Ø The significance of clothing?
Ø Marmelodov’s death
Ø Chance/Coincidence
Ø Is Rodya his own worst enemy?
Ø The discussion of Pyotr Petrovich and its significance
Ø Rodya’s conversation with Zamytov
Ø The attempted suicide
Discussion
Ø Sonya is holding the family together-she supports them and Marmelodov dies in her arms
Ø Marmelodov is a weak character-his weaknesses become his burdens and his family’s burden
o He meets a comically sad ending with the embrace of Sonya
o Is Marmelodov redeemed? If so, what does his redemption look like? Does redemption have an “aura”?
Ø Lizaveta has spite in her speech, but continually cares for Marmelodov (paradoxical behavior?)
Ø Peter’s “vanity overcomes his prudence”
o He makes empty philosophical statements
o He has a very conceited and arrogant air about him in both speech and dress
Ø Has Rodya married?
o He promised to betroth his landlady’s daughter
o How does this compare to Peter’s relationship with Raskolnikov’s sister?
Ø pp. 175
o Why was Rodya covered in blood both during the performance of the murder and during Rodya’s attempts to redeem his sins?
Ø What happens during Rodya’s meeting with Polenka?
o Is this a cleansing, or is this something else?
o Is it merely a temporary epiphany?
Ø Is there a correlation between Rodya and Dostkievsky?
o The rebirth of your soul after it has been killed only occurs with a bodily passing/rebirth?
Ø Does Raskolnikov feel guilt?
o Does he truly feel guilt?
o Why is he looking for redemption?
o Does he merely want to confess for the “thrill” of his actions?
o Is it a message for Rodya indicating that he has a significance or a “place” in the world when Polenka hugs him?
Ø Having a significance or a “space/place” in society?
o He has the opportunity to make a difference and affect the world around it
o Significance of “life”-explains his deviation between extreme depression and a feeling of uselessness to a recognition of the capability to effect the world around him
o “And I had already consented to live on a square of space.”
Ø The motif of rooms and space
o Raskolnikov’s murder of the “crone” perpetuates the transformation of his “fate” and “space” to something tangible
o He transitions from a “clouded mindset” to having a clear purpose
Ø The attempted suicide
o Why is Rodya so apathetic?
o References to Hamlet
o “Shall I tell them, or shall I not tell them?”
o The bridge is a parallel to this thought?
o There is no room for Rodya at the end of the chapter; he feels he must metaphorically “jump” by confessing
Ø What role does sleeping play in the significance of Rodya’s guilt?
Ø Marmelodov’s death
Ø Chance/Coincidence
Ø Is Rodya his own worst enemy?
Ø The discussion of Pyotr Petrovich and its significance
Ø Rodya’s conversation with Zamytov
Ø The attempted suicide
Discussion
Ø Sonya is holding the family together-she supports them and Marmelodov dies in her arms
Ø Marmelodov is a weak character-his weaknesses become his burdens and his family’s burden
o He meets a comically sad ending with the embrace of Sonya
o Is Marmelodov redeemed? If so, what does his redemption look like? Does redemption have an “aura”?
Ø Lizaveta has spite in her speech, but continually cares for Marmelodov (paradoxical behavior?)
Ø Peter’s “vanity overcomes his prudence”
o He makes empty philosophical statements
o He has a very conceited and arrogant air about him in both speech and dress
Ø Has Rodya married?
o He promised to betroth his landlady’s daughter
o How does this compare to Peter’s relationship with Raskolnikov’s sister?
Ø pp. 175
o Why was Rodya covered in blood both during the performance of the murder and during Rodya’s attempts to redeem his sins?
Ø What happens during Rodya’s meeting with Polenka?
o Is this a cleansing, or is this something else?
o Is it merely a temporary epiphany?
Ø Is there a correlation between Rodya and Dostkievsky?
o The rebirth of your soul after it has been killed only occurs with a bodily passing/rebirth?
Ø Does Raskolnikov feel guilt?
o Does he truly feel guilt?
o Why is he looking for redemption?
o Does he merely want to confess for the “thrill” of his actions?
o Is it a message for Rodya indicating that he has a significance or a “place” in the world when Polenka hugs him?
Ø Having a significance or a “space/place” in society?
o He has the opportunity to make a difference and affect the world around it
o Significance of “life”-explains his deviation between extreme depression and a feeling of uselessness to a recognition of the capability to effect the world around him
o “And I had already consented to live on a square of space.”
Ø The motif of rooms and space
o Raskolnikov’s murder of the “crone” perpetuates the transformation of his “fate” and “space” to something tangible
o He transitions from a “clouded mindset” to having a clear purpose
Ø The attempted suicide
o Why is Rodya so apathetic?
o References to Hamlet
o “Shall I tell them, or shall I not tell them?”
o The bridge is a parallel to this thought?
o There is no room for Rodya at the end of the chapter; he feels he must metaphorically “jump” by confessing
Ø What role does sleeping play in the significance of Rodya’s guilt?
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