{Chaucer's CANON'S YEOMAN’S TALE, \Woat?s THEY FLEE FROM ME Troyer’ YWAIN Spenser's SHEPHEARDES CALENDER, Febreary Eek eee ‘Staltspear’s ALL'S WELL THAT ENDS WELL, Line S70 . a THE COMEDY oF Sakope ERRORS, DDonae's THE UNDERTAKING DDonte’s AIRE AND ANCEIS Toureu’s THE REVENGER'S TRAGEDY, Lien MORE, ¥-Vh Hnthorne’s MY KINSMAN, MAJOR MOLINEUX Beall CAMO aN Aba Dickinson's THE POETS LIGHT BUT LAMPS— Dickinson's SON OF Novi’ Destoesy's CRIME AND PUNISHMENT ‘Thompon's THE HOUND OF HEAVEN, Lies Thompson's ODE TO THE SETTING SUN Nort MeTRAGUE 4: ln Marc's THE SONG OF THE MAD PRINCE, Apolin’s Paine Lawrence's THE RAINBOW ‘teens METAPHORS OF A MAGNIFICO femyaente want * lemiagvay's THE SHORT HAPPY LIFE OF FRANCIS Macowmen ‘Tomas’ OVER SIR JOHN'S MILL Paths LADY LAZARUS Greeley’ ANOW A MAN Negi LYING IN'a HAMMOCK aT WILLIAM, DUFFY'S FARMIN PINE ISLAND, MINNESONA Bernas DREAM SONG O98 ‘ees ONE FLEW OVP THE CUCKOO'S NEST McCuller's HALLAD OF THE SAD.CARS raday’s HOUR ee ee SAD CAIsmergence of the English language, and indeed until Miss Emily Dickinson of Amberst, Massachusets, fist saw the connection. PEGGY ANDERSON, Virginie Beach, Virginio data, tat, Endy itivons Poa: Stray of Supe er Ya: Ha, (CRIME AND PUNISHMENT Thea he suck ber (AjonaIranovna] Her with lle strength e stack ow ‘gala a yet agai, with alls senath, Onc an aguas wah he Batol vas with the bu ade of he ne nd alvays again the Gown, The Meo fo fer tiven aa Sova seal splicing open from the top of tht thecting edges ant med) choy forehead amon thecrown ofthe end, bed thvoueh fhe eae upper portion ot sd fling het asta. the forehead, mst othe own. FYODOR DOSTOEVSKY, tnnsnted —FYODOR DOSTOEVSKY, transact 1 Jose Coun, ‘Thoms R Beer, J Dostoevsy's CRIME AND PUNISHMENT “Most crite of Dostoevshy's novel have focused on Rodion Raskolnikov a the motives) for his murder of the old moneslender, Alyona Ivanovna What Seems to have been overiooked in most studies the fact hat RasKolnikey com: ‘its not one but two erimes—vo murders, each of which sa unique ac ‘Dostoevsky provides a precise description ofboth murder fat ot sivays ‘expressed in translation, My own literal “word-for-word” translation points Several overlapping detils, but more importantly it isolates the major distncion ‘between the two crimes.' While both women are sick on the head, Aljora ‘wanovna suffers several blows withthe bunt portion ofthe axe, Lizaveta, 8 Ue ‘ther hand, has her forehead slit cleanly open bya single blow with he blade, ‘sharp cutting edge ofthe axe. The ull horror ofthis secon murders emphasise) ‘in the Russian text by enclosing in commas the word “oxrem (wth the cutng ge). The single chop of the axe also point the reader to the name Of ie ‘murderer, Raskolnikov. ‘The name, Raskolnikor, has been traditionally identified withthe denotation chime.” The Russian word “raskol” (chismy. and “askol ak (schismado) are generally used to identify the spit from the Russian Orthodox eS‘Church inthe seventeenth century. The exact form asholnikow” can be found in nineteenth century Russian dictionaries inthe meaning “one who belongs to” (or None of the schismatics." Dostoevsky himself withes to leave no doubt about the signification of the name. In Raskolsikov's final conversation with Portiry, the investigator notes that Milka fs “one ofthe schismatcs, a phrase repented twice in one sentence, Dostoevsky even uss a genitive plural in order that the word be identical tothe hero's name: iz rasko'aikov" (V1.2). Another con: sideration is that Dostoevsky, at the time ofthe novel's composition, was keenly are ofa double axe murder in Moscow committed by Gerasim Chistov, hime a schismatie ‘Thereis, however, apessble addition to thsinterpretation “Rasko is derived from the Russian verb “raskolot’” meaning to “spl” or "chop apart ot "separate into pieces." This obvious reference tothe murde is einforeed by the fact chat tis only when te hero enters the apartment ofthe old maneylende for the frst time that we, the reader, learn his ‘ame, Raskoiikov (8). A te examination of the vine scene reveals that Dostoevsky has careully cried the Second murder, the one clean spit of Lizaveta's brow, ab the real cane OF Raskolnkov's own “ple” from humanity ‘That Liraveta's murder isthe real and perhaps only “crime” snot only consi tent withthe remainder ofthe novel, but it also helps to explain some ofthe ar biuity ofthe work.” One of the mast famous of Raskoiikov'sequvocations Is "Did I murder the old Woman? Ikiled milf, no that ol create! There and then murdered ‘ne blow, forever! Butt was the devl who killed the ol hag, not T= (VA. 354) Raskolnikovs clam that he had killed himself with one Blow can only refer to Lizavta's murder. Ione reviews the hero's most confident momen the times Of his greatest inner strength pattern emerges. The theory of the “extra: frdinay man” iv always defined in terms of the murder and robbery ofthe old ‘woman, who nobody needs.” Thoughts ofthe old woman serve only to reinforce Raskolaikoy's arguments and his intellectual fencing with Potiry, Irom ‘hich bouts Raskolnikov emerges by no means a loses. The epilogue reveals that without a confession Portiry was powerless to bring the erin fo justice, Noy it is nor the eld woman's murder which brings Raskolnikov to his knees at the roseroad, bt the moral gult which Raskolnikov accepts with his daision to Sonya that he kiled Laver, ‘The death of Lizveta has an immediate effect on Raskolnikov. Lizavet's ‘murder interupis his seach for money. He can thnk only of escape. In spite of his dese tobe alone ashe comes tothe Haymarket Square, where the fateful en- counter with Lizaveta had oecurred, he now feels drawn to people “After hs assertion to Poriy that he could Kl the old womaa again he thinks: “Poor Lizaetal Why had she to turn up... Itissrange though I wonder why { haraly ever think of her, a8 though {had ot killed her (IL 8.234) But of ‘course, Sonya, the spiritual sister ofthe dead woman, wil not let Raskolnicov forget 'Lizavea. She not only recalls her friendship with Lizaveta, but she ponseses Liraveta’s exons and her New Testament, which Sonya uses forthe Pn ‘eadig ofthe ratsing of Lazarus. At this turning point inthe novel, Raskolnikov promises before he departs: If T'do come tomorrow, 1 wil tll you who killed Lizsveta."(1V.4.279) mall the name of Lizaveta i mentioned wee tes dat ing tis fist vis to Sonya, ‘When Raskolnikov next meets Sonya hes till unable to completely accept his ‘burden, His confession is madein the third person. He.» did not want o- Lizaveta, He... killed her by acident.... He meant toil the old woman,” (V.4.346), Naturay Sonya recognizes the murderer in Raskolnikov, even ay he Fecognizes the Lizaveta in Sonya. As in their previous meeting, the name of laaveta dominates the passage, occurring nine times. Still Raskenikov refuses toaccept moral responsibilty for the old woman: “loa killed a louse, Sonya, 8 ‘sees, vl, pernicious louse.” (V-4.381). As they part Raskolnikov i stil fae ‘apable of accepting Sonya’s cross. Not unl their final encounter doos he accep thecross, simultaneously noting its asocatlon with Lizaveta's cross which Sonya ‘now puts on. Only then does he go and confess Raskolnikov's restoration 10 the human family comes through a spircul eneval as opposed to a rational theory af repeatence. His guide to life is Sony {helistene, not Porfry, the aler. And while er ertanly deeply disturbed an pethaps remorseful for his murder of Lisaveta, thee is never a hint that Raskolnikov regres the murder of the old woman. ‘While society's sentence focuses lags on the homicide-robbery, Raskolnikov suffering isthe resul oF the “accidental” and “unpremeditated™ murder, Raskolnikov cut himset off from society with one blow. That one blow, with theblade of the axe, isalso Dostoevsky's rump card. Dostoevsky could no allow for the triumph of evil By introducing the innocent lamb, Lievet he insures ‘ot only a miscalulation by his hero, puta miscalculation which by emotional limps prejudioes the eader against fae eal. Its erally ironic tha the seme Lizaveta who by her conversation helps to precipitate the eime is also cause for Jenieny in the sentencing ofthe criminal. Likewise, Raskolikow'schoie to kil izaveta orto goto Siberia, Is curiously no choice at al, Dostoevsky, a master of ‘manipulation, with one blow cuts Raskolakov away not only from his fellow tracers bu ftom hs readers. Only when Raskolnikov repent and accepts the fous dos he finda place in our heats ‘THOMAS R, BEYER, JR, Midalebury College I. tte woughut he ar tte ead Nan Ci Edo wih be agit entation ‘Sneaks rom MBs Psa schon Ceased si el Cn 59s te cn ena nay vip ee toner weit acs ars ct rnd ats Coan aes peed ne read ead ty fy 90 as3, Covi wasn ont hi ier gation: “And yo abe masts ann oth oe ose spe med urs” LS, 50, “Sc Duocrans Por sui sche, Vt sig: 17), yt cometary on he et ee, ot en ile ‘Simootmon Reston sow: 1970 ‘THE HOUND OF HEAVEN Tes 16-26 1 pleaded, oulaw-nse, By many heared caseneat, curio’ re, "Felised wit etcrornne char (or though I knew’ His love Who folowéd, FRANCIS THOMPSON ‘Thompson's THE HOUND OF HEAVEN, Lines 16-24 ‘When we read the word “charities” inline 18 of "The Hound of Heaven" ws are, [think propery a ite surprised, fortis quite lear thatthe protagonist ‘speaking not of the charities of 1 Corinthians, but of sexual love, as one of 1 ‘ries (including love of nature and lve of at} of stempted avenues of escape ‘rom the inexorable pursit of Christ, ‘My suggestion is that Thompson had at least partially in mind the word Charites, pronounced with a hard chy and deriving from the name Char “grace” (originally another name Tor Aphrodite)—a name which became pura in order to personify the three leading attributes of Aphrodite: joy, boom, ani brilliance Euphrosyne, Thala, and Aglaa). The thee Charts (or Graces) were patronsscs of poet as well as of lvers and were worshipped in conjunction with ‘Aphrodite and Dionysus. "The picure we are given in Hnes 16-19 isthe stock romantic image of the ‘woubadour lover luring the difcut-oFacces lady with his darkling serenad (Contlaw-ise") 10 her casement wih ts familar eart-perced shutters. "The Flowering casement Gasmine?) vine is personified in the phrase “intertwining chartes"™ (Lew, Charies), suggesting. the typical picture (f., Boticel, ‘Primavera ofthe thee Graces inked hand in hand in & sort of ring-dance. 6