Resurrection in Dostoevsky's Crime and Punishment

Fyodor Dosteoevsky’s Crime and Punishment is a renowned 19th-century novel that has captivated audiences
for generations. Part of the appeal for this classic text comes from the densely interwoven and constantly
evolving thematic motifs and symbols. Arguably one of the most crucial episodes in the novel comes when
Raskolnikov and Sonya discuss the existence or absence of God and the biblical account of Lazarus’
resurrection. By examining this scene in comparison to the novel’s conclusion, the reader can see how
Dostoevsky uses the progression of development for Roskolnikov’s character and his “acquaintance with a
new, hitherto completely unknown reality” (551) to echo the theme of resurrection that stems from story of
Lazarus.
When looking at the character of Raskolnikov, it is hard to get a holistic and unified view of his thoughts,
actions, and faith. The schism in his behavior is clearly seen through his acts of charity on one hand and his
self-absorbed isolation on the other. There is no defining moment that reveals the immutable character of
Raskolnikov, and thus the scene with Sonya’s reading of Jesus’ miraculous healing of Lazarus only hints at one
state of Raskolnikov’s fickle nature. However, it becomes clear from this episode that Raskolnikov appears to
challenge the existence of God and Sonya’s faith. When Raskolnikov begins theorizing about what will happen
to Sonya’s family if something tragic should occur, Sonya replies, “‘No, no! God will protect her! God!…’ she
repeated, beside herself. ‘But maybe there isn’t any God,’ Raskolnikov replied…Sonya’s face suddenly changed
terribly: spasms ran over it. She looked at him with inexpressible reproach…and simply began sobbing all at
once very bitterly, covering her face with her hands” (321)2E It is evident from this interaction that Sonya
cherishes her faith and is taken back by Raskolnikov’s inquisition and indirect denial of God. Strangely, when
he notices a copy of the New Testament on a chest of drawers, Raskolnikov quickly asks Sonya to read him the
story about the raising of Lazarus. In the story of Lazarus, Dostoevsky foreshadows the resurrection of faith
that Raskolnikov eventually reaches after his confession.
At Raskolnikov’s request, Sonya reads, “‘Jesus said unto her, I am the resurrection, and the life: he that
believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never
die..2EAnd when he has spoken, he cried with a loud voice, Lazarus, come forth. And he that was dead came
forth” (326-328). Undoubtedly this is a story of resurrection for Lazarus, a man who was physically dead and
yet rose from the grave at Jesus’ command. Although the parallel may not be readily apparent since
Raskolnikov is not physically dead, there does exist a synonymous relationship between Lazarus’ physical
death and Raskolnikov’s spiritual death. Once Raskolnikov finally reveals to Sonya that he killed Alyona and
Lizaveta Ivanovna, he comes to an internal realization, “Was it the old crone I killed? I killed myself, not the old
crone!” (420). In a nonphysical sense, Raskolnikov experiences a self-inflicted death that is comparable to the
death that sent Lazarus to the grave: both are potentially eternal apart from salvation or rebirth. The story of
Lazarus is a story of fatal suffering and sickness, but it also embraces triumph over death and sin that is
brought about through the miraculous resurrection. Through the reading of Lazarus’ story, Sonya is
acknowledging and proclaiming the eternal message of faith that sits at the feet of Raskolnikov.
After much anguish and tribulation, Raskolnikov is brought to a state of confession and is sent to Siberia with a
sentence of eight years of hard labor. Sonya accompanies him to Siberia, and through her influence on him,
the transformational power of love is displayed and a change begins to take place in the core of Raskolnikov:
“they were resurrected by love; the heart of each held infinite sources of life for the heart of another” (549).
Without Sonya’s love, Raskolnikov would be unable to leave his grave of unbelief, and although the change is
gradual and indistinct, Dostoevsky makes it clear that an inner resurrection and rebirth takes place. With the
New Testament in hand, Raskolnikov begins questioning, “Can her [Sonya’s] convictions become my
convictions now? Her feelings, her aspirations, at least…” (550). Eventually Raskolnikov does reach a point
where he consciously realizes his potential for accepting and obtaining the faith that he sees displayed
through Sonya’s loving character. The closing of the book states, “But here begins a new account…the account
of his gradual regeneration, his gradual transition from one world to another, his acquaintance with a new,
hitherto completely unknown reality” (551). From prior passages, it was clear that Raskolnikov openly rejected
God and a belief in the sacredness of human nature. After all, his crime was committed in an attempt to prove
the world exists without a moral consciousness or eternal goodness. Although Raskolnikov’s rebirth may not
be as explicit as Lazarus’ walking out of the tomb, it is clear in the closing of the novel that a resurrection has
taken place inside of Raskolnikov’s character as he begins to embrace a life of faith.
Crime and Punishment is a novel rich in thematic meanings displayed through the lives of its characters. In the
case of Raskolnikov, Dostoevsky uses a complex and intriguing character to portray the eternal message and
power of faith. Because of Sonya’s love for Raskolnikov, he is eventually resurrected from a life of destruction,
egotism, and despair to a life capable of acknowledging the sanctity in human nature, a higher good, and a
caring God. Through the story of Lazarus and the scene involving its reading, Dostoevsky uses Raskolnikov’s
life to reveal the theme of resurrection and the significance of rebirth in the acceptance of faith.