“Svidrigailov on the Verge of Eternity:” The Metaphysics of Svidrigailov’s Image

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Author: Lazar Milijentevic

Information about the author:

PhD, Associate Professor, Faculty of Philosophy, University of Novi Sad, Dr Zorana Dzindzica 2, 21102, Novi Sad, Serbia.

https://orcid.org/0000-0001-6365-4886

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For citation:

Milentijevic, Lazar. “‘On the Verge of Eternity:’ The Metaphysics of Svidrigailov’s Image.” Dostoevsky and World Culture. Philological journal, no. 4 (24), 2023, pp. 237–258. (In Russ.) https://doi.org/10.22455/2619-0311-2023-4-237-258

Received: 29 Apr. 2023

Published: 25 Dec. 2023

Issue: 2023 no. 4 (24)

Department: POETICS. CONTEXT

Pages: 237-258

DOI: https://doi.org/10.22455/2619-0311-2023-4-237-258

EDN:

https://elibrary.ru/VULQMR

UDK: 821.161.1.0

BBK: 83+83.3(2=411.2)+86.2

Keywords: Crime and Punishment, Svidrigailov, eternity, Christianity, paganism.

Abstract: The article uses Svidrigailov’s image to consider the correlation of pagan and Christian themes as dominant in the religious and philosophical understanding of Dostoevsky. The basis of this approach lies in Dostoevsky’s works and letters, where an interest in various philosophical trends that often stood apart from the official teaching of the Orthodox Church can be found: a fact that allows us to talk about religious syncretism in Dostoevsky’s work. One of the most vivid and convincing examples of religious syncretism, implying a layering of mystical and pagan images, intersecting with Christian themes, is the character of Svidrigailov. The article focuses on the concept of eternity presented by Svidrigailov, who, along with Raskolnikov, concurs to the formation of the philosophical and religious level in the novel Crime and Punishment. The article emphasizes that the concept of eternity is the center of Svidrigailov’s metaphysic, figuratively symbolizing his vision of an existence connected with the boundary “now,” related to present time. It is traced the possible temporal-spatial, cosmological, and (anti)theological origins of Svidrigailov’s eternity, expressed in the image of the “bathhouse with spiders,” and its correlations with the second coming of Christ in Marmeladov’s confession and the New Jerusalem mentioned by Raskolnikov. The author points out the mythological saturation, as well as the otherworldly “coloring” of Svidrigailov’s image when related to other characters of the novel. Svidrigailov evokes a special sense of “otherness” and “incongruity” with the surrounding world, according to which a background of visions and hallucinations, rumors and dark backstories, impulsive actions are layered on his concept of eternity and extremely ambiguous future plans.

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