게르만, 아까끼, 그리고 라스꼴리니꼬프의 탄생 (Hermann, Akaki, and The Birth of Raskolnikov)

서지정보

· 발행기관 : 한국중동부유럽학회
· 수록지 정보 : 동유럽발칸학 / 11권 / 2호 / 33 ~ 54페이지
· 저자명 : 계동준

초록

『죄와 벌』의 유명한 주인공 라스꼴리니꼬프는 이미 기존학계의 충분한 주목을 받았으며 그 결과 지나칠 만큼 많은 학자들의 연구 대상이 된 인물이다. 라스꼴리니꼬프가 도스또예프스키의 초기 및 중기 단편들로부터 진화되어 온 인물이라는 것은 이미 주지의 사실이다. 도스또예프스키가 이미 선배작가들인 뿌쉬킨과 고골의 지대한 영향을 받았다는 사실에서 라스꼴리니꼬프의 문학적 주인공으로서의 원형은 도스또예프스키의 『죄와 벌』 이전에 발표된 작품들에서 뿐만이 아니라 앞에서 언급한 두 명의 19세기 러시아문학의 개척자들의 작품에 등장하는 주인공에서 이미 찾아볼 수 있다. 뿌쉬킨의 <스패이드 여왕>의 주인공 게르만과 고골의 <외투>의 주인공 아까끼 아까끼예비치는 라스꼴리니꼬프가 보여주고 있는 특징들을 이미 태동하고 있다. 그것은 이 세 작가들의 문학적 특징들을 규명할 때 항상 비평가들의 논란을 불러일으키고 있는 것으로 이들 작품들이 내포하고 있는 낭만주의적인 요소와 사실주의적인 요소의 공존에 기인한다.
이러한 맥락에서 게르만과 아까끼 아까끼예비치 그리고 라스꼴리니꼬프는 환상과 사실의 경계선에서 비극적인 운명을 맞이하는 공통점을 보여준다. 게르만과 라스꼴리니꼬프는 나폴레옹적인 주인공이라는 측면에서 유사성을 지니며 아까끼 아까끼예비치는 라스꼴리니꼬프와 뾰뜨르대제의 서구화 정책의 희생자라는 측면에서 서로 닮은 인물이라고 할 수 있다. 게르만으로부터 라스꼴리니꼬프로의 진화과정을 논할 때 논란의 초점이 되는 것은 이들의 운명을 어떻게 해석할 것인가의 문제이다. 우리가 라스꼴리니꼬프의 운명을 논할 때 항상 망설이게 되는 것은 『죄와 벌』이 라스꼴리니꼬프의 자유 의지에 의한 범죄를 상세하게 기술하고 있음에도 불구하고 또 다른 한편으로 그가 알 수 없는 운명의 희생자로서 낭만적인 주인공의 대열에 서 있다는 인상을 불러 일으키기 때문이다. 뿌쉬킨이 <스패이드 여왕>에서 제시한 스패이드여왕의 분신으로서 백작부인의 존재는 게르만의 환상과 탐욕의 공존을 가능케 하고 있으며 <외투> 후반에서 이것은 아까끼의 분신이라고 할 수 있는 작품 후반부의 유령의 모습에서 환상과 현실의 충돌로 계속되고 있다. 라스꼴리니꼬프에게서 분신의 주제는 이미 진화된 모습으로 각각 다른 인물들로 구현되어 나타나고 있다. 이러한 맥락에서 도스또예프스키는 선배작가들이 구축한 환상과 사실의 ‘경계문학’의 전통을 계승하고 있으며 비평가들이 그의 문학적 특징을 논할 때 “낭만적”이라든가 “환상적”이라는 수식어를 항상 첨가하는 이유라고 할 수 있다.

영어초록

This article intends to trace back the literary models for Raskolnikov, a famous protagonist in Crime and Punishment. Many critics have already found out that the characteristics of Raskolnikov have evolved from the characters of preceding works of Dostoevsky. For example, the name Raskolnikov, which suggests not only the fanaticism of a Russian schismatic, but also his transected nature between the good and the evil mirrors the image of Golyadkin in Double. Raskolnikov is also one of the lonely dreamers dwelling in “most abstract and premeditated city on the face of the earth” St Petersburg like his literary predecessors such as anonymous hero in White Nights or Ordynov in Landlady. It goes without saying that Raskolnikov's rational motive for the murder is closely associated with the utilitarian socialism against which the Underground Man argues Notes from Underground.
Besides Raskolnikov's evolution from Dostoevsky's characters in his early and later works, two well-known characters, Pushkin's Hermann of The Queen of Spades and Gogol's Akaky Akakyevich of The Overcoat, each of them seems to have seeds of having evolved into Raskolnikov because both writers, Pushkin and Gogol,needless to say, had crucial influences on creating Dostoevsky's literary world. Hermann is obsessed by the idea of becoming a nouveau riche while Raskolnikov is possessed with the idea of becoming a superman like Napoleon. Hermann's resemblance to Napoleon makes him the precursor of another “Napoleonic” hero, Raskolnikov who considers that crime can be justified by a good end, if the individual has the strength to step over the accepted principles of morality, and whose supermen lists include not only Napoleon, but Mahomet and etc. we can also add that in these works appear two different women with a same name “Lizaveta Ivanovna” who became victims for protagonists' crime. Both protagonists get the idea of their crimes by overhearing the conversation. Last but not least, Raskolnikov takes a resemblance to Hermann in that both seemed to be attracted to the murder of crime against their will by mysterious power. In this way, two protagonists have similar aspects in that both of them show the characteristics of a romantic hero.
In case of Akaky, we see that Akaky is devoted to copying other's writing, while Raskolnikov is engrossed in the interpretation of other's writings and even in embodying the other's idea into Russian reality. Akaky Akakievych and Raskolnikov, each of them has the sacred in their life. For Akaky Akakievych, as we all know, it is none other than “the overcoat”. For Raskolnikov, it is the materialization of the idea. After they lose what they thought as the cherished in life, both experience deteriorating mental state, brought about by fever and malnutrition which may have been responsible for their sufferings of which they were not afraid. Both characters show similarities in changes happening to their life. As Akay converts from a copying machine to a human being owing to his beloved overcoat, so Raskolnikov regenerates from a “dead soul” to a living being with inspired feeling of love from Sonya. The fact that the stolen overcoat of Important Person fits Akaky Akakievich suggests another split self of Akaky besides the ghost in the second half of the story. In Raskolnikov the theme of split self as the intellect, the sensual, and the spiritual is partly embodied in Sonya, Luzhin, and Svidrigailov each.
Thus, in Raskolnikov the characteristics of his literary precursors, Hermann and Akaky Akakievych are developed and complicated which makes him a tragic hero. Not only Hermann's fantastic ambition of becoming a rich man but Akaky's obsession with the insignificant thing such as the overcoat is replaced with Raskolnikov's possession of the idea of applying superman theory to himself. As a result, all three of them encounter catastrophe in their life. Hermann becomes insane and spends rest of his life at psychic asylum, Akaky Akakievych confronts wretched death as much as his miserable life. Raskolnikov kills the old pawnbroker and becomes a murderer.
In case of Hermann's tragedy, it is difficult to blame his greed because he is portrayed as a victim of unknown fate thus showing typical characteristics of Romantic hero. Akaky is not a romantic hero anymore, however, his ghost in the second part of <The Overcoat> is clearly a continuation of the theme of the double in <The Queen of Spades.> Raskolnikov's split self with it's embodiment in other characters as his doubles proves that he is born in this tradition of “threshold literature” between fantasy and reality in Russia. Thus, Dostoevsky's work of art cannot be categorized definitely either as romanticism or as realism. That's why the epithets such as “Romantic” or “Fantastic” are added to realism in evaluating Dostoevsky's art.

참고자료

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