Friday, February 15, 2008

Rakitin

Dostoevsky uses Rakitin for two primary purposes in the Brothers Karamazov: to supplement the side of pessimism and doubt in the running faith vs. reason theme of the book and to act as a foil to Alyosha as a person who does not responsibly acknowledge a capacity to make moral decisions. Dostoevsky succeeds in establishing Rakitin as a character subconsciously aware of his own faults and all the more defensive of these respective faults. Rakitin is also used to further propel the Christian Socialism proposed earlier by the Grand Inquisitor. Dostoevsky carefully distinguishes Rakitin’s language and facial expressions with grins, sarcasm, crooked smiles, and use of the word smelly. Finally, Rakitin makes several conclusions of notable verisimilitude, as well as several weak deductions, thus defining the benefits and limits to his way of thought.

Rakitin is tormented by his conscience over his own flaws and faults, which is demonstrated by his over-defensiveness. When Alyosha lightly suggests that Rakitin is verbally attacking Ivan because he, himself, has become infatuated with Katerina, Rakitin, unexpectedly and spontaneously bursts, “And of her money, too? Go on, say it” (82)! Alyosha, in no manner, suggested that Rakitin was interested in Katerina’s money, and even further denies believing Rakitin capable of such low thinking, “No, I won’t say anything about money, I’m not going to insult you” (82). Nevertheless, Rakitin’s uncomfortable exclamation signifies a guilty conscience. And Alyosha’s calm response, which perhaps feigns disbelief or indifference, is perfect for causing the sins to rack Rakitin’s soul even more. For being treated like something one is not, is a source of even greater discomfort.

Rakitin is further over-defensive of his betrayal and sale of Alyosha to Grushenka. After Grushenka reveals that Rakitin had, indeed, been offered payment in order to bring Alyosha to her house to be tempted into committing sins, Rakitin’s betrayal becomes less of the focus as Grushenka and Alyosha’s own moments of great self-discovery hit the fore. Nevertheless, judging by Rakitin’s surprise when Grushenka reveals their pre-arranged deal and his growing impatience, he is still thinking in circles about his betrayal of Alyosha. Even the seemingly omniscient narrator reaffirms that Rakitin feels guilty for his sale of Alyosha, “’Why refuse?’ Rakitin said in a deep voice, visibly ashamed, but disguising his embarrassment with swagger” (353). As Alyosha and Rakitin leave Grushenka’s house, Rakitin still subconsciously feels guilty for selling out Alyosha and states, “And now you despise me for those twenty-five roubles? You think I sold a true friend. But you’re not Christ, and I am not Judas” (358). Alyosha coolly responds that the money Rakitin had been paid was the least of his concerns at the moment. Alyosha’s calm dismissal of the topic, pains Rakitin even more, who is unable to admit the wrong in his actions and would be quelled if someone were to treat him as a sinner. The fact that Rakitin expects himself to be equated to Judas by Alyosha is testament that Rakitin, underneath it all, recognizes his similarities to Judas, and duly, Alyosha’s similarities to Christ.

In describing his future career as an atheistic socialist working for a journal as a critic, Rakitin continues the theme of citing others’ fairly accurate perspectives of himself, even when there is no evidence of the perspective and the perspective itself appears to come more so from Rakitin’s own introspection than another character. Nowhere in the novel does Ivan even reference Rakitin, nor do the claimed statements resemble something Ivan would say. Yet, Rakitin remains convinced that he himself is the focal point of Ivan’s conversations. It appears as though the image of Rakitin as a man who has rejected God is a self-projected image, and that Rakitin is sinking into the realm of paranoia with respect to Ivan.

Rakitin is, most importantly, the character that best represents the ideas of the Grand Inquisitor. Although Ivan created and told the story of the Grand Inquisitor, he told the story and subsequently represented its ideas half-heartedly, and the ending of the tale is particularly suggestive of potency for a conversion for Ivan. The idea of having to make a leap of faith instead of relying completely on scientific reasoning – pessimism vs. optimism or skepticism vs. faith – is reiterated and outlined a plethora of times throughout the Brothers Karamazov, and Rakitin is the staunchest example of a pessimistic and skeptical character that chooses to live sinfully over having to make moral decisions. As Dmitry and Fyodor have resigned to accepting that they do not have the will power to make the right decisions and escape their cycles of sin, Rakitin has resolved to do the same. He deludes himself into believing that it is not possible for a person to live to the standards set by the Bible on Earth. The fact that Zosima and Alyosha succeed at living like Christ contradicts this belief. It is for this reason that Rakitin so desperately attempts to find and create pitfalls for these “holy fools” (80).

“His elder got smelly,” (358) Rakitin ambiguously explains for Alyosha’s state of despondency, revealing his disgust for the elder Zosima. Note that Zosima is perhaps most easily differentiated from the other characters of the novel by his incessant love of every person and every part of nature he encounters. Even when Alyosha is ashamed and scared by his own father’s presence before Zosima, Zosima manages to love and feel empathy for the buffoon. The root of Zosima’s philosophy is active love - “Do not be afraid of men’s sin, love man also in his sin.” Rakitin, representative of seeing the ugly, instead of the beauty, in everything, is naturally disgusted by Zosima. Dependent upon the belief that complete morality is impossible, Rakitin forces himself to assume that men, such as Zosima and Alyosha, who appear to be flawless, are false in some respect.

Although Rakitin is unable to deny the good in Alyosha, “Listen, Alyosha, you always tell the truth” (78-79), he is still determined to lead Alyosha down a path of sin. Twice, he invites Alyosha to the house of Grushenka, who had the desire to corrupt Alyosha as well. During Alyosha’s weakest hour, following the death of Zosima, Rakitin is looking for Alyosha desperately so that he may redirect all of Alyosha’s mixed feelings to a full rejection of God. For, if he can get Alyosha to sin, then he knows that there is no hope for humanity, and he can bask in complete complacency without a contrast to his lifestyle.

Despite the novel’s strong representation of the Christian theology of Alyosha and Zosima, Dostoevsky does portray fairly the benefits and motives to rejecting the Christian God or thinking like an atheist. Rakitin, for example, is able to make several deductions, noteworthy for the crafty psychoanalysis behind them. Through doubting everything and everyone, and further looking for the worst in people, Rakitin arrives at true and revealing conclusions. He correctly understands the nature of Dmitry, “such honest but passionate people have a line that must not be crossed” (79), astutely noting Dmitry sensual and passionate nature. While defending his brother when Alyosha subtly, but clearly, paraphrases Zosima, it is Rakitin who quickly calls him out, “literary theft, Alyosha. You’re paraphrasing your elder” (81). Rakitin recognizes that Alyosha has chosen the life of the monastery in order to try and avoid more difficult moral situations and questions, and he recognizes that Alyosha does not fully understand Zosima’s teachings. Finally, the reader first learns of the possible murder plot, and the potential for Dmitry to kill Fyodor, from Rakitin, “he’ll even put a knife in his own papa” (79). Rakitin’s adept conclusions support his critical, pessimistic way of thinking, however, he, too, makes several false conclusions due to his disposition.

Rakitin succeeds at seeing evil, and the poorer nature of various characters, but he has a propensity to misinterpret acts that are not of a low nature. “I knew he wouldn’t explain it to you,” (78) Rakitin remarks of Alyosha’s inability to answer for Zosima’s deep bow to Dmitry. Rakitin attempts to explain the bow as a shrewd move by Zosima to reaffirm his own wisdom – “So Father Zosima bumps his forehead on the ground, for the future, just in case. Afterwards they’ll say, ’Ah, it’s what the holy elder foretold, prophesied’” (78). However, the bow was, in fact, a message to Alyosha; therefore, both remarks about Zosima are fallacious.

Rakitin also falsely believes that Alyosha despondency following Zosima’s death resulted from the mere fact that he, Alyosha, would not be promoted - “He has grief. He didn’t get promoted” (81). However, as we learn from Alyosha’s interaction with Father Paissy, Alyosha is shocked most by the fact that God could allow Zosima, the most righteous person he knew, to be defamed in such a way after passing away. Alyosha, too, was expecting a miracle instead of “the odor of corruption.” And for once, Alyosha briefly took the side of the devil from the story of the Grand Inquisitor in supporting the use of a miracle to reaffirm Zosima’s holiness and God’s holiness. Despite these desires being low, Alyosha is surely not upset by what may be a decrease in his own reputation as a result of his association with Zosima.

Dostoevsky conspicuously uses the verb grin and the word smelly in association with Rakitin. The use of these words and other similar ones fortifies Rakitin’s main characteristic, seeing the immorality in all those around him. As Rakitin attempts to call Grushenka out on possible ignorance, he is described as grinning throughout his dialogue. The first statement verb Dostoevsky uses for Rakitin is grinned – “’Precisely you,’ Rakitin grinned” (78, also see 82, 340, 341, 348). These smiles and grins, along with descriptions of a sarcastic attitude are meant to establish Rakitin as a self-confident, nefarious, and God-denying character. Notice, for example, that when Alyosha does briefly semi-reject God following the death of Zosima that he, too, becomes marked by Rakitin’s nefarious grin.

I do not rebel against my God, I simply ‘do not accept his world,’” Alyosha suddenly smiled crookedly.

Additionally, Rakitin has an affinity for the word ‘smelly.’ Not only does he state, “His elder got smelly,” and other quotes linking the smell of Zosima’s body to corruption. Earlier, when describing the Karamazov’s, he links corruption to the wreaking smell of the Karamazov family - “the old man is really astute, if you ask me: he smelled crime. It stinks in your family” (78). The association of putrid, despicable words and descriptions to Rakitin solidifies his main characteristic feature, seeing the ugly in everything and everyone around him.

In conclusion, although Rakitin is a professed Christian, his actions speak to the contrary. Despite referencing twice that Ivan thinks of him as an atheistic socialist (see pages 82, 83, and 342), and despite being appalled by the description, Rakitin’s apparent attempt to reason that making moral decisions is neither possible nor worth it hints that he would be supportive of the socialism proposed by the Grand Inquisitor, in which one would be allowed to commit sins freely, as Rakitin believes a person should be, and one would not have to suffer the freedom of making moral decisions, as Rakitin suffers. Mark, too, that Rakitin has a dislike for hierarchy – “Granted I’m only a priest’s son and a worm next to you noblemen, but still don’t go offending me so gaily and easily” (83). He would thus support the communality of a single kingdom as proposed by the Grand Inquisitor. Ultimately though, Rakitin sees the ugly in everything. And since seeing beauty in the world is the equivalent of seeing the face of God, Rakitin is unequivocally seeing the face of the devil in the world and is rejecting God by denying the beauty of the world, despite being a professed Christian.

Above all though, Rakitin, in several brief moments, reveals empathy towards Alyosha – “By the looks of you, you need fortifying. What a sorry sight!” Rakitin recites these words with legitimate concern, and despite the fact that Dostoevsky has made Rakitin a character of muddled morals, he maintains through these small loving acts and words that every person has the capacity to love, see beauty, and see God.

Thursday, February 7, 2008

A Gambler at Heart

The Underground Man aspects and gambler-nature of Dmitry are truly fleshed out in his interactions in the past several chapters. Dmitry’s attempts to obtain the 3000 roubles are both humorous and saddening.

In these past few chapters, he persistently attempts to muster the 3000 roubles after many of his plans go wrong, and pushes himself deeper into debt and misery with each one of his actions. When he cannot afford to reach the merchant, he borrows money that has no means of returning from his landlords. Dmitry’s inability to give up on his pursuit of an unobtainable happy life with Grushenka is foreshadowing of what should be a dramatic downfall. The fact that he did not even realize that the former officer who broke Grushenka’s heart is the true competition is particularly revealing of how ill-informed Dmitry is. Furthermore, he chases after Grushenka with such energy and passion, yet he does not even understand why he is infatuated with her, he has more or less gone with his feelings in the moment and is ready to give up everything for these feelings.

On the other hand, his dialogue with Khokhlakov is quite entertaining in its own right. Providing for a mirror for the underground man traits of Dmitry, she too dabbles into the type of buffoonery Fyodor so piquantly exemplified earlier in the novel. Promising Dmitry the 3000 roubles and later denying having made any reference whatsoever to 3000 roubles, she easily steals away even more of Dmitry’s time and proffers ridiculous solutions such as going off to Siberia and working in gold mines.

Dmitry’s predicament, although humorous, is like Fyodor’s (and is directly related to Fyodor’s), very serious. Unlike Ivan and Alyosha, the resolution of his character flaws does not appear to be even close to being on the horizon.

Tuesday, February 5, 2008

Grace

This unlike my last few blogs is not pure garbage, so if you are another student browsing through my posts, READ THIS ONE!!

Dostoevsky’s description of the work of grace in Alyosha’s life is believable, especially within the framework and message of the Brothers Karamazov. Zosima had a capacity to tolerate, accommodate, and forgive people which was brought about and made possible by an undying active love for humans. Dostoevsky strives to articulate the idea that in seeing the beauty of life, one sees the face of God. Thus, after witnessing the opposite of beauty, the face of the devil, humanity succumbing to the temptations and giving up freedom, Alyosha sinks to despondency, and only reawakens upon seeing beauty once again, in this case, in the eyes of Grushenka.

Grushenka’s struggles reaffirm the question beseeched earlier by the Grand Inquisitor, to what extent are humans responsible for making the immoral decision? Grushenka has suffered beyond anything Alyosha has had to experience and he extols her for not being resolute, as Alyosha believes he himself would be, to kill the man and deny God. Although Grushenka, at no point, directly reveals a belief in God, Alyosha does observe genuine compassion and love in her heart, which is in it of itself essentially love for God. Alyosha is amazed by her ability to still see beauty and the possibility of forgiving the officer who has plagued her mind for the past five years, when he himself was so adversely affected by the response to Zosima’s death. Grushenka, upon encountering, for the first time, true understanding and empathy, sees the same grace that Alyosha sees in her in Alyosha.

Contrastingly, Rakitin presents a foil to the two’s optimistic grace. He sees an underground man in both of them, and he sees all that is “wicked” in Grushenka. His acrimonious sentiments shield him from the ascetic human comprehension that glows from Alyosha and Grushenka. He struggles to actively love, and for this reason, he rejects and denies God, which is clearly what he has done by the mere fact that he sought to break down Alyosha through Grushenka.

The redemptive quality of suffering and the grace of God are ideas that are difficult to articulate, and it is because of this aspect Dostoevsky, perhaps, strives in describing them beyond all authors, for his strength is in character interactions. Furthermore, by using a character such as Grushenka who appeared to be unequivocally evil just one hundred pages ago, and to whom I even gave the title of “a selfish and rotten scoundrel,” Dostoevsky powerfully outlines our own inclinations to not see the beauty in the world. For many of us reading the chapter where she does not kiss Katerina’s hand, quickly passed judgment without contemplating the complexity of character that is Grushenka.

Monday, February 4, 2008

Losing My Religion?

In the consternation that follow Zosima’s death, the condemnations of his life and role as elder, Alyosha emerged with a less cautionary, and emotionally-suppressed tone; however, Alyosha has not lost faith. Alyosha’s faith is reaffirmed by the narrator’s testaments that Alyosha showing love for Zosima and that his shock was not from a lack of miracle.

Alyosha’s despondent state subsequent to the death and humiliation of Zosima are indicative of his love for Zosima. His more-than-usual restiveness is accounted for by the narrator as a result of no one showing respect for the person Alyosha saw the most beauty in. Alyosha loved Zosima, and reaffirmed his faith by showing his ability to see love and the face of God in Zosima.

The narrator perspicaciously points out, and responds to the reader’s instinctive reflections of the temptations, specifically the miracle temptation in the Grand Inquisitor, that Alyosha is most of all shocked not by the lack of a miracle but the inundation of insults to Zosima. Alyosha “rejects” the lack of respect shown for Zosima. The injustice of it throws him off, not the fact that no miracle was performed. Thus, he struggles to understand how this works out but, seeing how he still loves Zosima, it appears as though he maintains his faith.

Zosima too accepted sweets and cards, so why must Alyosha refuse such offers? His acceptance of Rakitin’s invitation is just evidence of his embracement of Zosima’s instructions to go out in the world.

Zosima's Theology

“Do not be afraid of men’s sin, love man also in his sin,” states Zosima in Of Prayer, Love, and the Touching of Other Worlds, which precisely explains and summarizes is perspective on life. Zosima believes that by seeing beauty in everything possible that a man will unequivocally see the face of God. This ideology is clearly laid out by his citations of loving sinners, earth, and children above one’s self.

Zosima beseeches the reader to love the listener to see beauty and love most of all the sinful. The idea comes not just from Jesus walking with the sinners who presumably committed the worst crimes in the New Testament but from the overarching idea of the existence of God’s beauty being ubiquitous. Zosima, through his own sin and empathy, is able to understand the pain others go through and is aesthetically pleased by the process of self-reflection.

Furthermore, Zosima encourages us to love those who have not sinned: plants, animals and children. In the same respect that Mr. Graham requested students, doubting the existence of God, to spend a week in the woods last Spring, Zosima asks the listener to “Love all of God’s creation, both the whole of it and every grain of sand. Love every leaf, every ray of God’s light.” Even emphasizes how children and animals are sinless, unlike man, which although it sounds contradictory, is effective in placing the reader in the situation to not look introspectively with moral standards based on relativity but more inclined to reflect on what they have done wrong.

Zosima’s ideology is correct with respect to both Christian theology and from a pragmatic standpoint. Statements, such as “Love children, especially, for they, too, are sinless,” which opposes the conservative/traditional notion on original sin, can be explained by interpreting them as being purely persuasive. Zosima’s ideology ultimately asks a person to do as Jesus did and take on the sins of the world in complete understanding of them.

Sunday, February 3, 2008

Zosima Blood

Zosima has Karamazov blood in the manner that he shares characteristics with the Karamazovs, specifically Dmitry and Alyosha.

Zosima exhibits glaring character similarities to Dmitry. Like Dmitry, Zosima was initially in the military. Dmitry has been described as having an inability to spend his money with respect to brothels and alcohol. Zosima is described in this fashion as well, at least for his time in the military. Additionally, as Dmitry continuously repents and regrets for his sins, Zosima too realizes how poorly he has treated Afansy and the fiancé of the woman he sought relations with. As he bowed to Dmitry earlier in the novel, he bows to the servant he has treated poorly and who should be on equal grounds with him.

Zosima’s transformation into a more pious livelihood is similar to Alyosha’s transformation. Zosima’s surroundings are not of the most peaceful nature, and he too lacks a mother. His quest for the monastery is the result of not just an epiphany but also appears to be an attempt to escape from the general sins of the world. Alyosha seeks the monastery because he wishes to stay away from the sinful lives of his family and those around them. He is concerned about what effect these lives could have on him as is Zosima with respect to his military friends.

Zosima, in the respect that he is not perfect and quite similar to both Alyosha and Zosima, mark him as being quite a Karamazov.

Tuesday, January 29, 2008

Three Thousand Roubles

The sum, 3000 roubles, lies at the center of the plot developments and character tensions of the Brothers Karamazov. The sum of money is particularly significant in both Dmitry and Fyodor’s affairs.

3000 roubles is the amount of money that Dmitry was instructed to send to Katerina’s sister. Instead of sending the money, Dmitry squandered the money on alcohol and sex. Dmitry regrets this action immensely and desperately seeks to return 3000 roubles to Katerina to appease his conscience.

As we learn in the discussion that took place at Zosima’s cabin, Fyodor has offered 3000 roubles to sleep with Gruschenka. Furthermore, Dmitry believes that Fyodor owes him exactly 3000 roubles, which if Dmitry were to obtain, he would (hopefully) send back to Katerina. The significance of 3000 roubles to Fyodor is further reinforced in this past chapter – “Think: from eight to eleven, it’s a difference of three thousand. It’s as if I just picked up three thousand” (278).

The 3000 roubles perhaps reflect the way in which financial standings affect the characters’ pride and actions. Dmitry after all does write to Katerina explaining that he is not worthy of her, especially as she is rich and he is “just a poverty-stricken boor” (116). It is through his wealth that Fyodor plans to entice young ladies throughout life. Captain Snegiryov struggles to accept any money from Alyosha or Katerina because of pride.

Nevertheless, the aforementioned thought still appears to be seemingly meaningless speculation. There are, after all, many values of roubles used throughout the book: 4500 from Dmitry to Katerina, 200 from Katerina to Snegiryov, etc. The argument for the significance of 3000 roubles has some substance but is not particularly strong. Yet, if we look back to Dante’s Inferno, it may be possible to see greater significance to the sum 3000 roubles.

Ivan cites Dante in the Grand Inquisitor which shows that the ideas of the Inferno were being pondered by Dostoevsky when he was originally writing the brothers Karamazov. A major theme in Dante’s Inferno is the trinity. Everything in the poem is written in threes and can be related to the number three. Keeping this in mind, it is possible to see how 3000 roubles could be a part of a greater trinity/triplicity theme in the Brothers Karamazov. There are three brothers (all on the same journey in the same family…trinity), three temptations in the Grand Inquisitor chapter, and three thousand roubles.