Abstract
The focal dimension of Dostoevsky's creative effort in his later period is his compelling esthetic and metaphysical concern with ultimate violence, particularly in its doctrinaire or ideological aspect. The act of murder is seen as a “crime of reason,” an outgrowth of modern man's autarkic intellect. It is this “crime of reason” in accordance with his metaphysical esthetics that Dostoevsky constitutes as the transgression but also a potential felix culpa leading through suffering and expiation to ultimate rebirth. Crime and Punishment, The Possessed, and The Brothers Karamazov each present an individuated version of this archetypal scheme. Raskolnikov emerges at the end of Crime and Punishment on the threshold of “a new life.” In The Possessed, Stavrogin's potentially “positive” performance perverts itself into “a quest for damnation.” Dmitri Karamazov undergoes spiritual regeneration even though falling short of complete redemption. In thus restating the timeless relevance of the archetypal pattern of rebirth through sin and expiation, Dostoevsky brings a mythical perspective to his vision of the Russia of his time.
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