and the degradation of his morals. Although he wishes to surpass his fellows, Raskolnikov is despicable, growing more and more disdainful as he attempts to achieve superhuman status. The essayist Nicolas Berdyaev explains that "Christ did not come to violate but to fulfill the law" and that "the truly great, the men of genius who did great things for all humanity, did not acted in the manner of Raskolnikov. They did not consider themselves supermen to whom anything was permitted” (75). To become truly great, Raskolnikov must abandon his idea of ​​superman and realize that he must respect the limits of what is permitted. Just as Christ came to fulfill the law, so too must Raskolnikov conform to the morality of humanity and accept the punishment of his crime; Raskolnikov cannot live a life superior to other men. In the midst of Raskolnikov's grave sin, he feels inexorable guilt and is crushed by the consequences of his sin. He is not only disgusted with his crime because “revulsion…[grows] in his heart every moment” (Dostoyevsky 77) but also confused at the same time because he does not know how to atone for his crime. While Raskolnikov despises himself for the crime,he faces serious confusion as he wishes to rid himself of his guilt; Yet he refuses to face punishment for his crime because he believes he has a reason for his actions. While Raskolnikov is torn by this struggle, he is weary and feels “a little dizzy,” proclaiming that “he would not live like that” (Dostoyevsky 148). Although he wishes to rid himself of his guilt, he cannot help but feel the weight of his crime. Nicolas Berdyaev states: Because human nature is created in the image... of God... each man has an absolute value... when man, in his own will, destroys another man, he destroys himself, ceases to Being a man loses his human image. , and his personality begins to disintegrate. (74) For killing a human being, Raskolnikov feels the burden of his sin and begins to break down, as evidenced by his weariness. Clearly, Raskolnikov's energy is exhausted as he bears the consequences of his sin because he is unwilling to repent. The Scriptures declare that: “Even the young men shall be weary and weary, and the young men shall utterly fall away; but those who wait for the Lord will renew their strength” (Isaiah 40:30-31). In the first sentence of the novel, Raskolnikov is described as a "young man" (Dostoyevsky 1) and now this young man is wavering and falling because he has chosen to sin and rely on himself instead of accepting grace of God. Throughout the novel, Raskolnikov is constantly burdened with problems and he is often tired because he does not want to surrender his life to God. The consequences of Raskolnikov's sin are great and he is unable to absolve himself of his grave sin. Dostoyevsky noticeably increases Raskolnikov's suffering as he becomes further removed from society and is unable "to understand with his mind and to feel instinctively with all the strength of his emotions that he will never be able to communicate with these people again" (Dostoyevsky 98). After committing his crime, Raskolnikov is cut off from society and cuts the cord around Alena Ivanovna's neck. As the circle is a symbol of unity, the breaking of the circular string of the necklace represents the dissolution of unity between Raskolnikov and society. Contrary to the idea of ​​the unified body of Christ expressed in 1 Corinthians 12, Raskolnikov is isolated from society because he remains in his sin. The idea of ​​unity is central to Christianity and John Donne states that “no man is an island unto himself; each man is a piece of the continent, a part of the continent” (272). Once an individual separates from society, he loses his function and his reason for being, just as a small piece of land loses its reason for being once it is torn from the continent. Therefore, Raskolnikov's estrangement from society is a kind of death for him and he cannot live fully if he is not reconciled with society and God. Despite Raskolnikov's sinful nature, Dostoyevsky reveals the struggle Raskolnikov endures because he is in need of repentance. Goodness exists in Raskolnikov and there are characters in the novel who influence him. Despite being a sinner, Raskolnikov acts as a good Samaritan, giving all his money to the Marmeladov family when he witnesses Marmeladov's death. Throughout the novel, Dostoyevsky gives advice to Raskolnikov while Sonya is a spiritual guide who leads Raskolnikov to confession. It is a “creature with a flame-colored feather” (Dostoevsky 185) and the fiery images surrounding it illustrate the image of an angel. Symbolically employing Sonya as an angel to guide Raskolnikov, Dostoyevsky demonstrates Sonya's childlike qualities that Raskolnikov must have in order to live an innocent life and enter the kingdom of God. She is “simple and good” and seems “still almost a little girl, veryyounger than his age” (Dostoyevsky 228). These childlike qualities are essential for Raskolnikov to find salvation, because Jesus teaches that “unless you turn and become like little children, you will not enter the kingdom of heaven” (Matthew 18:3). Thus, Dostoyevsky demonstrates through Sonya the path to salvation. Essayist Yury F. Karyakin states: For a man not only to recognize his crime, but also to repent and atone for it, he needs positive help. He must have something in him that can give confidence to himself and to those who will recognize his humanity and wish to help him get back on his feet. (95) Sonya is one of the forces that provide help to Raskolnikov, allowing him to feel loved. At the same time, a divine force or spirit seems to influence Raskolnikov when he remarks that “the water, unusual for the Neva, seemed almost blue” (Dostoyevsky 108). In the Russian Orthodox Church, the colors black, blue, green and gold all have symbolic meaning. The color blue is a symbol of the Spirit of God (http://en.wikipedia.org/wiki/Russian_Orthodox_Church). By focusing on the blue water of the Neva, Dostoyevsky shows that the spirit of God appears to Raskolnikov, trying to bring him back to the kingdom of God. The fact that the water is "almost blue" and not completely blue means that the spirit of God cannot yet fully manifest in Raskolnikov because he is not willing to repent. Through these influences, Raskolnikov is slowly brought to confession as he feels the need to atone for his sin. As Raskolnikov experiences the struggle between good and evil within himself, he needs change. He seems to have “two distinct personalities, each dominating him alternately” (Dostoyevsky 206). Due to his internal struggle that he cannot resolve through his own efforts, Raskolnikov possesses a side that wants to confess his sins and rid himself of his guilt. At the same time, there is another side of him that wants to continue living without recognizing his faults. As Raskolnikov endures this struggle, he faces severe reprimands from Porfiry Petrovich. He takes on the role of a “kind of prophet” who warns and reprimands Raskolnikov: “Well, find your faith and you will live. To begin with, you have long needed a change of scenery. Perhaps also suffering is a good thing” (Dostoyevsky, 441). Porfiry points out that Raskolnikov must change his way of living, or "his air", in order to regain his faith and live. Unless Raskolnikov regains his faith and is able to cast off the burden of his sin toward God, Raskolnikov will live in torment endlessly. The idea of ​​suffering is significant to the theme of salvation, as the Bible teaches: "Consider it pure joy... whenever you face trials of many kinds, for you know that the trial of your faith develops perseverance” (James 1:2-3). . In terms of Christianity, suffering brings the individual closer to God and Dostoyevsky suggests that suffering is what Raskolnikov must experience to know God better. Through suffering, Raskolnikov realizes his helplessness, seeing the need for him to confess his crime in order to relieve himself of his guilt. In his journey to confession, Raskolnikov presents a resemblance to Christ, accentuating the intensity of the suffering. Before Raskolnikov confesses his crime to Ilya Petrovich, Raskolnikov asks himself a painful question: "If I have to drink this cup, does it make a difference?" The more vile, the better… If I must drink, let it be in one go” (Dostoyevsky 506). Through the cup of punishment that Raskolnikov must drink, Dostoyevsky alludes to Christ, who endured a similar struggle in the Garden of Gethsemane. Christ himself prayed:“Father, if you are willing, take this cup from me; nevertheless, not my will, but yours” (Luke 22:42). Christ undoubtedly suffered during his prayer because “his sweat was like great drops of blood falling to the ground” (Luke 22:44). As Christ himself suffered greatly when he was destined to fulfill his purpose, Dostoevsky – through the biblical allusion to Christ – highlights the painful and arduous process that Raskolnikov must experience in transgressing his sin. Although Raskolnikov, like Christ, is reluctant to confess his crime, he recognizes that he must drink the cup prepared for him to atone for his sin. Jacques Madaule notes that Raskolnikov lives in “a world where everyone suffers for everyone, and where everyone suffers for everyone, in Christ” (45). Madaule is certainly right to believe that suffering is omnipresent in Raskolnikov's life; however, suffering is predominant as a form of punishment for those who sin and not necessarily as a way of life in which everyone participates. The idea that everyone suffers in the name and unity of Christ is debatable, but Raskolnikov certainly suffers, perhaps not in Christ but like Christ. As Sonya hangs the cypress wood cross on Raskolnikov's chest, he exclaims: "This, then, is a symbol that I take up my cross... as if my previous sufferings were only trifles" (Dostoyevsky 502 ). The action of taking up the cross is of central importance, symbolizing that Raskolnikov, like Christ, bears his cross and is prepared to bear the consequences. It is particularly interesting that taking the wooden cross instead of the copper cross means that Raskolnikov chooses humility over extravagant pride. Through suffering, Raskolnikov learns to slowly let go of his pride. Taking up the cross, Raskolnikov feels the true burden of receiving punishment for his crime. In describing the powerful experience of atonement, Dostoyevsky illustrates Raskolnikov's redemption as he confesses his crime. The first signs of salvation for Raskolnikov are revealed as he experiences worldly redemption when he kneels "in the middle of the square, bows to the ground and kisses the dirt with pleasure and joy" (Dostoyevsky 505). By kissing the earth, “Raskolnikov performs a symbolic act… marking the beginning of his transformation into a complete, organic, living human being, joining all other men in the community” (Gibian 4). Through the “gesture of kissing the earth, [Raskolnikov] reestablishes all his ties” with society (Gibian 4). Although he had previously been estranged from society, Raskolnikov has now found the community and can belong to it again because he finally admits that he is a sinner. This reconciliation with man is significant because a man must be in communion with others, "for as the body is one and has many members, and all the members of this one body, being numerous, form only 'one body, so also Christ' (1 Cor 12:12). Only through communion with his fellow men can Raskolnikov participate in the kingdom and salvation of God. By bowing to the ground, Raskolnikov no longer becomes an outcast but a repentant sinner, capable of reconciling himself with society. In addition to worldly redemption, Raskolnikov ultimately experiences spiritual redemption that allows him to be forgiven of his sin. The story of Lazarus that Sonya reads to Raskolnikov is a reflection of the spiritual rebirth experienced by Raskolnikov. George Gibian states that “the resurrection of Lazarus is for Dostoyevsky the best example of a human being resurrected to new life” (4). Obviously, the resurrection of Lazarus represents the death in sin and the resurrection of Raskolnikov in confession. As Raskolnikov lives under the influence,.