Crime and Punishment Rhetorical Analysis

Topics: Crime and Punishment, Rhetoric, Fiction Pages: 2 (738 words) Published: May 15, 2013
Rhetorical Analysis Crime and Punishment
In Fyodor Dostoevsky’s novel Crime and Punishment, many types of rhetoric and literary elements are present. The use of the standard appeals of Pathos, Egos, and Logos within the text, and the inclusion of differentiation in tones and writing types that move rapidly force the reader to almost become attached to the main character, in such a way that the reader themselves delve into a state of insanity to follow the story to the final pages. In Crime and Punishment, Dostoevsky utilizes a Dialogic writing style to portray the story in a way that most readers are not accustomed to. A dialogical style uses inner dialogue, as if two people are speaking, not inner monologue where the person is the only speaker in the mind. This style of writing gives the reader the sense of the thinking that Raskilinakov is in, he is constantly fighting the urge to turn himself in, within his own thoughts, and he counteracts the thoughts of confession with self actualization that he was essentially correct for murdering the pawnbroker; in effort to suppress the suffering of the people of the neighborhood. Dostoevsky attempts to appeal to the emotional side of thinking by utilizing subtle, yet deep symbols within the novel, for instance the symbol and concept of time. We are constantly being told what time is. From the point when Raskolnikov wakes up, moving to enact his plans to murder the pawnbroker, even the time that it is when Svidrigaïlov plans to kill himself. The inclusion of time pushes the story in a chronological order, much like a order is naturally followed in life, and a order is followed in the justice process for apprehension of criminals (Rask.). In the introduction to chapter 6 we are given the text "Sometimes he fancied he had been lying there a month; at other times it all seemed part of the same day. But of that – of that he had no recollection, and yet every minute he felt that he had forgotten something he ought to...
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