Crime and Punishment as a Polyphonic Novel :: Crime Punishment Essays

The term polyphony was introduced into literary theory by Mikhail Bakhtin in his . The polyphonic original is dialogic rather than monologic this means that multiple voices can be heard, and each voice moves an alternative version of the truth. (NB. The use of dialogue as a formal device does not make a novel polyphonic in the Bakhtinian brain genuine polyphony entails a sense of ambivalence, a situation where the different voices compete with one an another(prenominal) and represent alternative viewpoints between which the reader cannot make a straightforward choice.) In Crime and Punishment, Raskolnikov is the main focalizer his point of view is adopted by the third-person teller almost throughout (exceptions include a small number of episodes involving Svidrigaylov, and the comparatively impersonal first chapter of the the Epilogue). The reader is thus allowed opening into Raskolnikovs inner world, and although third-person chronicle is used, the novel as a whole comes clo se to being the central characters interior monologue. Nevertheless, there is also a strong tendency towards dialogue. This has several(prenominal) manifestations (1) Actual dialogues between characters are of central importance in make not only the events but also Raskolnikovs mental processes in carnal knowledge to Raskolnikov, the other characters with their distinctive voices all represent alternative truths and alternative points of view. The other characters, and their ideas and values, are perceived through the prism of Raskolnikovs consciousness their voices echo in his mind, and he reacts to the ideas put forward by these external voices, often introduction into a mental dialogue with them. (2) Raskolnikov also conducts an endless dialogue with himself (frequently addressing himself in the second person) the voice of his shrewd intellect alternates with the voice of conscience, and a gossamer understanding of his situation coexists with unaccountable (even contradictor y) emotional reactions. (3) The reader also has access to Raskolnikovs subconscious mind (the voice of the subconscious) in the context of his nightmarish visions (see especially chapters I5 and III6) In all, Raskolnikovs mind becomes a field where a number of different internal and external voices (representing different ideas and world-views, or different facets of Raskolnikovs personality) keep vying for supremacy.