Puting is one of the critical elements of a novel as it drives the secret plan and impacts the attitudes and behaviours of the characters. The temper, atmosphere, clip of twenty-four hours and clip period are all elements which encompass puting. In The Metamorphosis and Crime and Punishment, both Franz Kafka and Fyodor Dostoyevsky manipulate the scenes of the two novels to make a specific temper, which mirrors the suffering province of the chief characters. By analysing the environment in which the characters live, we can derive penetrations into the thoughts the writers are seeking to convey. This paper will compare how the scenes in both novels reflect the provinces of the supporters, Gregor and Raskolnikov.
Similarly, in Crime and Punishment, Raskolnikov suffers because of his disgusting milieus and detaches himself from society, merely as Gregor feels alienated both in his room and out while at work. The novel is set in Haymarket Square, a dirty, crowded, poorness stricken slum country of St. Petersburg, Russia. At that clip, St. Petersburg was a major economic centre and the capital of Russia. The fresh focal points on the filthier countries of the metropolis in the 1860 ‘s and we see the puting through Raskolnikov ‘s eyes. Dostoyevsky describes the unbearable life conditions in the town ; drunken crowds fill the streets and the malodor of the hot summer air makes the country an intolerable topographic point to populate. The places are topographic points of force and maltreatment, and unsafe felons and vagabonds roam the streets ; “ types so queer were to be seen in the streets that no figure, nevertheless fagot, would hold caused surprise ” ( Dostoyevsky 3 ) . The sort of puting portrayed creates an ambiance which is susceptible to flagitious offenses ; this sets the tone for the at hand events in the novel. As Dostoyevsky knew the metropolis good and had even lived in the sort of bedraggled flat suites he describes, he illustrates in item what his characters experience in the town. Raskolnikov ‘s room “ was a bantam closet of a room about six gaits in length. It had a destitute visual aspect with its dust-covered xanthous paper skining off the wallsaˆ¦ ” ( Dostoyevsky 27 ) Obviously, the impoverished status of his room reflects his terrible poorness.
Dostoyevsky vividly depicts the ambiance in which Raskolnikov lives and the sights and smells he experiences, all of which “ worked distressingly upon the immature adult male ‘s already distraught nervousnesss ” ( Dostoyevsky 2 ) . Raskolnikov aimlessly wanders the foul streets, as “ the idea of traveling place all of a sudden filled him with intense abhorrence ” ( Dostoyevsky 55 ) . Sometimes, he prefers to travel out and walk around, instead than remaining in his bantam, cramped room, but still chooses non to interact with people around him. Raskolnikov alienates himself from society, and like Gregor, he sees his room as a topographic point where he can be “ wholly off from everyone, like a tortoise in its shell ” ( Dostoyevsky 28 ) . Conversely, Gregor despises traveling out and going all twenty-four hours for his occupation. He prefers to remain in his room, with minimum interaction with his demanding household members. In a manner, Gregor ‘s want of get awaying from his grueling occupation is fulfilled after his transmutation into a varmint. His household locks him up in his room and considers him to be a useless load as he can no longer work and gain money.
Gradually, the scene in The Metamorphosis alterations ; Kafka uses a contrast between light and dark to stand for Gregor ‘s turning isolation- “ The visible radiation of the electric street-lamps ballad in pale runs on the ceiling and on the upper parts of the furniture, but underneath, where Gregor was, it was dark ” ( Kafka 20 ) . The fact that light from the exterior does non fall on him foreshadows his dark destiny. Gregor feels intimidated by the “ empty high-ceilinged room in which he was forced to lie level on the floor ” ( Kafka 21 ) , even though he had lived at that place for old ages. To go through clip, he crawls around the bare walls ; this represents his meaningless being. Gregor likes to conceal under furniture in his room and considers it to be a type of shelter. When his female parent and sister finally make up one’s mind to travel the furniture out of the room, he is left without comfort. Gregor leans against the window, “ obviously in some kind of recollection of the feeling of freedom he used to hold ” ( Kafka 28 ) . As his vision deteriorates, he can non see things outside that are even at a short distance, such as the infirmary following to his edifice. Gregor ‘s neglecting seeing and inability to see even close objects around him represents his diminishing freedom and of all time increasing privacy.
Similarly, the scene in Crime and Punishment alterations after Raskolnikov commits the slaying. Initially after his offense, he is so overwhelmed by guilt and the fright of being caught, that he slips into limbo. Raskolnikov spends hours, unconscious on his tatterdemalion couch, in a hectic slumber, merely being awakened by his housekeeper, Nastasya, or the “ fearful, despairing calls [ that ] rose piercingly from the streetsaˆ¦under his window after two o’clock ” ( Dostoyevsky 91 ) . Through most of the novel, “ he was badly ; he was in a hectic province, sometimes hallucinating sometimes half witting ” ( Dostoyevsky 130 ) . Furthermore, the putrid milieus and atrocious life conditions that Raskolnikov is exposed to do his insanity and depression all excessively credible. Although both Raskolnikov and Gregor experience feelings of intense agony, a disparity between the two characters is that Gregor is confined to his room, while Raskolnikov has the freedom to travel out, but chooses to remain in his room and slumber.
Kafka and Dostoyevsky change the scene towards the terminal of their novels. In The Metamorphosis, as Gregor ‘s household members and the amah wholly stop coming into his room, “ run of soil ran along the walls, fluffs of dust ballad here and at that place on the floor ” ( Kafka 41 ) . Useless debris is dumped into his room, go forthing him no topographic point to even travel about. Gregor begins to experience even more ignored, as his room is turned into a debris pace and his household members wholly disregard him. Just before Gregor dies, he “ saw that outside the window everything was get downing to turn visible radiation ” ( Kafka 51 ) . The light imagination Kafka uses around the clip of Gregor ‘s decease a truly makes his fate tragic. Ironically, his decease signifies happiness in the lives of his household members as a load is lifted off their shoulders. In contrast, the scene at the terminal of Crime and Punishment concludes the novel in a happy manner. After Raskolnikov is sent to Siberia, he eventually finds a significance in life and his character transforms from narcissistic to penitent, in the brutal ambiance of the prison cantonment. He realizes the errors he has made in his yesteryear and this leads him to redemption. The sarcasm is that this happens merely after he is physically constrained in a inhibitory environment ; non when he was free to make what he wanted.
The ways in which scenes of novels can typify the status of the characters is manifest in The Metamorphosis and Crime and Punishment. Both Kafka and Dostoyevsky subtly depict puting as an extension of the supporters ‘ wretched provinces. The surroundings the characters live in is picturesquely described by the two writers, to put a peculiar temper and give the reader an thought about the extroverted events in the novels. The harsh and unhealthy milieus in which Gregor and Raskolnikov live copy their degenerated psychological and physical conditions. Although the two plants have contrasting plot lines, both writers have smartly utilized the component of puting to heighten the significance of their novels and do them literary chef-d’oeuvres.
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