A refutation of poverty as the cause of crime, by Fiodor Dostoievsky

A refutation of poverty as the cause of crime, by Fiodor Dostoievsky

Under the influence of Emanuel Swedenborg, Fyodor Dostoevsky's "Crime and Punishment" (1866) portrays poverty not as the root of crime but as a temptation for evil. The protagonist, Raskolnikov, is depicted as a poor student with an exceptional ability to withstand hunger and still write. According to Swedenborg, poverty is just one of many temptations for the human spiritas it is arrogance for the powerful and avarice for the rich.

Swedenborg's philosophy reveals that every individual, regardless of their socio-economic status, faces spiritual trials that challenge their moral integrity. For the impoverished, the temptation lies in the desperation and hopelessness that can lead to crime. Raskolnikov’s descent into murder is driven not solely by his poverty but by his intellectual pride and belief in his own superiority. He persuades himself that he is above social morality and that his murder is justified for human betterment.[1].

In his notebooks and letters, Dostoevsky mentions reading and being intrigued by Swedenborg's works, particularly Heaven and Hell. He references Swedenborg's ideas on the afterlife, the nature of good and evil, and the spiritual struggles of humanity. Raskolnikov in Crime and Punishment and Stavrogin in Demons exhibit internal conflicts and moral struggles that mirror Swedenborg's ideas about the human condition and the battle between good and evil within the soul. It is not poverty but the desire to be loved by the masses that moves Raskolnikov to commit his crime: "I wanted to become a Napoleon; that is why I killed her.”

Raskolnikov's poverty, mirroring that of his creator, was not a mere plot device but a catalyst for his descent into crime. In the solitude and deprivation of his garret, Raskolnikov found the isolation necessary to nurture his radical theories and ultimately commit murder. Had he been wealthy, as Dostoevsky suggests, his fate might have been different. Revealing a propensity for vice, wealth might have led him down a path of self-destruction.

The notion that power and wealth can corrupt is not a new one; it echoes through history and literature. From the ancient Greeks to Shakespeare, Lope de Vega, Racine, and Machiavelli, the allure of power is seen as a path to ruin. Dostoevsky delves into poverty, exploring the psychological intricacies of a man eager to find a justification for his evil act, whether it be poverty or, ultimately, an eagerness to transcend morality. Raskolnikov is an indelible character tormented by existential questions and moral dilemmas.

Raskolnikov's poverty serves as a stark backdrop to his intellectual and spiritual crisis. In the end, it is not poverty itself that drives him to murder but the isolation and desperation it fosters, allowing his radical ideas to fester unchecked. This portrayal challenges the simplistic notion that poverty is the sole cause of crime, instead highlighting the complex interplay of social, psychological, and philosophical factors that can lead individuals down a dark path. As Dostoevsky elucidates, "It was I who killed the old pawnbroker woman and her sister Lizaveta with an axe and robbed them" (Dostoevsky, 1866/1992, p. 627), demonstrating how his sense of superiority and detachment from morality leads to his downfall.

The eternal, as Swedenborg discusses, involves spiritual standing and wealth, associated with love and wisdom in heaven. The natural man, however, equates the enjoyments of self-love and the lusts of evil with goodness and consequently views distinction and wealth as divine blessings. This perception persists even when observing that both the wicked and the good can achieve high status and prosperity. The natural man might thus question divine providence, pondering why the wicked flourish while the good suffer, suggesting that if providence were real, it would favor the good with wealth and honor and punish the wicked with poverty and disgrace[2].

Swedenborg clarifies that without enlightenment from the spiritual man, the natural man fails to recognize that distinction and wealth can be both blessings and curses. These are blessings when they come from God and curses when from the devil. The devil, often referred to as the prince of this world, can bestow wealth and distinction, further complicating the natural man's understanding. Swedenborg lists three points to elucidate this matter:

1. Distinction and wealth are blessings and curses.

2. When they are blessings, they are spiritual and eternal; when curses, they are temporal and ephemeral.

3. Distinction and wealth, when curses, are insignificant compared to when they are blessings, similar to the difference between nothingness and being

This duality is evident in Crime and Punishment, where the moral battle is internal and universal. For the wealthy and powerful, the challenge may manifest as arrogance, believing themselves infallible or entitled to exploit others. For the rich, avarice and the relentless pursuit of more wealth can corrupt their spirit. Dostoevsky, through Swedenborgian thought, illustrates that evil is a pervasive force that can manifest in various forms, depending on an individual's circumstances and inner weaknesses[3].

[1] Dostoevsky, F. (1992). Crime and Punishment. (R. Pevear & L. Volokhonsky, Trans.). Vintage Books. (Original work published 1866)

[2] Swedenborg, E. (n.d.). Divine Providence.

[3] Swedenborg, E. (1771). True Christian Religion.