Fyodor Dostoevsky uses Crime and Punishment as a vehicle for his critique of the moral deterioration of society caused by the invasion of modernity's poisonous and impersonal rationalism. He focuses his criticism using a distinctive component of nineteenth-century Russia: Orthodox Christianity. Drawing on personal trauma and experience, Dostoevsky uses the relationship between Sonya and Raskolnikov to place traditional values ​​of morality, sacrifice, and redemption on a pedestal, while also striving to denounce the rise of social science and utilitarianism as emotional prisons and spiritual. to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The novel is filled with a continuous flow of characters who feature the redemptive aspects of salvation and redemption through suffering. From the multitude of characters Sonya emerges, complex and pure. While there is an argument for portraying Raskolnikov as a Christ-like figure, Sonya's influence on those around her more closely mimics the model of liberation and suffering embodied by Jesus Christ. Sonya does not suffer to realize an ideal of self-control, but rather sacrifices herself. his desires and dreams to have the ability to maintain a level of hope and existence for his family. After his meeting with Marmelodov in the tavern, Raskolnikov reflects: "Well done, Sonya!...They really use it! And they got used to it. They cried a little and got used to it" (27). He recognizes the futility of his situation due to the burden of being the responsible family member. As she is subjugated to a profession that lies within the dredges of society, her morality is continually purified by the motivation for her actions. This is in direct opposition to Raskolnikov's utilitarian drive. In the conversation about his article “On Crime,” he says, “I simply suggested that an 'extraordinary' man has the right... that is, not an official right, but his right, to allow his conscience to... overcome certain obstacles” (259). He has an elitist view of society. He considers himself enlightened and sees this knowledge status as a valid excuse to compromise any trace of morality and conscience. The irony in his thinking is amplified by the fact that he is Sonya, a person without any formal education e suffering for others rather than for herself, to be portrayed as the truly enlightened person. Dostoevsky's hope for modernity's eventual deference to traditional Christian Russian values ​​are personified by Raskolnikov's submission to Sonya New Testament, Dostoevsky creates Raskolnikov's growing awareness of Sonya's status as savior and redeemer Raskolnikov addresses Sonya, saying: "I wasn't bowing to you, I was bowing to all human suffering... Today I told a criminal that he wasn't worth your little finger... and that I did my sister an honor by sitting next to you" (322 ). Now he looks beyond her surface and sees the high ideal she symbolizes. This is directly related to the biblical story of Jesus cleaning a handmaid's feet with oil. Both are examples of humbling oneself to serve another fully and wholeheartedly. Dostoevsky also plays with religious allusions in Raskolnikov's appeal to Sonya. Raskolnikov, close to confession, says, "I chose you... I chose you a long time ago to tell, when your father talked about you and Lizavetta was still alive, I thought about it then" (330). Raskolnikov calls Sonya "The Chosen One" and alludes to the Christian notion of Christ as the fulfillment of ancient prophecy, adding that he had previously assigned Sonya theresponsibility to bear the truth of his sin. He assigns to her the burden of her transgressions as Jesus Christ was assigned the burden of the transgressions of all mankind. Raskolnikov relinquishes his previous self-proclaimed position as a high figure by his admission of his need to confess to her. The novel ends with a look at Raskolnikov and Sonya's future together. Dostoevsky comments on Raskolnikov's reformed life by saying, "He did not know that a new life would not be given to him at all, that it still had to be bought with a high price, paid for with a great future undertaking..." (551) ). Raskolnikov's physical punishment in the labor camp was not what ultimately redeemed him. It was his emotional and spiritual awakening that was the root of his happiness. Dostoevsky uses this situation as a criticism of society's growing dependence on logic and rationalism. It is not the justice system, nor the theories of a criminal mind, that help reform Raskolnikov. It is the purity of love and faith that pulls him out of his deceptive web of sin, guilt, and disappointment. The incompetence of criminal punishment imposed by society on Raskolnikov indicates the idea that the worldly ideas of sociology and modernity ultimately fail to catch up with power religion and belief. All the trappings and lessons of society were unable to reform Raskolnikov. In many ways, it was the vileness of society that pushed him towards his unfortunate ideals and motivations. This is the danger of modernity that Dostoevsky tries to convey. When you lose sight of your inner moral compass, you lose sight of the goodness of life. As Raskolnikov described, modernity reduces existence to impersonal theories that become dangerous when such theories replace emotion, faith, and conscience. Sonya, however, emerges as a light for Raskolnikov and society. His entire existence, from profession to devout belief in God, is a complete refutation of utilitarianism and other advanced schools of thought. She is the moral conscience of the novel and represents the citizen that Dostoevsky implores his reader to be. Through her, he challenges the rising tide of individualism with the idealism of redemption through selfless sacrifice. Dostoevsky personally understands the power of this ideal. His "greatest comfort during these dark years was his copy of the New Testament" (xiii). During his time in captivity he found comfort in the Scriptures. Likewise, Raskolnikov finds refuge from his harrowing inner turmoil with the epitome of the novel's Christian message: Sonya. Sonya herself finds refuge from the grim existence of her reality in her unshakable faith in God. Dostoevsky clearly equivocates his preference for Sonya's beliefs over Raskolnikov's in the scene where Sonya questions Raskolnikov about his beliefs. When he questions the fundamental existence of God, Sonya's "face changed terribly...she looked at him with inexpressible reproach..." (321). The horror Sonya expresses echoes the horror Dostoevsky holds when observing the path Russian society is progressing. For him the "forward" movement of ideas is a digression into a wild society of immorality and inhumanity. Taking a step back from these interpretations of Dostoevsky's theme and purpose, one can grasp the author's intention by looking at the novel's protagonist on a basic level. Raskolnikov's name, "derives from raskolnik, schismatic, from raskol, schism..." (xxxv). There was also a sect called Raskolniki, "which broke away from the Russian Orthodox Church in the 17th century" (xxxv). Raskolnikov thus embodies, through his name, the conflict between tradition and modernity. For most of the novel his.