Sin and salvation: a spiritual rebirth Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Sin is an inextricable force that traps an individual who has committed a crime; only through confession can a man be free from his sin. In Crime and Punishment Dostoevsky manifests Raskolnikov's wickedness and goodness, describing the need to change, the need to confess his sin. Throughout the novel, Raskolnikov is lost and suffers from 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 give up his will and pride and be willing to confess his sin. By emphasizing the theme of confession and redemption, Dostoevsky effectively portrays the spiritual rebirth that Raskolnikov experiences when he confesses, especially through the story of Lazarus. Through biblical allusions in Crime and Punishment, Dostoevsky illustrates the theme of redemption as Raskolnikov experiences sin and atonement. While Raskolnikov commits the crime of murder and lives in sin, Dostoevsky places a secular emphasis on Raskolnikov's life, divulging 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 faith in himself and places “his trust in himself, not in prayer” (Dostoevsky 88). Ironically, Raskolnikov has faith in himself despite being well aware of his 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 nor of God. Therefore, Raskolnikov's sin is not only the physical sin of committing murder, but also the sin of placing faith in himself rather than in God. Jacques Madaule states that «evil is in man as an unalterable quantity» (41). Raskolnikov's evil exists as his arrogant attitude of trusting only himself causes him to lose his bearings, wandering aimlessly as he longs to absolve himself of his sin. Without placing trust in God, Raskolnikov will never be able to atone for his evil and find his direction in life. Indeed, Dostoevsky clearly emphasizes the idea that Raskolnikov is a lost and directionless man: “A young man came out of his little room… and turned slowly and irresolutely” (Dostoevsky 1). The word resolution appears on several occasions in the novel and shows Raskolnikov's inability to make a decision, particularly the decision whether or not to confess to his crime. The critic Vadim V. Kozhinov observes that “the word 'irresolute' [nereshimost'] and various word formations from the same root occur repeatedly in the novel, especially in the final scenes… 'insoluble' [nerazreshimo]; “inability to make a decision” [neveshat'sja]” (17). As revealed throughout the novel, Dostoevsky put a lot of thought into using words that have the same root of irresolution. Often describing Raskolnikov's actions as irresolute, Dostoevsky emphasizes the idea that Raskolnikov is a man without true direction and purpose in life, exhibiting Raskolnikov's extreme emotions from different sides, ranging from wanting to confess his sins to wanting to hide the his crime. Unlike Raskolnikov, the Christian faith is “Trust in the Lord with all your heart; and do not lean on your own understanding. Acknowledge Him in All Your Ways, edhe 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 in God causes him to lose his bearings and stumble on his path after committing the murder; cannot make a firm decision. Furthermore, Dostoevsky continues to reveal the evil in Raskolnikov by divulging the hypocritical life that Raskolnikov leads when he is scolded by his sister Dunya. While Raskolnikov questions Dunya's marriage to Peter Petrovich, she furiously reproaches him: “Why should you demand from me heroism of which, perhaps, you yourself are not capable? This is tyranny, despotism” (Dostoevsky 223). In her speech, she highlights the idea of ​​how women are expected to make sacrifices while men are not. His cutting words pierce Raskolnikov's hypocrisy, especially when he exclaims that “If I destroy anyone, it will be me and no one else…I have killed no one” (Dostoevsky 223). Through his sister's words, Raskolnikov realizes the depth of his sin and hypocrisy, feeling a heavy burden of guilt on his shoulders. Evidently the trust he places in himself makes him suffer more. Accordingly, Dostoevsky further emphasizes the devastating nature of pride through Raskolnikov's Napoleonic theory of the superhuman. Raskolnikov believes that “extraordinary people have the right to commit any crime and break any kind of law precisely because they are extraordinary” (Dostoevsky 248). In Raskolnikov's quest to become superior, he immerses himself in sin through his act of murder. Going against the law to demonstrate his superiority, Raskolnikov is no different from Adam and Eve when they eat the forbidden fruit of the tree of knowledge of good and evil (Genesis 3). In both cases, there is a desire to become more powerful and overcome the normal boundaries of man. Dostoevsky exemplifies 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 guilt over the crime, becoming a weaker and more pitiful man in the process. Through his desire to achieve superiority, Raskolnikov transforms into a stolid and compassionate man as he claims to have “killed not a human being but a principle” (Dostoevsky 264). Raskolnikov's lack of feeling for life underlines the deterioration of his values ​​and the degradation of his morals. Although he desires to surpass his peers, Raskolnikov is despicable and grows increasingly disdainful as he attempts to achieve superhuman status. The essayist Nicholas Berdyaev states that “Christ came not to break but to fulfill the law” and “the truly great, the men of genius who did great things for all mankind, did not act in the manner of Raskolnikov. They did not consider themselves supermen to whom everything was permitted” (75). To be truly great, Raskolnikov must abandon his idea of ​​the superman and realize that he must follow the limits of what is allowed. As Christ came to fulfill the law, so too must Raskolnikov abide by the morality of humanity and accept punishment for his crime; Raskolnikov cannot live a life superior to that of other men. In the midst of Raskolnikov's grave sin, he feels inexorably guilty and is crushed by the consequences of his sin. Not only is he disgusted by his crime as “revulsion… [grows] in his heart with every moment” (Dostoevsky 77), but at the same time he is also confused because he does not know how to atone for his crime. Although Raskolnikov despises himself for the crime, he faces grave confusion as he wishes to free himself from guilt; however, he refuses to face punishment for thehis crime because he believes he has a reason for his actions. While Raskolnikov is torn apart by this struggle, he is tired and feels “even slightly dizzy,” proclaiming that he “would not live like this” (Dostoevsky 148). Although he longs to be free of his guilt, he can't help but feel the weight of his crime. Nicholas Berdyaev argues: Since human nature is created in the image... of God... every man has an absolute value... when man in his obstinacy destroys another man, he also destroys himself, he ceases to be a man, loses his human image, and his personality begins to disintegrate. (74)For killing another human being, Raskolnikov feels the weight of his sin and begins to break down, as indicated by his exhaustion. Evidently, Raskolnikov's energy is drained as he endures the consequences of his sin because he is unwilling to repent. The Scriptures state that: “The young men also shall faint and be weary, and the young men shall utterly fall; but they that hope in the LORD shall renew their strength” (Isaiah 40:30-31). In the first sentence of the novel, Raskolnikov is described as a “young man” (Dostoevsky 1) and now this young man falters and falls because he has chosen to sin and rely on himself instead of accepting God's grace. Throughout the novel, Raskolnikov he is constantly burdened with problems and is often tired because he is unwilling to give up his life to God. The consequences of Raskolnikov's sin are great and he is incapable of absolving himself of his grave sin. Dostoevsky palpably increases Raskolnikov's suffering as he becomes estranged from society and is unable to "understand with his mind and instinctively feel with all the strength of his emotions that he would never again be able to communicate with these people" ( Dostoevsky 98). After committing his crime, Raskolnikov is separated from society as he cuts the rope around Alena Ivanovna's neck. Since the circle is a symbol of unity, the breaking of the circular bead of the necklace depicts 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 as he abides in his sin. The idea of ​​unity is central to Christianity and John Donne states that “no man is an entire island unto himself; every man is a piece of the continent, a part of the whole" (272). Once the individual is separated from society, he will lose his function and purpose, just as a small piece of land loses its purpose once torn away from the continent. Therefore, Raskolnikov's estrangement from society is a kind of death for him and he is unable to live fully unless he reconciles with society and with God. Despite Raskolnikov's sinful nature, Dostoevsky reveals the struggle that Raskolnikov endures because needs repentance. Goodness exists in Raskolnikov and there are characters in the novel who influence him. Although he is a sinner, Raskolnikov acts like a good Samaritan, donating all his money to the Marmeladov family when he witnesses Marmeladov's death. Throughout the novel, Dostoevsky provides guidance to Raskolnikov as Sonya is a spiritual guide who leads Raskolnikov to confession. She is a “creature with a flame-colored feather” (Dostoevsky 185) and the fiery images surrounding her illustrate the image of an angel. By symbolically employing Sonya as an angel to guide Raskolnikov, Dostoevsky highlights in Sonya the childlike qualities that Raskolnikov must have to live a guiltless life and enter the kingdom of God. She is “simple and good” and seems “still almost like a little girl, much more young man of his age” (Dostoevsky 228). These childlike qualities are essential for Raskolnikov to find salvation as Jesus teaches that "unless you are converted and become like thechildren, you will not enter the kingdom of heaven" (Matthew 18:3). Therefore, Dostoevsky shows through Sonya the path to salvation. Essayist Yury F. Karyakin states: So that a man not only recognizes, but also repents of his crime and atone for him, he needs concrete help. He must have something in himself that can give confidence both to him and to others who recognize his humanity and wish to help him rise again. (95)Sonya is one of the forces that help Raskolnikov, making him feel beloved At the same time, a divine force or spirit seems to influence Raskolnikov as he notes that “the water, unusually for the Neva, seemed almost blue” (Dostoevsky 108). Gold all have a symbolic meaning. The color blue is a symbol of the Spirit of God (http://en.wikipedia.org/wiki/Russian_Orthodox_Church). Emphasizing the blue water of the Neva, Dostoevsky describes the spirit of God appearing to Raskolnikov, trying to lead 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 itself in Raskolnikov because he is not willing to repent. Through these influences Raskolnikov is slowly led 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 a change. He seems to have “two separate personalities, each dominating him alternately” (Dostoevsky 206). Because of his internal struggle that he cannot resolve on his own, Raskolnikov has a side of him 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 acknowledging his flaws. While Raskolnikov endures this struggle, he faces a harsh reprimand from Porfiry Petrovich. He takes on the role of a “sort of prophet” who warns and admonishes Raskolnikov: “Well, find your faith and you will live. For starters, you've needed a change of scenery for a long time. Maybe even suffering is a good thing” (Dostoevsky 441). Porfiry points out that Raskolnikov must change his way of life, or “air,” to regain his faith and live. Unless Raskolnikov finds his faith and is able to cast the burden of his sin on God, Raskolnikov will live in ceaseless torment. The idea of ​​suffering is significant with respect to the theme of salvation as the Bible teaches: "consider it pure joy... when you face trials of various kinds, because you know that the testing of your faith acquires perseverance" (James 1:2-3). . In terms of Christianity, suffering brings the individual closer to God, and Dostoevsky suggests that suffering is what Raskolnikov must experience to know God better. Through suffering, Raskolnikov realizes his helplessness, seeing the need to confess his crime to free himself from his guilt. On his way to confession, Raskolnikov bears a resemblance to Christ, accentuating the intensity of 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 any difference? The baser the better… If I must drink, let it be all at once” (Dostoevsky 506). Through the cup of punishment that Raskolnikov must drink, Dostoevsky alludes to Christ, who suffered a similar struggle in the Garden of Gethsemane. Christ himself prayed: «Father, if you are willing, remove this cup from me; However, not my will, but yours be done" (Luke 22:42). Christ was unmistakably in pain during his prayer as “his sweat was like great drops of blood falling to the ground” (Luke 22:44). Since Christ also suffered tremendously when he was destined to fulfill his purpose, Dostoevsky, through the biblical allusion to Christ, underlinesthe painful and arduous process that Raskolnikov must experience to transgress 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 observes that Raskolnikov lives in "a world where everyone suffers for everyone, and where everyone suffers for everyone, in Christ" (45). Madaule is certainly right that suffering is pervasive in Raskolnikov's life; however, suffering is prevalent as a form of punishment for those who sin and not necessarily as a lifestyle in which everyone participates. The idea that all suffer in the name and unity of Christ is questionable, but Raskolnikov certainly suffers, perhaps not in Christ but as Christ. As Sonya hangs the cypress wood cross on Raskolnikov's breast, she exclaims, "This, then, is a symbol that I take up my cross... as if my previous sufferings had been trifles" (Dostoevsky 502). The action of taking up the cross has an important meaning, as it symbolizes that Raskolnikov, like Christ, is carrying his cross and is ready to bear the consequences. Of particular note, taking the wooden cross instead of the copper one means that Raskolnikov chooses humility over extravagant pride. Through suffering, Raskolnikov slowly learns to let go of his pride. Taking up the cross, Raskolnikov feels the true burden of receiving punishment for his crime. Describing the powerful experience of atonement, Dostoevsky 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, bow[s] to the ground and kiss[s] his dirt with pleasure and joy” (Dostoevsky 505). In the act of kissing the earth, “Raskolnikov is performing a symbolic act… which marks the beginning of his change into a complete, organic, living human being, rejoining all the 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 distanced himself from society, Raskolnikov is now reunited with the community and is able to belong to it again because he finally confesses 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 that one body, being many, are one body, so also Christ" (1 Cor 12:12). Only through communion with his fellow men can Raskolnikov be part of God's kingdom and salvation. In his act of bowing to the ground, Raskolnikov no longer becomes an outcast but a repentant sinner capable of reconciliation 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 from the dead is for Dostoevsky the best exemplum of a human being resurrected to a new life" (4). Evidently the resurrection of Lazarus represents Raskolnikov's death in sin and resurrection in confession. Since Raskolnikov lives under the influence and suffering of his sin, he is no different from a dead man because his spirit lacks the vitality and presence of God. The possibility of resurrection from Raskolnikov's sinful life is shown when Sonya reads from the Sacred Scripture: “I am the resurrection and the life; whoever believes in me, even if he were dead, will live; and whoever lives and believes in me will never die” (Dostoevsky 314). This passage emphasizes that Raskolnikov can,.