Crime and Punishment; Chapter Six
Chapter 6:
Roxana:
Vocabulary:
ragamuffin: a badly dressed child, a street urchin; like a child from the filthy streets of Dickens’ London – for example, a character from OLIVER TWIST or DAVID COPPERFIELD or the “proles” from 1984.
Somberly: (adverb) seriously, of a very serious matter or nature; sober
Falsetto: the high head voice of a man. Like the BeeGees or Frankie Valli.
Kacey:
Vocabulary
Casuistry: resolving of specific cases of conscience or duty or conduct. Ethical or religious considerations of conduct.
Veronica:
Vocabulary:
Uncouth: Barbaric, without manners, uncivilized.
Louse: the singular for lice; an insulting term, a loser, a jerk.
Stupefication: to be so overwhelmed that one is “out of it” or in a daze or in a frozen state or in a state of disorientation or confusion.
Stupefaction:
Prudence: the ability to discipline oneself with reason and logic.
Destitution: the state of being extremely impoverished; extreme poverty; no food, no shelter.
Relish: with great enjoyment, with zest.
Laura:
Simile: “pecking in his brain like a chicken in an egg.” (page 51)
Albert:
Dost. Uses time to set up what happened and what will happen (foreshadowing).
He goes back in time (when he is at a tavern overhearing a soldier and a student talking about the need to kill the old woman). Reference to Rask. Lying in bed during the morning, into the afternoon and into the evening which gets across a feeling of dread. He becomes aware that it is six o’clock – which is of paramount importance to the crime.
The motif of time (all the references to time and to the crime) pervades the entire chapter. Time could be used as a framing device for the chapter.
Laura: Perhaps the entire conversation between the soldier and the student is symbolic of a conversation Rask might be having with himself, an argument he is having with himself as he wrestles with himself whether to do “it”.
Roxana:
Page 60 - 61:
Why most crimes are easily discovered. There is some flaw in the criminal.
There is a breakdown in reason and control, resulting in heedlessness and recklessness.
“…This will attack a man like a virus…”
Nelson:
Page 57:
Raskolnikov is divided from himself and emotionally is in a state of schism. He does not want to do the act but feels that he is inexorably drawn to do it.
Roxana:
That what Rask is contemplating is not really a crime because Alyona is a vile old woman and her death would actually benefit people.
Ellada:
Says that the horrific imagery in the killing of the mare in the nightmare foreshadows the gruesome murder of the Alyona and Lizaveta.
Laura:
The dream of Rask. walking through Egypt is symbolic of Napolean who was an ubermensch. Does he have the huge military campaigns in far off continents like Napolean?
Chapter 7:
Daion:
Malice: the desire to do evil against someone in order to hurt that person.
Chamois: soft cloth
Daion:
Contorted: to be twisted or manipulated out of shape.
Sentry: a guard; a man who is guarding the grounds. Sentries are frequently soldiers who carry guns or other types of weaponry.
Roxana:
Vocabulary:
ragamuffin: a badly dressed child, a street urchin; like a child from the filthy streets of Dickens’ London – for example, a character from OLIVER TWIST or DAVID COPPERFIELD or the “proles” from 1984.
Somberly: (adverb) seriously, of a very serious matter or nature; sober
Falsetto: the high head voice of a man. Like the BeeGees or Frankie Valli.
Kacey:
Vocabulary
Casuistry: resolving of specific cases of conscience or duty or conduct. Ethical or religious considerations of conduct.
Veronica:
Vocabulary:
Uncouth: Barbaric, without manners, uncivilized.
Louse: the singular for lice; an insulting term, a loser, a jerk.
Stupefication: to be so overwhelmed that one is “out of it” or in a daze or in a frozen state or in a state of disorientation or confusion.
Stupefaction:
Prudence: the ability to discipline oneself with reason and logic.
Destitution: the state of being extremely impoverished; extreme poverty; no food, no shelter.
Relish: with great enjoyment, with zest.
Laura:
Simile: “pecking in his brain like a chicken in an egg.” (page 51)
Albert:
Dost. Uses time to set up what happened and what will happen (foreshadowing).
He goes back in time (when he is at a tavern overhearing a soldier and a student talking about the need to kill the old woman). Reference to Rask. Lying in bed during the morning, into the afternoon and into the evening which gets across a feeling of dread. He becomes aware that it is six o’clock – which is of paramount importance to the crime.
The motif of time (all the references to time and to the crime) pervades the entire chapter. Time could be used as a framing device for the chapter.
Laura: Perhaps the entire conversation between the soldier and the student is symbolic of a conversation Rask might be having with himself, an argument he is having with himself as he wrestles with himself whether to do “it”.
Roxana:
Page 60 - 61:
Why most crimes are easily discovered. There is some flaw in the criminal.
There is a breakdown in reason and control, resulting in heedlessness and recklessness.
“…This will attack a man like a virus…”
Nelson:
Page 57:
Raskolnikov is divided from himself and emotionally is in a state of schism. He does not want to do the act but feels that he is inexorably drawn to do it.
Roxana:
That what Rask is contemplating is not really a crime because Alyona is a vile old woman and her death would actually benefit people.
Ellada:
Says that the horrific imagery in the killing of the mare in the nightmare foreshadows the gruesome murder of the Alyona and Lizaveta.
Laura:
The dream of Rask. walking through Egypt is symbolic of Napolean who was an ubermensch. Does he have the huge military campaigns in far off continents like Napolean?
Chapter 7:
Daion:
Malice: the desire to do evil against someone in order to hurt that person.
Chamois: soft cloth
Daion:
Contorted: to be twisted or manipulated out of shape.
Sentry: a guard; a man who is guarding the grounds. Sentries are frequently soldiers who carry guns or other types of weaponry.
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