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The deed done in a gruesomely realised gout of violence, the bulk of charts how Raskolnikov gradually comes to be haunted by his creatureliness—his early intellectual resolution replaced by fear, trembling, and shrilly unconvincing attempts at self-justification.

Explaining rates more often takes into consideration factors external to the individual actor

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six principles underlie the Classical approach to crime:

The key point here is that we develop theories in order to  something; we are not  it

One US Supreme Court Justice (who had originally supported the death penalty) eventually came to the conclusion that capital punishment was bound to damage the cause of justice:


Problems with the Classical Approach

The intricate and tumultuous relationship between Britain and India has spanned the course of hundreds of years. Contact between Britain and India and been steadily increasing since the 17th century. While at first both countries enjoyed varying levels of positive trade between them, Britain had soon expanded its growing empire to India and it became…

One hundred whip-smart wisecracks

The thematic tightness of the apparently diffuse stories and subplots that Hannan has deftly retained in his adaptation all quietly echo and amplify Raskolnikov’s anxieties, and his predicament. Telling moments are generally left understated, commended to our understanding and judgment rather than wrestled unsubtly into view, or subjected to definitive directorial readings. One of the great strengths of this production is that both characters and philosophical ideas are permitted to speak for themselves.

The classical school does little to address the causes of crime

Overall a certain slackness characterised Raskolnikov’s development across the piece. Yes, he learns, painfully unpicking his reasons and reasoning for killing the niggardly pawnbroker, but the Raskolnikov who closes the show felt too much like the simmering figure which opens it. Best’s performance is frequently powerful and affecting, but there could have been a greater, more explicit sense of Raskolnikov’s gradual transformation across the piece as a whole.

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In the role, Adam Best recalls the patient, the penitent, and the institutionalised prisoner. Best is no limp undergraduate here, but a prowling physical presence: a sullen intellectual thug, hot with provocation. The play’s success turns on our capacity to sympathise with this unsympathetic young man, and effective pacing and plotting greatly helped the audience in this regard. The increasingly suspicious authorities were also well represented by John Paul Hurley’s explosive and taut copper, and in the lovely, worldly humanity of George Costigan’s performance as the mercurial investigating magistrate, Porfiry Petrovich. Performances are strong across the board, with the whole company together conjuring a vivid sense of character and place (though Jack Lord’s pert, sniffish, straw-boatered Luzhin was a particular highlight).