In Chapter V of Part IV of Crime and Punishment, Dostoyevsky uses the physical and emotional fluctuation of the characters to highlight the growing turmoil within Raskolnikov and accentuate the semantic threshold at which it finds itself. To see this clearly, one must understand that, although often the defining events of the novel -- decisions, conversations, confessions -- take place in what Mikhail Bakhtin describes as thresholds, streets, crowded corridors, etc., the scene particular confrontation between Raskolnikov and Porfiry Petrovich, in the fourth part, takes place in the rather large and relatively open environment of Petrovich's “neither big nor small” study. It is precisely because of this seemingly sudden expansion in the space of the novel that the physical, verbal, and emotional hesitations that ensue are made all the more poignant. Above all, Raskolnikov seems to be himself at an invisible threshold, a critical moment where his nerves fail him, his reason betrays him, and he finds himself with alkaline tastes and feverish attempts at coherence as his guides; the oscillations in the text reflect its state. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Early on, the feeling between the two men is established through the diction Dostoyevsky uses to dramatize the exchange, including words and phrases such as "pounce," "control his overworked nerves ” and “both looked at each other, but when their eyes met, quick as lightning, they looked away,” which makes the air thick with tension. Both characters seem to be struggling with more than just the current interview; they seem overwhelmed by their internal attempts to grasp the ineffable interconnectedness between past and future, actions and consequences, punishment and forgiveness. Thus, “criminal” and “detective” – if we want to simplify their roles for the purposes of this analogy – are united by a common tension, even a common search for dialogue and understanding. Physically, both men hesitate. between the extremes. For example, Raskolnikov is initially prey to paranoia and constantly worries about what his silence or speech may reveal, what his nerves may betray, and what his hatred for Petrovich will prompt him to say. . Several times he stands up indignantly and prepares to leave, but even as the exchange takes a more overtly accusatory tone, he simultaneously seems incapable of controlling his own physical state and following his own desires. In vain, he tries to "get into Porfiry's game", picks up his cap to leave and, shouting, demands a formal accusation from Petrovich; However, immobilized by his own feverish state, he easily succumbs to the latter's pleas and remains in the office. Similarly, Porfiry Petrovich is caught in the ebb and flow of his own movements, sometimes approaching Raskolnikov and others while remaining apart, often "running around the room, moving his big little legs more and more faster", then stopping unexpectedly to examine an object or listen to a sound, "sometimes avoiding Raskolnikov's suspicious gaze, sometimes remaining still and looking him straight in the face." He seems to be speaking not only with Raskolnikov, but with himself, testing the limits not only of his suspect, but also of his own strength of resolve. The oscillatory nature of both men's physical descriptions and their reactions combines with their words and reactions. emotional changes to elevate the sense of tension in the narrative and, in turn, reflect the collapse of Raskolnikov's framework of being and his arrival at a.