Crime and Punishment

Crime and
Punishment
Study Guide by Course Hero
readers to immerse themselves in the psychology of each of

What's Inside Dostoevsky's characters, much as his main character,
Raskolnikov, tends to do.
j Book Basics ................................................................................................. 1 TENSE

Crime and Punishment is written in the past tense.
d In Context ..................................................................................................... 1
a Author Biography ..................................................................................... 2
h Characters .................................................................................................. 3 d In Context

k Plot Summary ............................................................................................. 7
c Chapter Summaries .............................................................................. 12 Historical Context

g Quotes ........................................................................................................ 35 Between the 13th and 16th centuries, Russia was isolated from
Europe and did not take part in the Reformation, a break from
l Symbols ...................................................................................................... 37
the Catholic Church, which led to the establishment of the
m Themes ...................................................................................................... 38 Protestant Church, or the Renaissance, a resurgence of
interest in art, science, and classical thought in Western
b Character Names ................................................................................. 40 Europe. Russian society was primarily feudal, consisting of
farms owned by lords and worked by serfs. The Russian
e Suggested Reading ............................................................................. 40
Orthodox Church dominated religious life.
In the 18th century Czar Peter I (1672–1725), also known as

"Peter the Great," made widespread changes to virtually every
j Book Basics aspect of Russian society and culture. During the Northern
War (1700–1721) against Sweden, he recaptured the mouth of
AUTHOR the Neva River and established Saint Petersburg there in 1703.
Fyodor Dostoevsky In 1712 it became the capital of the Russian empire, influenced
by the art, architecture, philosophy, and commerce of Western
YEAR PUBLISHED Europe. To Dostoevsky the city felt new and artificial
1866 compared to the more traditional former capital of Moscow.
GENRE These cultural reforms tapered off, and by the 19th century
Drama, Fantasy Russia was significantly behind Europe. Czar Alexander II
(1818–1881) once again undertook wide reforms, most notably
PERSPECTIVE AND NARRATOR
freeing the serfs in 1861 from their virtual slavery to
Crime and Punishment is told from a third-person omniscient
landowners, only two years before America's Emancipation
perspective. The narrator is "all knowing" about the thoughts
Proclamation freed slaves in the United States. This was a
and feelings of any character in the novel. The narration allows
Crime and Punishment Study Guide Author Biography 2
defining moment for Russia—one Dostoevsky strongly favored. unflattering light, as destabilizing, dangerous influences on his
protagonist. On the other hand, Critic N. N. Strakhov, a
conservative and friend of Dostoevsky, treated Raskolnikov as
Political and Philosophical both a sympathetic and realistic character with multiple
possible motivations for his crime. Later critics looked more
Context closely at the novel as a psychological study of the criminal
mind.
Russian serfs were freed in 1861, only five years before
Dostoevsky wrote Crime and Punishment. Young Russian
intellectuals, like the novel's protagonist, Raskolnikov, were Napoleon
debating new ways of thinking about society and questioning
traditional ideas of morality. From the reign of Peter the Great, French culture heavily
influenced Russian society. Although travel to France from
The poverty and inequality that sprang up elsewhere in Europe Russia was restricted after the 1789 French Revolution, French
during the Industrial Revolution strongly influenced political thought continued to influence Russia.
philosophers such as Immanuel Kant (1724–1804), Georg
Wilhelm Friedrich Hegel (1770–1831), and Karl Marx Sometimes aiding and sometimes opposing France before the
(1818–1883). These thinkers intrigued Russian intellectuals with French Revolution, Russia was reluctant to support Napoleon I
their theories of radical social change. Marx, for example, (1769–1821), who had helped overthrow the French monarchy
believed that the struggle between different social classes lay and was seizing territory throughout Europe in the early 19th
at the heart of society and that one day society would no century.
longer be based on a class system.
Angry that Russia was less and less cooperative, Napoleon
Many of these new ideas challenged established views of invaded in 1812. Eventually, lack of resources, disease, and the
morality found in law and religion. For example, utilitarians brutal Russian winter forced Napoleon to withdraw, having lost
believed that "the morally right action is the action that hundreds of thousands of men. Nonetheless, from his death in
produces the most good," even if it transgresses conventional 1821 until the late 1880s, Napoleon was seen as a legendary
moral boundaries. Raskolnikov's "exceptional man" is leader with grand ambitions. Raskolnikov views Napoleon as
something of an extension of Hegel's historical actor, who is one of his heroes, a central example of Raskolnikov's theory
judged by history rather than traditional morals. In addition, the that great men have the right to transgress laws in order to
nihilist movement rejected the authority of the state, church, accomplish great deeds.
and family to define moral boundaries. Some nihilists believed
that destroying society altogether was the only way to create
true change.
a Author Biography
Fyodor Dostoevsky (also spelled Dostoyevsky) was born in
Critical Response 1821 in Moscow, Russia. His mother was deeply religious.
Dostoevsky's father sent Fyodor and his older brother, Mikhail,
Early criticism of Crime and Punishment was divided along
to military engineering school and hoped they would also
political lines. Critic D. I. Pisarev, who favored radical social
follow careers in the military, but they chose literary careers
change to establish greater social and financial equality,
instead. Dostoyevsky's first novel, Poor Folk (1846), examining
argued that the main motivation for Raskolnikov's crime is his
the psychological effects of poverty, was an overnight
social environment: he is forced by his poverty to rob the
success.
pawnbroker. Other liberals and radicals objected to
Dostoevsky's characterization of Raskolnikov. Like them, In 1847 Dostoevsky, who opposed wealthy Russian landowners
Raskolnikov embraces utilitarianism and nihilism. But who exploited peasants for labor, became involved in a utopian
Dostoevsky portrays these schools of thought in an socialist group. He and other members of the group were
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Crime and Punishment Study Guide Characters 3
arrested in 1849. They were subjected to a fake execution, and

Dostoevsky believed he had only moments to live. Instead he Sonia
was sent to a Siberian prison for four years. There he renewed
his Christian faith. He also suffered his first epileptic seizure, Just 18, Sonia is forced into prostitution to support her
an illness that plagued him for the rest of his life. These alcoholic father, tubercular stepmother, and three young
experiences had a profound impact on Dostoyevsky and his stepsiblings. Although this forces her to live apart from her
writing. family and hurts her reputation, she endures without complaint.
Sonia is shy on the outside, but she has great inner strength.
After his prison term, followed by several years of compulsory Far from being corrupted by her situation, she remains a pure
military service, Dostoevsky returned to Moscow. There he and soul, with boundless compassion for the suffering of others,
his brother Mikhail published a series of journals, and including the most guilty or deeply flawed, such as Raskolnikov.
Dostoevsky wrote The House of the Dead (1860–62) based on Acting as the novel's moral compass, she represents suffering,
his experiences in prison. faith, redemption, and the power of love.
By 1866 Dostoevsky was desperate. He and his brother's latest

journal failed, and Mikhail died soon after. A gambling addict,
Dostoevsky owed huge debts. He was forced to complete a
Alyona
novel, The Gambler, to satisfy a book contract, while still
Sixty-year-old Alyona gouges her customers any way she can,
working on Crime and Punishment. To accomplish this he hired
then selfishly hoards the profits. She abuses her gentle
a young woman to transcribe the books as he dictated them.
younger half-sister, Lizaveta, beating her and treating her like a
He later married her, and she provided a stabilizing influence
slave. She is a portrait of faith without works: she may wear
for the rest of his life.
two crosses and plan to leave her money to a monastery, but
Crime and Punishment was a success upon its release. she is devoid of compassion, charity, or any other Christian
Dostoevsky went on to write what are considered his greatest ideals.
novels in addition to Crime and Punishment: The Idiot (1869),

Demons (1872), and The Brothers Karamazov (1880). When he
died in 1881, thousands attended his funeral. Dounia
A few years younger than Raskolnikov, Dounia strongly
h Characters resembles her brother. Their mother, Pulcheria, notes that they
are both "morose and hot-tempered, both haughty and both
generous." But Dounia is not as alienated or self-involved as
Raskolnikov. She loves her brother and is willing to make great
Raskolnikov sacrifices for him, but she does not excuse his every fault.
Scrupulously fair, she has an unshakable sense of integrity and
Raskolnikov is a poverty-stricken, 23-year-old former law is not afraid to say what she thinks. Strong and beautiful, she
student. Conflicted in almost every way, he is handsome and fascinates a number of the men in the novel.
intelligent but also egotistical and obsessive, often overvaluing
his mental abilities. His thoughts and actions can swing
suddenly between extremes, startling and confusing others, Luzhin
who often question his sanity. However, while deeply alienated
from the world around him, he often steps in to help others Luzhin has spent his life amassing a fortune and cares far
who are suffering or in distress. The crime he commits pushes more about social appearances than deeper considerations
him to the breaking point, and he is haunted by what he has such as truth or love. He longs for a wife who is attractive and
done. His response to his crime makes him a litmus test for educated but poor, so she will look up to him. Luzhin attempts
deciding which is greater, the need for power or the power of to use his money and social position to control others, but his
love. actions often give him away, revealing him as a manipulative

liar.
Razumihin
A former college friend of Raskolnikov, he differs from him in
striking ways. In contrast to Raskolnikov's pessimistic view of
existence, Razumihin looks at life constructively, with hope for
the future. He befriends everyone. Even when Raskolnikov
pushes him away, he remains a loyal friend, caring for him at
his lowest moments. He also steps in to watch over
Raskolnikov's mother and sister when Raskolnikov cannot.
Often the novel's voice of reason, he sees Raskolnikov and the
society they live in with remarkable clarity. The only thing he
can't see clearly is that Raskolnikov is a murderer.
Svidrigaïlov
A 50-year-old former gambler who has spent time in prison for
debts, he is driven by his appetite for women and fast living.
His handsome face is a mask that hides his depravity. He has
committed terrible crimes, including sexual assault, and is
rumored to have killed his wife. Now he has designs on
Raskolnikov's sister, Dounia. He is perceptive and charming but
also slippery and highly manipulative. Svidrigaïlov is also
surprisingly generous, giving money to the vulnerable and
innocent. Below the surface, his conscience tortures him.

Character Map
Svidrigaïlov
Predatory, shady man;
stalks Dounia
Employer
Sonia Dounia
Self-sacrificing daughter Smart, beautiful woman
of a friend, inspires with a strong sense
Raskolnikov to confess of integrity
Loves Sister/
Brother
Raskolnikov
Moody, intelligent man
Engaged
torn between intellect
and conscience
Friends
Luzhin
Razumihin
Rich but stingy lawyer
Optimistic friend, loyally Murders
who tries to control
helps Raskolnikov
Dounia
Alyona
Greedy, selfish
pawnbroker;
helps no one
Main Character
Other Major Character
Minor Character

Full Character List Semyon Zaharovitch Marmeladov is

a former civil servant who has lost
Marmeladov
his job due to alcoholism and
impoverished his family.
Character Description
Nikolay Dementyev is a painter who

Rodion Romanovitch Raskolnikov,
Nikolay confesses to the murders to relieve
nicknamed "Rodya," is a poor law
Raskolnikov his guilt over lesser sins.
student who has dropped out of the
university.
Porfiry Petrovitch is the head of the
police investigative department—a
Sofya Semyonovna Marmeladov, Porfiry
tricky investigator with clear insights
Sonia nicknamed "Sonia," is Marmeladov's
into Raskolnikov's motivations.
daughter from his first marriage.
Pulcheria Alexandrovna Raskolnikov

Alyona Ivanovna is a pawnbroker in
Alyona is Raskolnikov's and Dounia's
Raskolnikov's neighborhood.
Pulcheria devoted mother. She borrows
against her small pension to send
Avdotya Romanovna Raskolnikov is Raskolnikov money.
Dounia Raskolnikov's sister and Luzhin's
fiancée.
Nikodim Fomitch is a kind-hearted
police administrator to whom
Nikodim Fomich
Pyotr Petrovitch Luzhin is Dounia's Raskolnikov considers confessing
Luzhin his crime.
fiancé, a rich lawyer on the rise.
Dmitri Prokofitch Razumihin is Amalia Amalia Fyodorovna Lippevechsel is

Razumihin Raskolnikov's friend from the Fyodorovna the Marmeladov's German landlady.
university.
Ilya Petrovitch, known as the
Arkady Ivanovitch Svidrigaïlov is "Explosive Lieutenant" for his quick
Svidrigaïlov Marfa Petrovna's husband and Ilya Petrovitch temper, is the assistant police
Dounia's former employer. superintendent, who suspects
Raskolnikov after he faints.
Girl in Part 1, The girl is a drunken teenager whom

Chapter 4 Raskolnikov tries to help. Marfa Petrovna Svidrigaïlov was
Marfa Petrovna Dounia's former employer and was
Svidrigaïlov married to Arkady Ivanovitch
Katerina Ivanovna Marmeladov is Svidrigaïlov.
Marmeladov's wife, who suffers from
Katerina
consumption (tuberculosis) and
Ivanovna Nastasya Petrovna is the cook and
whose life has been ruined by her
husband's alcoholism. servant at Raskolnikov's lodging
Nastasya
house, who looks in on him and
brings him food.
Andrey Semyonovitch Lebeziatnikov
is an idealistic young socialist who is
Lebeziatnikov The student who believes that
a housemate of the Marmeladovs Student in tavern
and a former ward of Luzhin. Alyona should be dead.
Lizaveta Ivanovna is Alyona's much Alexandr Grigorievitch Zametov is a

younger and nicer half-sister, whom young police head clerk whom
Lizaveta Zametov
Alyona abuses. She is Raskolnikov's Raskolnikov suspects of taking
unintended second murder victim. bribes.

Crime and Punishment Study Guide Plot Summary 7
Raskolnikov wants to get caught, but he does not want to

Zossimov is a friend of Razumihin's
Zossimov from the university and a new doctor confess. He drops hints about the murders to Zametov, a
with an interest in mental illness. police clerk, and returns to Alyona's apartment to do the same
with some workers there. No one believes him. A carriage runs
over Marmeladov. He dies in Sonia's arms, a probable suicide.
Raskolnikov gives money to his widow, Katerina Ivanovna, and
k Plot Summary he no longer feels the urge to confess.
Part 1 Part 3
Dounia and Pulcheria visit Raskolnikov, who forbids Dounia to
The setting is Russia in the 1860s. During a hot July in Saint
marry Luzhin. Dounia and Pulcheria worry about Raskolnikov's
Petersburg, Raskolnikov, an impoverished student, plans a
erratic behavior. They meet Razumihin, who falls for Dounia.
crime. In preparation he visits Alyona, a greedy pawnbroker,
Raskolnikov's guilt continues to torture him. Sonia visits
and memorizes where she keeps her money. Later he meets
Raskolnikov to thank him for the money he gave her family.
Marmeladov, a former clerk, and his impoverished family.
Raskolnikov introduces her to his family.
Marmeladov's alcoholism has forced his oldest daughter,
Sonia, into prostitution to support them.
To allay suspicion, Raskolnikov meets with Porfiry, a police
investigator, to report that he pawned items with Alyona.
The next day Raskolnikov reads a letter from his mother,
Porfiry mentions an article Raskolnikov wrote about how
Pulcheria. His sister, Dounia, has survived a near scandal after
"extraordinary men" are allowed to transgress moral
refusing the advances of her employer, Svidrigaïlov. Dounia
boundaries without punishment. On his way home, a stranger
plans to marry Luzhin, a rich lawyer, to help her family.
calls Raskolnikov a murderer, terrifying him.
Pulcheria and Dounia will visit Raskolnikov soon.
Raskolnikov tries to help a drunken girl in the street. Later he

becomes ill and dreams about a man beating his horse to Part 4
death. Raskolnikov wavers about robbing and killing Alyona. He
decides to do it when he discovers by chance that she will be Svidrigaïlov visits Raskolnikov. He wants to give Dounia money
home alone. A flashback reveals how Raskolnikov overheard a as an apology, but Raskolnikov is suspicious. Svidrigaïlov
student talking about how Alyona's death would benefit others, describes his depraved past and troubled marriage. He reveals
confirming Raskolnikov's feelings. Raskolnikov kills the that his recently deceased wife has left Dounia money.
pawnbroker with an axe and robs her, then kills Alyona's half-
sister, Lizaveta, who appears unexpectedly. He gets lucky and Raskolnikov and his family uncover a lie about Raskolnikov and
escapes without being seen. Sonia that Luzhin wrote in a letter to Dounia. Dounia breaks her
engagement. Haunted by his crime, Raskolnikov breaks with
his family, leaving them in Razumihin's care. Raskolnikov visits
Part 2 Sonia, believing she understands him. She reads to him about
Lazarus. He discovers that Sonia knew Lizaveta.
The police summon Raskolnikov for unpaid debts. He arouses

The next morning Raskolnikov visits Porfiry. Suddenly another
suspicion by fainting as the police discuss the murders. He
man confesses to the murders. Later Raskolnikov again meets
finds a distant hiding place for his loot. Deeply alienated, he
the man who called him a murderer. The man apologizes,
becomes deliriously ill for days. Raskolnikov recuperates, as
saying he jumped to conclusions.
his friend Razumihin and a doctor, Zossimov, care for him.
They notice his fascination with the murders.
Luzhin visits Raskolnikov, who threatens him about Dounia.

Part 5 Epilogue, Chapters 1–2

Luzhin plots revenge against Raskolnikov, planting money on Nine months later Raskolnikov goes to prison in Siberia for
Sonia to make her look like a thief. When he tries to entrap her eight years. Sonia follows him. He still refuses to admit that
at Marmeladov's funeral dinner, Lebeziatnikov, a neighbor, says what he did was a crime and remains alienated. Sonia
he saw Luzhin plant the money. perseveres, visiting him regularly. After a serious illness, he
realizes he loves Sonia and is reborn into a new life.
Raskolnikov finally confesses his crime to Sonia. She is
shocked but treats him compassionately. She encourages him
to kiss the ground, confess, and be redeemed.
The Marmeladovs are evicted and become homeless. Katerina

Ivanovna loses her mind, then dies of tuberculosis. Svidrigaïlov
offers to help her children financially. He tells Raskolnikov that
he has overheard his confession to Sonia.
Part 6
Porfiry tells Raskolnikov he knows he is the murderer but
cannot prove it. He gives him two days to confess before
arresting him.
Raskolnikov meets Svidrigaïlov, whose stories reveal he is a

sexual predator. He has a new young fiancée, so he claims no
interest in Dounia, but Raskolnikov is skeptical.
Svidrigaïlov lures Dounia to his apartment and locks her in. He

uses Raskolnikov's crime to sexually blackmail her, then
threatens to rape her. Dounia tries to shoot him, but her gun
misfires. Svidrigaïlov asks if Dounia can love him, and she says
no. He lets her go but keeps the gun.
Svidrigaïlov gives money to Sonia's family and to his fiancée.

He checks into a hotel. He cannot eat and has terrible dreams.
The next morning he shoots himself.
The next day Raskolnikov says goodbye to his family. Sonia

gives him her cross, and then he leaves for the police. On the
way he bows down and kisses the ground ecstatically. He sees
that Sonia has followed him. At the station he learns of
Svidrigaïlov's death. Shocked, he decides not to confess.
However, as he leaves, he sees Sonia waiting. He returns to
the police and makes his confession.

Plot Diagram
Climax
7
10 Falling Action
Rising Action
6
11
5
4 12
3 Resolution
2
1
Introduction
Introduction Climax
1. Raskolnikov plans a crime. 9. Raskolnikov confesses the murders to Sonia.
Rising Action Falling Action
2. Raskolnikov overhears an opportunity to carry out his plan. 10. Raskolnikov confesses the murders to the police.
3. Raskolnikov kills the pawnbroker and her half-sister. 11. Raskolnikov is tried, convicted, and sent to Siberia.
4. Raskolnikov faints in the police station, raising suspicion.
5. Porfiry interrogates Raskolnikov about the murders.

Resolution
6. Raskolnikov promises to tell Sonia who killed Lizaveta.
12. Raskolnikov begins to love Sonia and look to the future.
7. Nikolay confesses to the murders.
8. Porfiry accuses Raskolnikov of the murders.

Timeline of Events
A hot day in July
Raskolnikov plots his crime and meets the Marmeladov

family.
The next day
Raskolnikov debates with himself about the crime, then

decides to do it.
The next day
Raskolnikov kills the pawnbroker and her half-sister, who

walks in on him.
The next day
Raskolnikov is called to the police. He hides the

evidence. He becomes seriously ill.
A few days later
Raskolnikov recovers, threatens Luzhin, drops hints

about the crime, and sees Marmeladov die.
The next day
Raskolnikov meets Porfiry, then Svidrigaïlov. Dounia

splits from Luzhin; Raskolnikov visits Sonia.
The next day
Nikolay confesses to the murders; Svidrigaïlov overhears

Raskolnikov confess to Sonia.
A few days later
Porfiry accuses Raskolnikov, who then meets with

Svidrigaïlov. Svidrigaïlov tries to assault Dounia.
The next day
Svidrigaïlov kills himself. Raskolnikov turns himself into

the police.
Nine months later

Raskolnikov goes to a Siberian prison. After an illness he

finds love and redemption with Sonia.

Crime and Punishment Study Guide Chapter Summaries 12
He tells Raskolnikov his story. He and his family are

c Chapter Summaries impoverished due to his alcoholism. His wife, Katerina
Ivanovna, comes from an upper-class background. A widow
with three young children, she married him out of desperation.
Part 1, Chapters 1–2 At first he supported the family as a civil servant, but his
alcoholism cost him his job. Now he steals from his wife to
drink, and she has developed consumption (tuberculosis). His
eldest daughter, Sonia, resorts to prostitution to feed the three
Summary other children. Because she is a prostitute, she can no longer
live with the family. Marmeladov recently got his job back but
returned to his old ways. Likely fired, he has not returned home
Part 1, Chapter 1 in five days. Marmeladov tells Raskolnikov that in the end God
will compassionately forgive all sinners, including Marmeladov
On a hot July evening in 1860s Saint Petersburg, Russia, a
and Sonia.
young man sneaks out of his boardinghouse because he owes
back rent. Poverty stricken, he lives in a tiny, shabby garret and Raskolnikov visits the Marmeladovs. The family shares one
wears ragged clothes. He has become self-absorbed and small, shoddy room. As their three young children weep,
alienated from other people. The young man plans a daring Katerina Ivanovna berates her husband and pulls him by the
deed of some kind but wonders if he is capable of it or not. hair, demanding to know where the money went. Raskolnikov
Nevertheless, he goes to an apartment in a nearby tenement in quickly departs, leaving some coins for them. He immediately
preparation for his plan. He is pleased to find that no one regrets his generosity and feels contempt for the family's
currently occupies the apartment across from the one he is situation, but he wonders if he shouldn't be kinder: "What if
visiting. man is not really a scoundrel, man in general, I mean, the whole
race of mankind—then all the rest is prejudice, simply artificial
He rings a doorbell, and a suspicious old woman, the greedy
terrors and there are no barriers and it's all as it should be."
pawnbroker Alyona, lets him in. He introduces himself as
Raskolnikov, a student with a watch to pawn. He nervously
takes in every detail of the apartment. The pawnbroker offers
Analysis
him less than half of what he asks for the watch, then deducts
interest for a previous loan. The setting and some of the major themes of the novel are
introduced in these first two chapters. The setting of the story,
Raskolnikov notices where she keeps her keys and pays close
central Saint Petersburg in the 1860s, is bustling, stinking, and
attention as she unlocks a dresser in her bedroom to retrieve
poverty stricken. The summer heat is oppressive, mirroring the
the money. He promises to return soon to pawn another item.
state of Raskolnikov's mind.
Before leaving he asks, "Are you always at home alone?" The
old woman deflects the question, implying it is none of his The following themes are introduced:
business. His actions suggest that Raskolnikov is planning a
crime. Repulsed by what he has been contemplating, he Alienation: Alienation can come from within or from society.
locates a tavern. Raskolnikov has become so self-absorbed that he has
isolated himself from everyone around him, contributing to
his anxiety and paranoia. Sonia has been alienated from
Part 1, Chapter 2 society, which judges prostitutes as beneath contempt.
Crime: Raskolnikov's actions at the pawnbroker's suggest
In the tavern Raskolnikov notices a man who looks like a he is planning a crime, and he struggles with whether he can
retired government clerk. Marmeladov is a man of go through with it. Dostoevsky focuses on why people
contradictions. He appears to be a heavy drinker, and his commit crimes and what effects those crimes have on both
clothes are torn and stained. Nevertheless, he has an air of the victims and the perpetrators.
respectability. Suffering: Suffering haunts this novel like a ghost. Almost

every character in these first two chapters suffers from

Part 1, Chapter 4
extreme poverty. Raskolnikov is nearly destitute.
Marmeladov and his family face starvation, illness, and Raskolnikov angrily swears that his sister will not marry Luzhin
social disgrace due to his alcoholism. Marmeladov's for her family's sake: "If he had happened to meet Mr. Luzhin at
poignant belief that God will forgive him and Sonia balances the moment, he might have murdered him." He fears Dounia's
suffering with compassion, a theme that obsesses marriage will be no more than legalized prostitution in order to
Dostoevsky here and in his other works. support him and Pulcheria. He wonders what right he even has
Morality: Marmeladov's situation contrasts religious morality to forbid the marriage because he cannot support his mother
with the realities of imperfect human behavior. The novel or sister financially. He reconsiders committing the crime.
explores multiple definitions of morality, including Christian, Once a "dream," it now seems like reality.
utilitarian, and nihilistic.
Raskolnikov notices a girl walking ahead of him. No more than
16, she is drunk and her clothes are in disarray. A man, looking
Part 1, Chapters 3–4 intrigued, follows her. Raskolnikov yells at him to get away, and
they come to blows. When a policeman intercedes,
Raskolnikov reports his suspicions: someone has gotten the
Summary girl drunk and raped her, and the man is trying to take
advantage of the situation. He gives the policeman money to
take the girl home, but she wanders off, with the other man still
in pursuit. Raskolnikov changes his mind about the situation,
Part 1, Chapter 3
telling the policeman to let the man and the girl go. But the
The next day Raskolnikov wallows in his isolation. His landlady policeman follows them, wondering if Raskolnikov is crazy.
has stopped sending him food because he owes her money, Raskolnikov questions whether it was worth it to get involved,
but the maid, Nastasya, kindly brings him tea. She tells him the believing the girl will inevitably fall into prostitution.
landlady is complaining to the police about the rent he owes.

Raskolnikov pays a visit to Razumihin, a friend from the
She wonders why Raskolnikov isn't working, and he responds
university. Like Raskolnikov he is poor and has had to drop out
that he is—he is thinking. He arrogantly declares that tutoring
of school. Raskolnikov remains aloof, but Razumihin is friendly,
doesn't pay enough; he wants a fortune "all at once."
cheerful, and optimistic.
Raskolnikov receives a letter from his mother, Pulcheria, about

his sister, Dounia. Dounia lost her position as a governess for a
wealthy family because her employer, Svidrigaïlov, asked her to
Analysis
run away with him. Dounia refused, but his wife, Marfa
These chapters focus primarily on the suffering of women, who
Petrovna, assumed the situation was Dounia's fault, firing her
are often portrayed as self-sacrificing or manipulated by
and ruining her reputation. Eventually, a repentant Svidrigaïlov
others.
revealed the truth, and his wife restored Dounia's good name.
Self-sacrificing women include Sonia, who becomes a

Later Dounia agrees to marry Luzhin, a rich, older lawyer,
prostitute for her family's sake, and Dounia, who faces the
despite signs that he is stingy and controlling. She hopes
prospect of an unhappy marriage to help her family. Katerina
marrying Luzhin will help her family: he says he might find
Ivanovna's life has been sacrificed to her husband's alcoholism.
Raskolnikov a job. Pulcheria and Dounia plan to arrive in Saint
Pulcheria and Dounia send Raskolnikov money they can barely
Petersburg shortly for the wedding. Pulcheria calls Raskolnikov
spare.
"everything to us—our one hope, our one consolation." She is
sending him another small amount of money that she and Women's suffering is often linked to the men who take
Dounia have scraped together. Raskolnikov, in turmoil, walks advantage of them. Pulcheria's letter describes Svidrigaïlov as
the streets talking to himself. Passersby mistakenly think he is a scoundrel. Raskolnikov sees him as such, equating him to the
drunk. man trying to take advantage of the drunken girl. Luzhin wants

a wife who is attractive and educated but poor, so she will kisses the dead horse, then tries to attack the owner, but his
worship him. father takes him away.
Even Raskolnikov, who objects to his sister's self-sacrifice and Raskolnikov reveals the crime he has been plotting: he is going
tries to protect a vulnerable girl, takes advantage of women in to rob and murder Alyona, the old pawnbroker. But after his
his own way. He tries to save the drunken girl from danger but dream he decides he cannot bring himself to do it, and he feels
almost sends her back to a terrible fate, all because he gets relieved, praying and renouncing the idea. While out walking,
hung up about whether helping her is worth it or not. At least however, he overhears that Alyona's half-sister, Lizaveta, will
he can recognize her suffering to begin with and try to do be away from their apartment at seven the next night, leaving
something about it. The attempt to ease or prevent suffering is Alyona alone. He returns home "like a man condemned to
a theme Dostoevsky returns to repeatedly throughout Crime death. ... Everything was suddenly and irrevocably decided." He
and Punishment. will commit the murder.
Chapter 4 introduces Razumihin, Raskolnikov's foil:

Dostoevsky highlights certain aspects of Raskolnikov's Part 1, Chapter 6
personality by contrasting him to Razumihin. His friendliness,
optimism, and generosity counterbalance Raskolnikov's In a flashback the narrator relates how Raskolnikov came up
alienation, pessimism, and self-absorption. with his plan. Six weeks earlier Raskolnikov went to Alyona to
pawn a ring. He immediately loathes her. Stopping at a tavern
on the way home to think, he overhears two men discussing
Part 1, Chapters 5–6 Alyona and her half-sister, Lizaveta. They describe Alyona as
greedy and cruel. She charges exorbitant interest, and she
beats her half-sister, treating her like a slave. The student
argues that killing Alyona and using her money to help others
Summary
would benefit society. Raskolnikov is amazed because he had
just been thinking the same thing. He feels that fate has led
him to this moment.
Part 1, Chapter 5
The story returns to the present. Raskolnikov sleeps most of
Raskolnikov despairs that Razumihin cannot really help him
the next day, then rushes to commit the crime. He has planned
find work but decides he will visit him once he has committed
some details but others are not in place. Nonetheless, he
his crime. Becoming feverish, he wanders the streets. He
believes he will remain clear-headed as he carries out his plan.
observes the residents of a wealthy neighborhood. At first he
enjoys this but soon finds it painful. After drinking vodka he In his room he sews a loop inside his overcoat to conceal the
falls asleep in the bushes and has a terrible, vivid dream. murder weapon, an axe. He creates a fake cigarette case to
pawn. Realizing it is later than he thought, he rushes to the
In his dream Raskolnikov is a boy of seven, walking with his
boardinghouse kitchen to steal the axe. Nastasya is there,
father in their town. He fondly remembers the town church and
almost derailing his plan, but he finds another axe in the
its comforting rituals and recalls crossing himself before his
porter's room. It is half past seven when he finally arrives at the
little brother's grave. Later he and his father see an old, skinny
pawnbroker's. He claims to feel unafraid but wonders if he
mare harnessed to a huge cart. Her owner claims she can pull
should not turn back. He rings Alyona's doorbell. She is
the cart and invites a large group to get in for a ride. Of course,
suspicious at first but finally opens the door to him.
the cart is too heavy for the mare to pull, but the owner
becomes enraged. He beats her ferociously. Others join in as a
crowd laughs. The boy runs to the horse, but his father says
Analysis
the beating is none of their business. The owner beats the
mare to death with a crowbar, screaming that she is his Raskolnikov's dream is brought on by a fever that echoes, and
property. Some in the crowd egg him on, but others object: "No is likely caused by, his mental state. The dream intertwines
mistake about it, you are not a Christian." The boy hugs and

themes of suffering and morality by presenting three different

responses to suffering. As a child in the dream, Raskolnikov
Summary
fondly remembers the village church and its comforting rituals.
Raskolnikov arrives at Alyona's apartment and gives her his
They symbolize traditional morality based on Christianity,
fake item to pawn. As she struggles to open it, he strikes her
which favors compassion as the most moral response to
with the axe three times and kills her. He initially feels in
suffering. In his dream Raskolnikov tries to prevent suffering,
control; however, when he tries to unlock the dresser drawer
his father overlooks suffering, and the horse's owner adds to
where she keeps the money, illogical fears overtake him, and
suffering.
he returns to make sure she is still dead. Raskolnikov cuts a
After his dream Raskolnikov is torn. He prays to God and purse from around her neck. He steals some jewelry from a
renounces his plan. But by the end of the chapter, he decides chest under her bed but never tries to open the dresser again.
to carry it out, all because he happens to overhear that Alyona Raskolnikov hears noises in the next room—it is Lizaveta. She
will be home alone. After deciding against it, he suddenly feels is too shocked to defend herself, and he kills her with one
committing the crime is inevitable, as if he never had a choice blow.
in the matter. At this point Raskolnikov seems not only
Raskolnikov carefully washes the axe and checks his clothing
indecisive or conflicted but also mentally unstable.
for blood, still so nervous he fears he might be missing other
Alyona presents Raskolnikov with a moral dilemma. Is someone things that could give him away. He struggles to think straight.
who causes such suffering worthy of any compassion? Rushing to leave, he discovers the apartment door is open.
Raskolnikov's indecision represents the struggle between old Panicked, he listens to make sure no one is on the stairs, but
and new moralities: He plans a cold-blooded murder that he he hears footsteps approaching. He barely latches the door
justifies as being for the greater good, a fashionable attitude before two men arrive looking for Alyona. They are puzzled
adopted by intellectuals of the day. But after his dream he that no one answers because the door is latched from inside.
reconnects with traditional Christian morality, which condemns Suspicious, one man goes to fetch the porter. The other waits,
killing and advocates compassion. then grows impatient and leaves, allowing Raskolnikov to exit
the apartment.
Raskolnikov also theorizes about why criminals always give
themselves away, using the metaphor of illness and disease. Halfway down the stairs, Raskolnikov hears two men's
He believes a crime "infects" the criminal with a loss of reason footsteps below him, then someone else's coming back up. He
and will. Raskolnikov thinks that minute planning of the crime's miraculously finds a second-floor apartment open and
every detail can prevent this "disease." If he kills Alyona, it empty—the two men whose footsteps he heard had been
won't really affect him because it isn't really a crime. He is painting it. He hides behind a door and later exits the building
doing the world a favor. unseen. Exhausted and agitated, he tries to remain
inconspicuous on his way home. When he arrives, however, he
Raskolnikov's views are an example of situational irony, in almost forgets to return the axe to the porter's room. When he
which his expectations about committing the crime and the does return it, he forgets to check first to make sure the porter
reality of his situation of are actually at odds. Raskolnikov's has is out. Luckily for Raskolnikov, he is. Replacing the axe,
faith in his logic and reason, and he expects them to protect Raskolnikov goes back to his garret, unseen.
him from detection and guilt. However, his preparations for the
crime are incomplete, and his wildly shifting mental state
suggests that his reason is in fact shaky. In these ways the Analysis
crime already affects him strongly before he even commits it.
After six chapters of indecision, Raskolnikov finally murders
Alyona. However, the deed and its aftermath are far from what
Part 1, Chapter 7 he has imagined. After killing her, he feels in control for a short
time, but Raskolnikov's plan is completely derailed by the
arrival of Lizaveta. The only reason for him to kill Lizaveta is to
cover up the first murder; her death serves no greater good as

he believes Alyona's does. Lizaveta's murder destroys her daughter, who is now dead of typhus.
Raskolnikov's rationalization for robbing and killing Alyona.
However, he does not hesitate for even a moment to kill After signing a promise that he will repay the debt, Raskolnikov
Lizaveta to protect himself, acting no differently than a again feels an urge to confess. However, he overhears that the
common criminal. two men who knocked on the pawnbroker's door just after the
murder are being released. The police realize the murderer
The suspense, far from decreasing once the deed is done, was in the apartment and escaped when the men left.
increases. Things continue to go wrong, and it seems more and Raskolnikov tries to leave but faints. He blames it on being ill,
more likely that Raskolnikov will be caught, but, for better or but llya Petrovitch, a police superintendent, seems suspicious.
worse, he is not. After killing Lizaveta, Raskolnikov's logic Nevertheless, they let him go.
completely fails him. He focuses intently on small details, such
as blood spatters, but is blind to larger ones, such as the door
being left open. A large part of both his motivation and Part 2, Chapter 2
justification for the crime was to take all of Alyona's money, but
he only manages to steal one purse. He has not escaped the Raskolnikov's fears prove unfounded—no one has searched his
"disease" of the criminal after all, and, by the time he returns room. He rushes to throw the stolen items in the canal, but
home, he feels "not fully conscious." there are too many people around. After searching various
locations, he finally hides the items under a large rock in a
hidden courtyard. He is exhilarated but then realizes he never
Part 2, Chapters 1–2 even opened the purse or looked at the jewelry he stole. He
also passes the spot where he saw the drunken girl earlier. He
feels more alienated than ever: "A new overwhelming sensation
was gaining more and more mastery over him every moment;
Summary this was an immeasurable, almost physical, repulsion for
everything surrounding him, an obstinate, malignant feeling of
hatred. All who met him were loathsome to him." Feeling ill, he
Part 2, Chapter 1 wanders to Razumihin's.
After lying in bed for hours, Raskolnikov suddenly realizes he As soon as Raskolnikov gets to Razumihin's room, he feels like
forgot to hide the evidence from the crime. Panicked and leaving. He mumbles about wanting Razumihin to help him find
feverish, he conceals the stolen items in a hole behind the wall work, then changes his mind. Razumihin is concerned that
of his room. He tears pieces of bloodstained fabric from his Raskolnikov seems ill. He offers to share some of his
clothes and discovers a bloody sock in his boot. But translation work with him, which pays in advance. Raskolnikov
Raskolnikov is so ill he cannot stay awake to get rid of them, first accepts, then declines, before leaving abruptly, angering
and he falls asleep, gripping them in his hand. Nastasya and Razumihin: "Are you raving, or what?" Razumihin shouts,
the porter bring him a summons to visit the local police. They roused to fury at last. "What farce is this? You'll drive me crazy
laugh at the "rags" he clutches, not noticing they are stained too. ... What did you come to see me for?"
with blood.
Raskolnikov nearly gets trampled by a carriage because he
Raskolnikov fears the police have discovered his crime and will doesn't notice he is in the middle of the road. The coachman
search his room while he is out, yet he must answer the whips him, making several people laugh, but an elderly woman
summons. On the way to the police, he feels an urge to gives him a coin "in Christ's name." He stands at a familiar spot
confess. At the police station, he speaks to the head clerk, on a bridge, depressed as he compares his past and present.
Zametov. He is elated to learn the summons is only about his He throws the coin in the river in despair and goes home. Later
debt to his landlady, and he changes his mind about he wakes up to hear Ilya Petrovitch brutally beating his
confessing. When he is asked to repay the debt, Raskolnikov landlady. Raskolnikov fears he is next. Later Nastasya tells him
explains that he is poor. Besides, he should not owe anything. it was only a dream.
His landlady extended him credit because he planned to marry

even forgetting his crime. He returns to his senses to find

Analysis Razumihin has located him and charmed the landlady into
letting Raskolnikov keep his room and receive meals again. His
Raskolnikov is torn between reason and conscience for much
mother has also sent him money. At first he refuses to take it,
of the novel. For the time being, reason wins out; however, his
but he changes his mind. His mental torment and confusion
conscience manifests in sudden strong urges to confess,
seem worse than ever.
which he nearly does at the police station. The police
represent the consequences of Raskolnikov's crime. When he Raskolnikov is disturbed to learn that Zametov, the police head
faints as the police are discussing the murder, they begin to clerk, visited him during his illness. Zametov heard Raskolnikov
suspect him, building the plot's suspense—will they be able to raving about wanting his sock. Zametov searched the room
catch him? Or will he confess before they do? and found it, but it was so dirty he could not see the blood on it.
The sock remains in Raskolnikov's room under some clothes.
In Part 2, Chapter 2, Raskolnikov reaches new depths of
alienation. He works hard to push people away, especially if Raskolnikov wants to run away and is increasingly confused
they show they care about him. This may be how he protects about what to do. Instead, he falls asleep again until Razumihin
himself from the painful aftereffects of his crime, including guilt arrives with fresh clothes.
and shame. In addition, getting too close to others could tempt
him to confess.
Part 2, Chapter 4
For example, Raskolnikov has conflicted motives for visiting
Razumihin. He wants Razumihin to help him, but he isolates Zossimov, a university friend and doctor, stops by to check on
himself, refusing even to tell his friend where he is living and Raskolnikov. Razumihin invites him and Raskolnikov to his
turning down his generous offer of work. He tosses a coin a housewarming that night. Zossimov mentions Nikolay, a house
woman gives him "in Christ's name" into the river, feeling that painter, who has been accused of the murders because he
he has "cut himself off from everyone and from everything at pawned some earrings directly after the crime.
that moment." He expresses loathing for people and things
around him, but what he really loathes is himself. Nikolay claims he found them on the street. But then he tries to
hang himself, appearing guilty of the crime. Finally he admits he
Two violent incidents occur in this chapter, one real and one found the earrings in the apartment he was painting.
imaginary, and both are connected to dreams. The first is Raskolnikov realizes he dropped them there as he hid behind
similar to the dream of the horse's beating in Part 1, Chapter 5. the door after the murders. He exclaims in terror, "Behind the
Raskolnikov has killed two people, but his whipping by the door? Lying behind the door?" No one catches the significance
coachman implies that Raskolnikov is in the mare's of what Raskolnikov has said.
position—he is suffering too. The dream about Ilya Petrovitch
beating the landlady is a manifestation of Raskolnikov's Nikolay and another painter ran into the street, fighting and
inability to face his guilt about his crime or his fear of its laughing "like children" moments before the bodies were
punishment. discovered. According to Razumihin, this is not how a killer
would behave, so Nikolay cannot be guilty of the crime.
Raskolnikov says nothing as Razumihin accurately describes
Part 2, Chapters 3–5 how the murderer must have escaped without being caught.
Part 2, Chapter 5
Summary
Luzhin, Dounia's fiancé, visits Raskolnikov, who does not
immediately recognize him. Luzhin acts contemptuous of
Part 2, Chapter 3 Raskolnikov's shabby room and clothing. When Raskolnikov
realizes who Luzhin is, he treats him rudely. Razumihin
For several days Raskolnikov is so ill he becomes delirious, criticizes the apartment Luzhin rented for Dounia and Pulcheria

as a "disgusting place" in a dodgy neighborhood, which he first of a number of characters who try to escape suffering and
recognizes because he had once visited someone in the same guilt through suicide.
building.
In Chapter 5 Luzhin finally appears, revealing himself to be a
Luzhin's pompous attitude and superficial comments annoy vain, shallow man. His debate with Razumihin and Raskolnikov
Raskolnikov and Razumihin. He speaks in platitudes, arguing exemplifies the conflict between traditional and contemporary
for practicality as a moral code. He believes that it is best to morality. Luzhin glorifies utilitarianism's emphasis on
act on your own behalf by "lov[ing] yourself before all men, for practicality at the expense of empathy. He favors acting in self-
everything in the world rests on self-interest," and that "in interest "for the common good" in opposition to Christ's
acquiring wealth solely and exclusively for myself, I am commandment to love your neighbor as yourself. He dismisses
acquiring, so to speak, for all." Razumihin argues that Luzhin's traditional ideals, even positive ones such as honor, as
emphasis on self-interest will actually make things worse for "prejudices." Razumihin and Raskolnikov accuse him of
everyone. showing off for the sake of being trendy.
Zossimov is also present, and the men discuss the murder of Raskolnikov despises Luzhin, and he argues that Luzhin's
Alyona and Lizaveta. Razumihin speculates (correctly) that it defense of acting in self-interest for the common good leads
was the murderer's first crime. Raskolnikov tells Luzhin that if logically to murder. However, Raskolnikov might as well be
one follows his theory of self-interested practicality to its describing his own rationale for killing the pawnbroker. This
logical conclusion, "it follows that people may be killed." adds a new twist to the novel: even characters who are at odds
Luzhin's views cause Raskolnikov to accuse him of wanting to may mirror each other in unexpected ways, often exposing
control Dounia, and when Luzhin blames Pulcheria for unpleasant truths.
misrepresenting him, Raskolnikov threatens to throw him down
the stairs. Badly offended, Luzhin leaves. Raskolnikov demands
that Razumihin and Zossimov leave as well. As they exit they Part 2, Chapters 6–7
talk privately about Raskolnikov's lack of interest in
anything—except the murders.
Summary
Analysis
In Chapter 3, despite Razumihin's caring gestures, Raskolnikov
Part 2, Chapter 6
continues to alienate himself, interested only in Luzhin's
Raskolnikov decides to confess: "This must be ended to-day,
intentions toward Dounia and conversation about the murders.
once for all, immediately; he would not go on living like that." He
wanders to the Hay Market and has a sudden urge to interact
Raskolnikov's dream about his landlady was so powerful he
with people. He strikes up a conversation with a passerby and
didn't realize it wasn't real until Nastasya told him. Now he is
later with a prostitute. He even asks the whereabouts of the
struggling to distinguish reality from fantasy every day: "He
tradesman and his wife with whom Lizaveta had scheduled the
made up his mind to keep quiet and see what would happen. 'I
meeting that helped him determine when to kill Alyona.
believe I am not wandering. I believe it's reality,' he thought." A
combination of fear, guilt, poverty, and illness is unhinging him,
Then he sees a prostitute covered with bruises. She triggers a
but he refuses to tell anyone. He is more alone and in more
memory of a story he read about a condemned man who would
pain than ever.
rather spend the rest of his life balanced on a narrow ledge
than die. Raskolnikov insists it is better to choose life, even if
In Chapter 4 Nikolay's reaction to guilt is the opposite of
the circumstances are painful.
Raskolnikov's. Whereas Raskolnikov denies and represses his
guilt, Nikolay feels so guilty for his actions he tries to kill
Finally, he enters a restaurant where he runs into Zametov, the
himself. He trades his cross for a drink before he does so,
police clerk. Raskolnikov won't confess directly, but he drops
symbolizing that he has betrayed his faith. Nikolay is also the
several hints, daring Zametov to guess that he is the murderer.

Ironically, Raskolnikov acts so strangely that Zametov decides suspects Raskolnikov of the murders and that Zossimov thinks
he is too unstable to have committed the crime. On his way he is mentally ill. Arriving at Raskolnikov's room, they find his
out, Raskolnikov runs into Razumihin, who is concerned for his mother and sister, who are terribly worried that something bad
friend's health. Raskolnikov rejects him. "How, how can I has happened to him. They try to embrace him, but
persuade you not to persecute me with your kindness?" Raskolnikov feels "a sudden intolerable sensation" and faints.
Razumihin angrily calls Raskolnikov a fool but still encourages
him to come to his housewarming.
Analysis
As Raskolnikov stands on a bridge, a woman near him throws
herself into the canal. She is rescued before she drowns. In Chapter 6 Raskolnikov's conscience and ego are at war. He
Raskolnikov's thoughts make it clear he has also considered wants to confess, or so it seems. Instead of confessing
suicide and may still be doing so. He decides to go to the outright, however, Raskolnikov tries to get people to guess
police to confess but goes to Alyona's building instead. what he has done by dropping clever hints, as if he can't bring
Raskolnikov rings her doorbell repeatedly as if to reenact his himself to say the words. Yet he is offended when Zametov
crime. Workmen are preparing her apartment for a new tenant. says criminals involuntarily give themselves away. Raskolnikov
He describes the blood from the murders to them, challenging still believes he is too smart to get caught, and he is proud of it.
them to take him to the police. They dismiss Raskolnikov as a
drunken pest, and the building's caretaker throws him out. Both chapters tackle the ongoing question of how to deal with
suffering. When Raskolnikov remembers the story of the man
on the ledge, he, too, wants to cling ferociously to life. But
Part 2, Chapter 7 when he witnesses a woman's suicide attempt at the bridge,
readers realize he has thought about ending his life. What
On the way to the police, Raskolnikov arrives at the scene of should anyone do when life becomes so painful?
an accident. Marmeladov has been run over by a carriage. The
driver believes he threw himself under the horses intentionally. Marmeladov's suicide and its aftermath bring out Raskolnikov's
Raskolnikov is upset and offers to pay for a doctor. compassionate side. Although he has met Marmeladov only
Marmeladov is brought home, and Sonia and a priest are sent once, Raskolnikov feels close to him, calling for a doctor and
for. wiping the blood from his face. He demonstrates a strong
capacity for escaping his self-absorption and caring for others.
Raskolnikov comforts Katerina Ivanovna. The doctor says But when Razumihin expresses concern for him, Raskolnikov
Marmeladov cannot be saved, but Raskolnikov insists he treat pushes his friend away. Raskolnikov can offer compassion, but
him anyway. The priest takes Marmeladov's confession. Sonia he can't receive it.
arrives, dressed for work as a prostitute. Seeing her,
Marmeladov begs her for forgiveness and dies in her arms. Compassion in others is equally complicated. Some people
cannot express compassion properly. For example, when the
Katerina Ivanovna asks the priest what to do about her starving priest offers empty consolation to Marmeladov's wife and
children. When he tells her God is merciful, she declares, "God children, Katerina Ivanovna rightly objects, "That's words and
is merciful, but not to us." Raskolnikov gives her the remainder only words!"
of the money from his mother to pay for the funeral. As he
leaves he sees Nikodim Fomich, the police commissioner, and Some can only express compassion partially or imperfectly.
asks him to be kind to Katerina Ivanovna. The police Even as her husband is dying, Katerina Ivanovna bitterly
commissioner notices that Raskolnikov is covered with complains about him ("He brought us in nothing but misery.").
blood—it is Marmeladov's. Nevertheless, she cares for him, "giving him water, wiping the
blood and sweat from his head, [and] setting his pillow
As he departs Raskolnikov feels full of new life. Katerina straight."
Ivanovna's daughter Polenka kisses him, and Raskolnikov asks
her to pray for him. He decides to go to Razumihin's Raskolnikov is the soul of compassion in this scene, but given
housewarming, but Zossimov sends him home to rest. his moodiness that certainly won't last. And there is still the
Razumihin walks with him. He tells him Zametov told him he problem of the brutal crime he is concealing. Only Sonia seems

uncompromisingly compassionate. Her father was responsible too, and often is the more stable sibling. Where he looks down
for her suffering, but she never blames him. Instead, she on others, she tries to balance other's needs with her own;
embraces him as he dies. where he is obsessed with his own point of view, she tries to
see more than one side.
Part 3, Chapters 1–2 Two characters offer unexpected and accurate insights about
Raskolnikov. Zossimov believes that, in addition to poverty and
anxiety, "moral influences" and "certain ideas" play a role in his
illness. In Chapter 2 Razumihin shines a light on Raskolnikov's
Summary divided nature, noting that "it's as though he were alternating
between two characters."
Part 3, Chapter 1 Luzhin's letter in Chapter 2 reveals he is not just vain and
shallow but also arrogant and manipulative. He blackmails
Dounia's and Pulcheria's concern "tortures" Raskolnikov. He Dounia to choose him over her brother. He takes no
goes back and forth, telling them to stay, then insisting they go. responsibility for the consequences, writing, "You have only
Raskolnikov forbids Dounia to marry Luzhin; obviously, she is yourself to blame." Although Dounia does not know it, Luzhin is
only doing it for his sake. He gives her an ultimatum: Luzhin or lying about Raskolnikov giving the money to Sonia. Of course,
him. Razumihin convinces the women to leave to keep while not as shallow as Luzhin, Raskolnikov has his own
Raskolnikov calm. He promises to bring the doctor to check on problems with vanity, arrogance, and manipulation.
him. He also makes a fool of himself over Dounia, for whom he
feels an immediate attraction. Despite his somewhat drunken
rambling, the women see that they can trust him. He brings Part 3, Chapters 3–4
Zossimov, a doctor, who suspects that the causes of
Raskolnikov's illness are as much mental as physical. Both men
stay overnight to watch over Raskolnikov.
Summary
Part 3, Chapter 2
Part 3, Chapter 3
The next morning Razumihin and Zossimov discuss
Raskolnikov. They think the police's suspicion of him sparked Dounia, Pulcheria, and Razumihin visit Raskolnikov. Zossimov
his unusual interest in the murders. Razumihin goes to update pronounces him improved. Raskolnikov expresses overdue
Dounia and Pulcheria. The women share a letter from Luzhin, in gratitude and regret. He has acted so rudely, he is surprised
which he threatens to leave if Raskolnikov is there when he that Zossimov and Razumihin helped him, and he apologizes
visits the women that evening. He also claims, inaccurately, for upsetting his mother. Only Dounia notices that her brother
that Raskolnikov gave all his mother's money to Sonia, a girl of is reciting these words mechanically instead of speaking from
"notorious behavior." Dounia wants Raskolnikov to be there for the heart. The only time he seems sincere is when he
Luzhin's visit, but Pulcheria worries about the consequences. reconciles with her.
All three go to check on Raskolnikov.
He becomes more irritable and confused as the conversation
progresses. Pulcheria tells of Marfa Petrovna's death, for
which her husband, Svidrigaïlov, may be responsible.
Analysis Raskolnikov suddenly realizes that, because of his crime, "he
would never now be able to speak freely of everything—that he
Raskolnikov arrogantly demands that Dounia choose between
would never again be able to speak of anything to anyone." As
him and Luzhin. That she might be marrying to also benefit
they discuss Dounia's engagement, Raskolnikov recalls his
herself and their mother doesn't occur to him. Dounia
fiancée, his landlady's daughter, who was "sickly" and died. He
resembles her brother in many ways, but she differs from him,
tries to downplay how much he cared for her, but Dounia is

unconvinced. 3. After assuring his mother that they will "speak freely of
everything," he realizes he can no longer do so—hiding his
Raskolnikov renews his ultimatum that his sister choose crime forces him to lead a double life, alienating him from
between him and Luzhin. Dounia claims that she will not marry everyone. He is horrified when Dounia points out that her
Luzhin if he doesn't respect and value her. She argues that the engagement is not a crime like murder.
decision is hers alone and that her brother is overbearing. "If I
ruin anyone, it is only myself. ... I am not committing a murder." This does not make him any less manipulative, however. In
Dounia lets him see Luzhin's letter. Raskolnikov thinks it is Chapter 3 Raskolnikov may mean well, but, by giving Dounia an
poorly written and sounds like a legal document. He points out ultimatum about Luzhin, he is trying to control her life. In
that Luzhin lied about Sonia receiving money from Raskolnikov, Chapter 4 he remains laser focused on covering his tracks. He
but he still agrees to attend the meeting with Luzhin that wants to appear to cooperate with the police to avoid
evening. suspicion. As they enter the police station, he jokes with
Razumihin. He believes that, if he is laughing, the police will
assume he is a man with no worries, which could not be farther
Part 3, Chapter 4 from the truth.
Sonia arrives unexpectedly at Raskolnikov's room. She feels Chapter 4 develops Sonia's character considerably. Although
timid around Dounia and Pulcheria. When Raskolnikov embarrassed by her profession, her kindness and empathy
introduces Sonia to her, his mother feels awkward because shine through, prompting Raskolnikov and Dounia to accept
she knows Sonia is a prostitute. Sonia is shocked that her. Sonia's presence also seems to bring Raskolnikov back to
Raskolnikov gave Katerina Ivanovna all his money when she life. He lights up, acts more warmly toward Dounia and
sees how poor he is himself. Sonia invites him to Marmeladov's Pulcheria, and declares "the living have still to live." He
funeral. She thanks him so sweetly for giving money to understands that the work Sonia has been forced into does
Katarina Ivanovna that everyone is moved, and Dounia treats not compromise the purity of her soul. Her social status may be
her with newfound respect. Dounia and Pulcheria leave. low, but Sonia's kindness and empathy are of the highest
caliber.
Raskolnikov asks Razumihin to accompany him to see Porfiry,
a police investigator. Hoping to allay suspicion, Raskolnikov
wants to report that he pawned items with Alyona. He tells
Sonia he will visit her later in the day. Sonia goes home,
Part 3, Chapters 5–6
overwhelmed by her visit to Raskolnikov. She feels that "a
whole new world was opening before her." An older man with a
distinctive white-blond beard follows her. They both enter Summary
Sonia's boardinghouse. It turns out he lives next door to her
there. Sonia feels uneasy.
Part 3, Chapter 5
Razumihin and Porfiry are relatives. On the way to Porfiry's,
Razumihin describes him as an excellent detective who Raskolnikov pretends to be lighthearted when he and
recently solved a murder. Razumihin has told Porfiry about Razumihin meet Porfiry, the police investigator. He is
Raskolnikov, and now Porfiry is eager to meet him. As they unpleasantly surprised to find that Porfiry already knows he
arrive at the police station, Raskolnikov is alarmed. He jokes pawned items with Alyona. Porfiry continues to reveal bit by bit
with Razumihin as they arrive at the station so they will enter that he knows a lot about Raskolnikov's recent movements.
laughing and he will avoid suspicion. Uncertainty about whether Porfiry knows he went to Alyona's
apartment the night before tortures Raskolnikov.
Analysis Porfiry brings up an article Raskolnikov wrote about crime,

published in Periodical Discourse. The article argues that "the
Raskolnikov arrives at a terrible conclusion in Part 3, Chapter perpetration of a crime is always accompanied by illness." It
also includes the theory that extraordinary men have the right

to commit crimes, even kill, for the common good: "If such a Chapter 5 reveals in full Raskolnikov's rationalization for the
one is forced for the sake of his idea to step over a corpse or murder: his "extraordinary man" theory. "I maintain that all great
wade through blood, he can, I maintain, find within himself, in men or even men a little out of the common, that is to say
his conscience, a sanction for wading through blood." capable of giving some new word, must from their very nature
Razumihin is horrified that his friend "sanctions bloodshed in be criminals. ... Otherwise it's hard for them to get out of the
the name of conscience, ... with such fanaticism." Raskolnikov common rut." Napoleon is Raskolnikov's epitome of the
has certainly been very ill himself recently, and Porfiry wonders "extraordinary man." His drive to conquer Europe killed many,
if Raskolnikov might imagine himself to be this kind of but history views him as a brilliant and powerful "leader of
"extraordinary man." men." Ordinary laws do not apply to his extraordinary actions,
so the suffering he creates is justified.
The three men continue to debate the question of whether
crime exists or if it is ever justifiable. As Raskolnikov leaves Dostoevsky is openly critical of Raskolnikov's theory and
Porfiry asks him to go the police station the next day. He continues to chip away at the new morality that Raskolnikov
surprises him with a parting question about the painters on the uses to justify the murder to himself. The question arises of
second floor at Alyona's, but Raskolnikov avoids the trap. "whether there is such a thing as crime." According to
socialists, who represent the new morality, all crimes happen
for the same reason, to protest social ills. Like Raskolnikov,
Part 3, Chapter 6 they believe crime for the greater good is excusable because
the end justifies the means.
Razumihin is outraged that Porfiry suspects Raskolnikov. At
first Raskolnikov seems to want to avoid discussing his Razumihin thinks Raskolnikov's theory is simplistic and
meeting with Porfiry. But he cleverly dissects Porfiry's methods neglects the role of the "living soul," or human nature, as a
for Razumihin, secretly admitting to himself that he enjoys motivation for crime. Porfiry believes that criminals are to some
going over the details of his crime. Despite this outward extent created by their environment. Both points of view could
confidence, his paranoia takes over, and he rushes home to apply to Raskolnikov. His poverty likely played a part in his
search for evidence he might have missed. crime, but so did his psychology.
Later a strange man passes Raskolnikov on the street and Standing in for traditional morality, Porfiry and Razumihin also
whispers "Murderer!" Raskolnikov's mind spins out of control, underscore how reductive and inhumane Raskolnikov's theory
and he retreats in terror to his room. He realizes he is not an really is. Porfiry attacks his argument from numerous angles,
extraordinary man after all because he lacks the courage of his asking how someone who believes in God, as Raskolnikov
convictions. If he believed what he did was really "not a crime," does, could favor such a theory, and questioning the validity of
he would not feel so guilty. Nor does he feel any sense of dividing humanity into only two categories. Razumihin finds his
superiority. In fact, he compares the pawnbroker to a louse, an theory repulsively violent.
insect, then claims that he is even "viler and more loathsome"
than she. Suddenly changing his mind, he curses her as if she Porfiry's questioning causes Raskolnikov to reach a new low.
caused his dilemma, saying he "shall never, never forgive the He realizes that the murder he committed on principle has not
old woman." made him an extraordinary man. His sense of superiority is no
more than a front. In fact, he feels inferior to the pawnbroker
he despised. He has fulfilled his own statement that people
Analysis who think they are extraordinary but are not end up punishing
themselves. Despite these realizations Raskolnikov still avoids
Raskolnikov thinks he is clever, but he has met his match. being fully honest with himself about the crime. As they often
Porfiry sees through him and does not hesitate to challenge have before, his dreams tell him the truth: his crime has not
him by trying to catch him in a lie. Porfiry is skilled at literary made him extraordinary; it has made him pathetic.
analysis and uses Raskolnikov's article to intuit that he is
capable of crime.

spiders in the corners, which sounds startlingly similar to

Part 4, Chapter 1 Raskolnikov's garret. This negative view of his fate suggests
that Svidrigaïlov's conscience, like Raskolnikov's, is bothering
him. But it also suggests a more realistic worldview on
Summary Svidrigaïlov's part than Raskolnikov's.
Svidrigaïlov visits Raskolnikov in his room. He claims he has

given up his designs on Dounia—he is engaged to marry Part 4, Chapters 2–3
someone else. He asks Raskolnikov to help him give Dounia
some of his own money, as an apology. When Raskolnikov
brings up his wife's death, Svidrigaïlov denies he was involved.
He glosses over his behavior with Dounia as well.
Summary
Some of Svidrigaïlov's comments are disturbing. He implies
that his wife, Marfa Petrovna, like all women, likes to be Part 4, Chapter 2
roughed up. He admits he was in jail for gambling when Marfa
Razumihin and Raskolnikov go to Dounia's and Pulcheria's
Petrovna assumed his debts and married him. He insists that
apartment. Luzhin is unhappy to find Raskolnikov there in
her ghost has appeared to him several times since she died.
violation of his request. In passing Luzhin describes a rape and
Svidrigaïlov describes the afterlife as no more than a small,
two brutal deaths attributed to Svidrigaïlov, although evidence
dark room full of spiders, and Raskolnikov wonders if
against him remains inconclusive. Raskolnikov announces that
Svidrigaïlov is mentally unstable.
Svidrigaïlov has been to see him and that Marfa Petrovna has
Raskolnikov first flatly refuses Svidrigaïlov's request but finally left Dounia money.
agrees to tell Dounia about it to prevent him from contacting
Dounia explains that she asked her brother to attend the
her. Raskolnikov suspects, however, that Svidrigaïlov may have
meeting. She wants to hear both his and Luzhin's sides and
a hidden agenda. As he leaves Svidrigaïlov mentions that Marfa
judge fairly. If Raskolnikov has insulted Luzhin, Dounia will
Petrovna left Dounia 3,000 rubles in her will.
make him apologize. She appeals to the good in Luzhin's
nature to make peace with her brother. Luzhin is offended that
Analysis Dounia considers choosing her brother over him.
Pulcheria confronts Luzhin with the lies in his letter about her
Svidrigaïlov seems surprisingly candid and articulate but
son giving money to Sonia, but he denies them. Luzhin
memorably creepy. He himself admits, "I certainly am idle and
assumes the women are defying him because they now have
depraved." But his honesty does not dilute the unsavory
money of their own, revealing that Raskolnikov was right about
description of his marriage or his comments about how women
him. Dounia sends Luzhin away, breaking their engagement.
enjoy being beaten. He is also unapologetic about his pursuit of
Luzhin claims that she should be grateful he wanted to marry
Dounia, although he is talking to her brother.
her at all and that he regrets the money he's spent on her. He
Svidrigaïlov claims that he and Raskolnikov are "birds of a leaves feeling "vindictive hatred" for Raskolnikov.
feather," and they are surprisingly similar. Both men are
intelligent, self-absorbed, hesitant to take true responsibility for
their actions, and mentally on edge. Raskolnikov has definitely
Part 4, Chapter 3
committed a terrible crime. Svidrigaïlov may have done the
Raskolnikov tells Dounia that Svidrigaïlov's wants to meet her
same, although he denies it, and asks a question about himself
and give her money, but it frightens her. Razumihin lays out a
that applies equally to Raskolnikov: "Am I a monster, or am I
plan for him, Raskolnikov, and Dounia to go into publishing
myself a victim?"
together using some of the money Dounia inherited from Marfa
Svidrigaïlov actively believes in a life after death, including Petrovna. Raskolnikov supports the idea.
ghosts. He describes the afterlife as a small, dirty room with

But his conscience gets the better of him. He suddenly

declares that he wants to separate from his mother and sister.
Summary
He asks them to leave him alone or he will hate them, which
Raskolnikov visits Sonia. They discuss what will happen to
upsets his mother. His sister calls him a "wicked, heartless
Katerina Ivanovna and her children. Sonia defends her
egoist," but Razumihin reminds her that her brother is crazy,
stepmother. She explains that Katerina Ivanovna has suffered
not heartless.
so much that she is broken. She worries that her nine-year-old
Raskolnikov implies that they are all better off without him, stepsister could be forced into prostitution but insists that God
saying he will come back at some point, but he doesn't give will protect her. Seeing her "insatiable compassion,"
specifics. He tells Razumihin to "always" take care of Dounia Raskolnikov bows to Sonia, saying, "I did not bow down to you,
and Pulcheria. Raskolnikov stares at his friend intently, and I bowed down to all the suffering of humanity." In passing,
Razumihin senses that Raskolnikov may be the murderer or, at Sonia mentions that she was friends with Lizaveta, startling
least, that he has done something terrible. Raskolnikov.
Raskolnikov thinks Sonia is a "religious maniac," or holy

fool—an insane outsider touched by God. Her faith puzzles him.
Analysis The conflict between Sonia's profession and her religion
seems intolerable. He sees only three options: she will commit
In Part 4, Chapter 2, the full nature of Luzhin's character is
suicide, go insane, or be corrupted by her profession. Sonia
revealed. Raskolnikov was essentially right about him, and, in
has considered suicide but rejected it because she feared
breaking their engagement, Dounia has dodged a bullet. Luzhin
what would happen to her family without her support.
expected Dounia's financial circumstances to make her
completely dependent on him, hoping she would worship him Sonia reads the story of Lazarus to Raskolnikov from a Bible
as her savior. Luzhin, incapable of admitting fault or seeing Lizaveta left behind. As she reads she is overcome with
anyone else's point of view, blames Raskolnikov for everything. religious fervor. Raskolnikov confesses that he has rejected his
family and that he needs Sonia—she is all he has left. He tells
Raskolnikov hears about Svidrigaïlov's alleged crimes for the
Sonia that, if he returns the next day, he will tell her who killed
first time. The alleged victims are a young deaf and mute girl
Lizaveta. Sonia wonders if Raskolnikov is insane. Without their
and a footman, far below Svidrigaïlov in social status and
knowledge Svidrigaïlov, who lives in the apartment next door,
therefore especially vulnerable. If the rumors are true,
has eavesdropped on their entire conversation.
Svidrigaïlov and Raskolnikov share two similarities: they are
criminals whose crimes involve their sense of superiority to
their victims.
Analysis
In Part 4, Chapter 3, Raskolnikov's crime pushes his alienation
to the breaking point. On the verge of confessing, he rejects This chapter builds suspense as Raskolnikov moves closer to
his family and closest friend, his only sources of emotional confessing. After alienating everyone else, he trusts only Sonia,
support. He thinks that his rejection will spare them the believing that she is the only one who can understand him. "All
consequences of his confession. Of course, he may also be that infamy had obviously only touched her mechanically, not
trying to spare himself the shame and possible rejection his one drop of real depravity had penetrated to her heart." Sadly,
loved ones may express once they find out the truth about him. Raskolnikov cannot say the same about himself.
To him Sonia is Christlike and represents all human suffering.

Her compassion challenges him to step outside himself and
Part 4, Chapter 4 consider the existence of others. Raskolnikov is capable of
recognizing suffering, but that suffering may have a purpose
escapes, and perhaps frightens, him. He may admire Sonia, yet
he also criticizes her, raging that she has destroyed her life for
nothing. His anger is likely a projection of his own fear that,
through his crime, he has done the same.

Raskolnikov insists: "Break what must be broken, once for all, and does not believe him. He asks him specific information
that's all, and take the suffering on oneself ... Freedom and about the crime. Raskolnikov jokes that Porfiry must have used
power, and above all, power! Over all trembling creation and all mind games to force Nikolay to confess, implying that Porfiry is
the ant-heap! ... That's the goal, remember that!" He still clings also using mind games to make Raskolnikov confess.
to his notion that gaining power is the main goal in life. What he
avoids facing is the suffering this idea creates in practice, At home Raskolnikov realizes that Porfiry knows him well and
especially in his own case. that Raskolnikov came dangerously close to giving himself
away. What was behind Porfiry's door? Like Porfiry he feels
As an impoverished prostitute, Sonia is one of society's most Nikolay's confession will inevitably be disproven, but it buys him
powerless members, but rather than adding to suffering, she some time. He decides to go to Marmeladov's funeral dinner
lessens it. Her attraction to Raskolnikov is also based on and hopes to see Sonia. He thinks he may be about to confess.
compassion; she sees how he is suffering and wants to help
him. A devout Christian, she represents traditional morality: the Before he can leave, the strange man who called him a
power of faith and love. murderer visits him to ask his forgiveness. He saw Raskolnikov
return to Alyona's apartment, jumped to conclusions, and told
Porfiry about Raskolnikov's guilty reaction to his accusation.
Part 4, Chapters 5–6 He was the person behind the locked door in Porfiry's office.
Raskolnikov realizes Porfiry has no hard evidence against him
and scolds himself for being afraid.
Summary
Analysis
Part 4, Chapter 5 Porfiry goes where no one, not even Sonia, has been able to go
before: inside Raskolnikov's mind and, therefore, inside his
Raskolnikov goes to see Porfiry the next morning. He hates
crime. Reason and emotion are always in conflict for
Porfiry but resolves to hide it. Porfiry explains how he likes to
Raskolnikov, but Porfiry's psychological approach combines
leave a suspect in suspense hoping he will incriminate himself.
them so he can burrow into Raskolnikov's brain.
Raskolnikov says nothing.
Porfiry jumps from one strategy to the next as if he is trying to
Porfiry hints at the things that made the police suspicious of
imitate, or even provoke, Raskolnikov's mental instability. He
Raskolnikov. He feels Porfiry is manipulating him and loses
chatters on, first belittling himself ("I'm a bachelor, a man of no
control. He demands that Porfiry stop "torturing" him, then
consequence and not used to society ... a weak man, I confess
laughs hysterically and shouts that Porfiry should arrest him if
it"), then flattering Raskolnikov's intellect ("You are quick-
he has proof. Porfiry reveals that he knows about Raskolnikov
witted. You notice everything!"). Raskolnikov suspects he is
returning to Alyona's apartment. Instead of attacking him with
being played, but Porfiry is smart and in control. He never lets
this information, he expresses concern about Raskolnikov's
Raskolnikov relax, admitting some of the strategies he is using
state of mind. Raskolnikov protests that he was not delirious.
to his face, then teasing him with a surprise witness.
Porfiry pretends not to suspect Raskolnikov, but Raskolnikov
knows he is playing with him. When Porfiry goes to a locked The strategy is partially effective, but, although he is rattled,
door, saying he has a surprise for him, Raskolnikov dares him Raskolnikov remains stubborn and arrogant and says nothing
to produce a witness from behind the door. when an innocent man confesses to the murders. Perhaps the
scene is not really convincing enough to fool Raskolnikov, or
perhaps he is ruthless about protecting himself. Porfiry sounds
Part 4, Chapter 6 as if he may have stage managed the scene in some way, and
he admits that he doesn't think the man's confession will hold
Before anyone can appear from behind Porfiry's door, Nikolay
up.
the painter intrudes on the interview with Raskolnikov. He
confesses to killing Alyona and Lizaveta. Porfiry is surprised

met. Sonia meekly protests her innocence. Katerina Ivanovna,

Part 5, Chapters 1–3 in a frenzy, turns out Sonia's pockets to prove her innocence,
but a 100-ruble note falls out. Among calls to send Sonia to
Siberia, Lebeziatnikov arrives, announcing he saw Luzhin
Summary secretly slip the money into Sonia's pocket during their
meeting.
Part 5, Chapter 1 Raskolnikov reveals Luzhin's motive to the crowd: he is trying

to embarrass him by making it look as if Raskolnikov has given
Luzhin is staying with Lebeziatnikov, the Marmeladovs's money to a prostitute and to turn Dounia against him so Dounia
socialist neighbor. Luzhin obsesses over his broken will take Luzhin back. The crowd turns against Luzhin, and he
engagement and is angry about the money he lost on it. He leaves the house, pleading slander to the end. Overwhelmed,
wants revenge against Raskolnikov. Lebeziatnikov takes pride Sonia also leaves. All the excitement is too much for the
in spouting his socialist views. landlady, and she evicts Katerina Ivanovna on the spot.
Katerina Ivanovna rushes off to find help, telling her children to
Luzhin mentions Sonia's bad reputation. As a socialist wait in the street. Raskolnikov heads to Sonia's.
Lebeziatnikov claims to respect Sonia's role as a prostitute
because she is protesting the rules of society. But Luzhin
accuses him of having Sonia kicked out of the boardinghouse. Analysis
Lebeziatnikov is defensive but basically admits it. Later he
criticizes Luzhin's opinion of Sonia because Luzhin "refuses to Lebeziatnikov represents Dostoevsky's satirical look at
take a humane view of a fellow creature." Luzhin counts his socialism, one of the new social movements at that time.
money and laughs at Lebeziatnikov's political opinions. Lebeziatnikov is not terribly smart, parroting the views of his
group without critical thought and often contradicting himself.
Luzhin gets Lebeziatnikov to introduce him to Sonia, saying he Nonetheless, his views lead him to reject Luzhin's and society's
wants to start a collection for her family. Luzhin gives Sonia a condemnation of Sonia, and it is Lebeziatnikov's honesty that
10-ruble bill. Lebeziatnikov says he saw everything, calling acquits her of the theft.
Luzhin's act "honorable" and "humane."
Luzhin's behavior reveals how social snobbery is a form of
cruelty, itself a kind of crime against humanity. In fact, the way
Part 5, Chapter 2 Luzhin sets up an innocent victim to take a fall is a crime in
every sense of the word. Another man who takes advantage of
Raskolnikov attends the funeral dinner organized by Katerina
women, Luzhin clearly believes that, because Sonia is a
Ivanovna, which is not as successful or dignified as she had
prostitute, he can manipulate her as he sees fit and others will
hoped. Katerina Ivanovna mistakenly believes Luzhin can help
go along with him (which they initially do). Devoid of empathy,
her get a government pension, but he does not even attend the
he attempts to humiliate her at her father's funeral dinner. All
dinner. Her neighbors avoid the event because of Sonia's
he succeeds in doing is revealing his lust for power and
reputation, and those who have come are a motley bunch with
complete lack of integrity.
poor manners. Katerina Ivanovna introduces Raskolnikov as an
"educated visitor" who will "in two years ... take a professorship However, as is often the case in the novel, characters who
in the university." She makes delusional plans to start a high- seem to be complete opposites resemble each other in
class school for girls. She mocks her guests and antagonizes unexpected ways. While Luzhin and Raskolnikov are clearly at
her landlady but, weeping, defends and praises Sonia. odds in this situation, Luzhin's lust for power echoes
Raskolnikov's earlier declaration of "above all, power!" Both
men are often arrogant about their superior skill in
Part 5, Chapter 3 manipulating others. But in the end Raskolnikov is capable of
true compassion. Luzhin is not, and this is the last readers will
Luzhin arrives at the funeral dinner to enact his plan. He
see of him.
accuses Sonia of stealing 100 rubles from his table when they

The description of the chaotic funeral dinner in Part 5, Chapter refused, out of spite. He explains his exceptional man theory,
2, is darkly comic. Most of the dinner guests have not gone to admitting that he killed "for himself alone" rather than for his
the funeral; some are complete strangers. They are only there family or the greater good of society. Instead, he wanted to
for the free food and drink and may make off with the feel powerful and unique: "I wanted to find out then and quickly
silverware. In their rush to eat and drink, they show no respect whether I was a louse like everybody else or a man. Whether I
for the dead man or his family. Easily swayed, they make fun of can step over barriers or not." His failure shames him. Yet
Sonia's reputation and condemn her based on trumped-up again, Raskolnikov stops short of admitting full responsibility: "I
evidence. Like Lebeziatnikov, however, in the end they angrily murdered myself, not her! ... But it was the devil that killed that
condemn Luzhin for his treatment of her. old woman, not I."
Katerina Ivanovna has always been volatile, but now she begins Sonia urges Raskolnikov to bow down and kiss the ground to
to fall apart both physically and mentally. She coughs almost show remorse, then confess his crime to the police. She
nonstop and makes impossible plans based on fantasies of a alludes to the story of Lazarus: if Raskolnikov confesses, "God
future she will never see. Being kicked out by the landlady is will send you life again." Raskolnikov thinks he can live with his
the final straw that pushes her over the edge. Like Raskolnikov, crime, but Sonia knows it will overwhelm him. He reverts to
she is disintegrating under the pressures of her life, but for wanting to hide his crime, arguing that the police lack the
very different reasons. Together she and Sonia represent a evidence to catch him. He is unnerved by the intensity of
dark picture of what could happen to Pulcheria and Dounia Sonia's love and thinks he actually feels worse. Sonia offers
should Raskolnikov disappear from their lives. him her cross to wear, but he says he will take it later—as
Sonia says, when he goes "to meet his suffering."
Part 5, Chapter 4
Analysis
This chapter is the book's climax. Sonia's faith and compassion
Summary allow Raskolnikov to stop alienating himself from others. In this
chapter he is more honest about his actions and their
On the way to Sonia's, Raskolnikov still debates confessing to
motivations than ever before. Still he never confesses, instead
her, but he knows he must. He asks her if she would choose a
forcing her to guess that he is a thief and a murderer.
bad man like Luzhin to die if it would save her family. Sonia
says it is an impossible question, and she doesn't know God's In Sonia's presence Raskolnikov is forced to face his true
plan for Luzhin. She asks, "Who has made me a judge to decide motivations for the crime. He did it neither due to his poverty
who is to live and who is not to live?" Raskolnikov admits the nor for the greater good but because he wanted to feel unique
question is really about himself. He is looking for forgiveness. and powerful, like Napoleon and the other extraordinary men
He feels a flash of hate for her, but, when he sees the love in he wrote about. He knows he has failed, creating unnecessary
her eyes, he realizes he is confusing the two feelings. suffering for others instead. Raskolnikov is suddenly in the
same league as Luzhin and Svidrigaïlov, two men who have
Raskolnikov reveals details only he could know about his crime,
committed terrible crimes that have caused great suffering to
coaxing Sonia to guess he is a murderer. As she realizes the
others for no other reason than that they can.
truth, he sees Lizaveta's and Sonia's faces transposed. Sonia
cries out, "There is no one—no one in the whole world now so After he confesses, Sonia is horrified but shows him
unhappy as you!" She embraces him and asks him what he has compassion. Raskolnikov realizes that he "killed" himself when
done to himself. He softens, asking her not to leave him. Sonia he committed the murders: his tortured conscience has
vows to follow Raskolnikov to Siberia, presuming he will alienated him from his family and friends—indeed, from his old
confess. He implies that he is not sure he will. Sonia finally sees life. In the pure morality that Raskolnikov has sought but has
the murderer in Raskolnikov. She asks why he did it. not been able to obtain, Sonia recognizes that, behind the
suffering he causes others, Raskolnikov himself is the one who
At first Raskolnikov says he did it for the money. Then he
suffers the most and is the one to be pitied the most.
changes course and says he could have supported himself but

Sonia's faith offers Raskolnikov an alternative moral code:

traditional religious morality. There are frequent references to
Analysis
the cross throughout the chapter and to the story of Lazarus, a
Raskolnikov continues to struggle between isolating himself
man who returns from the dead. Sonia's suggestion that
and accepting compassion from others.
Raskolnikov express remorse and confess is a classic
Christian response. Suffering is transformed through admitting His fears about confessing have been realized—it has created
one's "crime" (or sin) and facing one's punishment. more suffering, for him and for Sonia. He feels lonelier than
ever, and he fears that his self-hatred will turn into hatred for
her. He resolves to spare Sonia his suffering and go to prison
Part 5, Chapter 5 in Siberia alone. Despite Dounia's loving attempt to reach out
to him, he says good-bye to her as if they will never see each
other again.
Summary In his conversation with Raskolnikov, Lebeziatnikov once again
illustrates the ridiculousness of some of the new morality:
Lebeziatnikov arrives at Sonia's room, reporting that Katerina
mental illness and emotions are errors of logic that can be
Ivanovna has lost her mind and taken the children into the
fixed by reasoning: "If you convince a person logically that he
streets. Sonia rushes to find them. Raskolnikov returns to his
has nothing to cry about, he'll stop crying." Significantly,
room, regretting making Sonia's life harder. Maybe he should
Raskolnikov takes the side of emotion over reason this time,
confess and go to prison alone. Dounia arrives. She knows that
replying, "Life would be too easy if it were so." Lebeziatnikov's
her brother is suspected of the murders but not that he is the
theory certainly does not apply to Katerina Ivanovna's situation,
killer. She says Razumihin has told her that her brother is being
and it lacks empathy. Dostoevsky portrays her death as tragic
"persecuted" by the police. She holds no grudge against him
and terrible.
for leaving her and his mother, and, if he needs her, her door is
open. Raskolnikov praises Razumihin. He says goodbye, as if Even when he does good, Svidrigaïlov's behavior continues to
they are parting forever. be disturbing. Like Katerina Ivanovna and Raskolnikov, he is a
portrait in contradictions. Who is this man? One minute he is
Raskolnikov wanders the streets, feeling he is already in prison.
generous to Sonia and her half-siblings, the next he is
Lebeziatnikov finds him, and they go to Katerina Ivanovna, who
menacing and manipulative with Raskolnikov. No matter what
is forcing her children to be street performers to earn money.
the situation, he winks and jokes. Sometimes this makes him
A policeman tries to stop the performance. The children run
amusing, but at other times he seems terrifying.
off, pursued by their mother. She falls, due to her consumption,
and is carried back to Sonia's room. She declines a priest and Katerina Ivanovna's suffering finally breaks her, but in death
dies surrounded by her children and asking for Sonia. she hopes it will redeem her. She rejects the trappings of
religion, declining a priest to hear her confession, but she
Svidrigaïlov offers to pay for Katerina Ivanovna's funeral, get
believes that God knows her suffering and will forgive her sins.
her children into a good orphanage, and provide money for
She adds, with typical pride, "And if He won't forgive me, I don't
their future. In addition, he wants to help Sonia escape her life
care!" Except for a few final details, Katerina Ivanovna's death
as a prostitute. Raskolnikov questions his motives, but
concludes the Marmeladov subplot. Sonia's story is now solely
Svidrigaïlov claims he acts from simple human kindness.
a part of Raskolnikov's narrative.
Svidrigaïlov describes Katerina Ivanovna to Raskolnikov as
being "a louse ... like some old pawnbroker woman." His choice
of words reveals that he has overheard Raskolnikov's Part 6, Chapters 1–2
confession at Sonia's. He predicts that he and Raskolnikov will
become friends after all.

Porfiry admits to his many strategies to get Raskolnikov to

Summary confess: he searched Raskolnikov's garret, manipulated
Razumihin into sharing information with Raskolnikov about the
case, and planted the mysterious man who labeled him a
Part 6, Chapter 1 murderer. He only has one small piece of hard evidence to
suggest Raskolnikov's guilt: When Raskolnikov returned to the
For several days Raskolnikov wanders the city in a mental fog,
scene of the crime, he rang Alyona's doorbell repeatedly. The
wondering what Svidrigaïlov will do. Seeing him at Sonia's
rest of Porfiry's case against Raskolnikov is based on
boardinghouse, Svidrigaïlov suggests they talk soon, advising
psychological speculation alone.
him that "what all men need is fresh air, fresh air ... more than
anything!" Svidrigaïlov has succeeded in helping Katerina Porfiry describes Nikolay: he is immature and easily influenced,
Ivanovna's children as he promised. a fervent member of a religious group that believes in
embracing suffering. Porfiry expects Nikolay to change his
Raskolnikov fears Sonia has been repulsed by his confession,
mind and retract his confession at any moment. Porfiry states
but he is startled at Katerina Ivanovna's memorial service when
that Raskolnikov is the killer. Raskolnikov, shocked, denies it.
Sonia holds his hands and leans on his shoulder. He seeks
solitude but feels as if he is never truly alone. Finally, he Porfiry cannot prove his conclusions. He admits that arresting
decides to confront either Porfiry or Svidrigaïlov. He sleeps off Raskolnikov could make Porfiry look bad and will not
a fever, missing Katerina Ivanovna's funeral, but wakes up encourage Raskolnikov to confess. Porfiry proposes that
feeling better. Raskolnikov confess of his own free will, which may lessen his
sentence. When Raskolnikov suggests he does not want a
Razumihin arrives, angry at Raskolnikov. He thinks that only a
shorter sentence, Porfiry encourages him not to waste the rest
"madman" would treat his family the way Raskolnikov has
of his life and that God may have a plan for him. He knows
treated Dounia and Pulcheria. His mother is sick with grief. She
Raskolnikov will not run. He says, "You have long needed a
thinks Raskolnikov has abandoned her for Sonia. After
change of air," echoing Svidrigaïlov's earlier advice. Porfiry
checking at Sonia's, Razumihin realizes this is not true. He tells
gives him two days to confess; then he will arrest him. If
Raskolnikov he knows he has some kind of secret, however, he
Raskolnikov decides to kill himself, Porfiry asks him to leave a
doesn't want the details.
note telling where he hid the stolen items.
Raskolnikov tells Razumihin that Dounia knows he loves her
and she likely loves Razumihin too. He mentions that Dounia
received an upsetting letter. He also mentions that Porfiry has Analysis
told him Nikolay confessed to the murders. Drunk on love,
Razumihin leaves. Raskolnikov wonders what to do next. He is Raskolnikov is in a mental fog, and he swings between apathy
unconvinced that Porfiry believes Nikolay's confession and is and anxiety. Raskolnikov can't understand how Sonia can be
afraid that Razumihin knows Raskolnikov has a secret. kind to him at Katerina Ivanovna's memorial service
Svidrigaïlov and Porfiry still worry him, and he considers killing considering she knows he is a murderer. Razumihin, on the
them both. Porfiry unexpectedly arrives. other hand, has again rejected the idea of Raskolnikov being a
murderer as impossible, even after his silent confession. As
clear-sighted as he is, Raskolnikov has gone to a place
Part 6, Chapter 2 Razumihin cannot understand, and Razumihin is not eager to
uncover his friend's secret.
Porfiry acts differently than he has in earlier meetings with
Raskolnikov; he says he will speak sincerely this time, with no In Chapter 2 Porfiry, who uses psychology to catch criminals,
gimmicks. Porfiry says he suspected Raskolnikov in part has pieced together an accurate picture of Raskolnikov's
because of his article: he detected Raskolnikov's pride in his personality and mindset. While Porfiry insists he has stopped
own ideas and suspected he might act on them. He also saw playing mind games, he has a final move: being sincere. He
through Raskolnikov's attempts to cover his guilt but lacked pulls no punches in his analysis of the killer: "He is a murderer,
proof. but looks upon himself as an honest man, despises others,

poses as injured innocence." He finally tells Raskolnikov to his but he worries even more that he will use his knowledge of the
face, "You are the murderer," but admits he lacks the evidence crime to hurt Dounia. If he discovers Svidrigaïlov's intentions
to prove it. Then Porfiry makes a confession of his own: he has are bad, he can only think of one solution: to kill him.
been manipulating the action behind the scenes to make
Raskolnikov confess. Suddenly he sees Svidrigaïlov in a tavern window. At first
Svidrigaïlov seems to want to hide, but then he invites
In a startling turn of events, he also expresses compassion for Raskolnikov to join him. Svidrigaïlov's face is handsome but
Raskolnikov: "You ought to thank God, perhaps. How do you almost too perfect, like a mask. Raskolnikov tells him he will kill
know? Perhaps God is saving you for something. But keep a him if he hurts Dounia. He confesses to cheating at cards and
good heart and have less fear!" He encourages him to pray, having a passion for women. Raskolnikov thinks it is a
saying this "may be God's means for bringing you to Him." dangerous disease. Svidrigaïlov somewhat agrees but says he
Raskolnikov accurately asks Porfiry if he is a prophet, alluding would shoot himself without women, then admits that he is
to people in the Bible who carried messages from God—Porfiry afraid of death. Raskolnikov feels Svidrigaïlov is the "most
is predicting his future and preparing his way to confession. worthless scoundrel on the face of the earth" and starts to
leave, but Svidrigaïlov offers to tell how Dounia tried to save
In this novel compassion can come from some startling him from himself.
sources, suggesting that, rather than choosing a path of
alienation, it is wise to keep one's heart and mind open. Porfiry,
a police detective, suddenly bears a strong resemblance to, of Part 6, Chapter 4
all people, Sonia, a prostitute. What they share is their belief in
God as salvation. In Dostoevsky's world contradictions may Raskolnikov confronts Svidrigaïlov about rumors that he
often signal conflict or chaos, but they can also reveal caused the death of a child. Svidrigaïlov dismisses them as
unexpected connections that bring people together and ease "vulgar tales." Instead, he describes his marriage to Marfa
suffering. Petrovna. He told her he could not be faithful. She allowed him
to sleep with servants but forbade him from having a long-term
In both chapters fresh air appears as a powerful symbol. affair or falling in love, especially with a woman above that
Raskolnikov has been figuratively suffocating himself with rank. Throughout their conversation Svidrigaïlov proudly details
tortured thoughts in his hot, cramped room, and the hot streets his extensive, manipulative, and sordid womanizing.
of Saint Petersburg in July bring no relief. It is not literal fresh
air he needs. He needs the renewal, or fresh air, that Svidrigaïlov was deeply attracted to Dounia. He kept his
confession and redemption will bring. Again, two opposing distance until she confronted him about raping a maid.
characters offer him the same advice: Svidrigaïlov and Porfiry, Svidrigaïlov then used this to seduce Dounia, making her
a likely criminal and a policeman. believe she could save him from his depraved ways, but Dounia
saw he had an ulterior motive and rejected him. Svidrigaïlov
became desperate, offering her all his money and saying he
Part 6, Chapters 3–4 would run away with her. He claims he was so smitten he
would have killed his wife if Dounia had asked. His actions led
to the events Raskolnikov's mother described in her letter to
him in Part 1, Chapter 3.
Summary
Raskolnikov asks Svidrigaïlov if he is still pursuing Dounia. He
denies it, but Raskolnikov remains suspicious. As proof
Part 6, Chapter 3 Svidrigaïlov tells of his recent engagement to a 15-year-old girl.
Raskolnikov is disgusted by the news. He asks why Svidrigaïlov
After Porfiry leaves Raskolnikov hurries to talk to Svidrigaïlov.
helped Katerina Ivanovna's children. To prove that his
Raskolnikov is avoiding Sonia because she reminds him of the
generosity is genuine, Svidrigaïlov claims he also helps other
need to confess. He feels drawn to Svidrigaïlov, instead, and
young people. He is paying for a 13-year-old girl's education,
wonders what he has in common with such a dangerous man.
for instance, but Raskolnikov clearly feels he is also planning to
He also worries that Svidrigaïlov will report him to the police,

take advantage of her. He is certain Svidrigaïlov has designs on Svidrigaïlov as a criminal. He has only committed one crime,
Dounia. Svidrigaïlov tells Raskolnikov he "won't get away" from and, if Svidrigaïlov blackmails him, he will become another of
him. They part, but, increasingly suspicious, Raskolnikov Svidrigaïlov's victims. Raskolnikov is completely incapable of
follows him. facing his own crimes the way Svidrigaïlov can.
Analysis Part 6, Chapters 5–6

Svidrigaïlov's physical features echo his deceptive character.
His face is handsome but like a mask—too young looking, too
perfect. Who is really behind this mask? Raskolnikov labels
Summary
Svidrigaïlov a "vile, depraved" man. Based on Svidrigaïlov's
comments, this description seems accurate.
Part 6, Chapter 5
Svidrigaïlov appears amused by his own exploits, and his
Raskolnikov follows Svidrigaïlov to the boardinghouse.
"confessions" are often outrageous. Despite his wife's very
Svidrigaïlov threatens to call the police and tell them what he
recent death, Svidrigaïlov is already engaged to a teenaged girl
knows, but Raskolnikov is not intimidated. He accuses
and carousing as usual. He shamelessly describes his
Svidrigaïlov of eavesdropping on his confession to Sonia.
seduction of Dounia to her own brother, then proudly details
Svidrigaïlov taunts Raskolnikov about his hypocrisy: he whines
his conquests, elaborating on his sordid strategies for
about immorality ("the duties of citizen and man") while hiding
seducing women. His stories reveal him as a sexual predator
his own crime. He jokingly suggests that Raskolnikov had
who enjoys manipulating them into betraying their morals.
better shoot himself.
And he is capable of much worse: Dounia intercedes because
Raskolnikov is annoyed but thinks perhaps he is wrong about
he has raped a housemaid. He is also rumored to have raped a
Svidrigaïlov this time. Svidrigaïlov appears to leave in a
14-year-old deaf and mute girl who then committed suicide and
carriage. As soon as Raskolnikov's back is turned, however,
to have killed his wife. Svidrigaïlov's evasion when Raskolnikov
Svidrigaïlov follows him on foot. Raskolnikov passes Dounia on
confronts him suggests there is truth to these rumors.
the street without noticing her. Dounia sees him but is too
Despite all this Svidrigaïlov is not wholly evil, which makes him startled to say anything. Instead, she spots Svidrigaïlov, who
oddly compelling. Like many of Dostoevsky's characters, he is signals to her. He convinces her to return to his room to talk to
a paradox. He has kept his word to help Sonia and her family, Sonia, who is not actually there.
paying for funeral rites and making arrangements to put the
At the boardinghouse Svidrigaïlov tells Dounia about her
children in reputable orphanages. And his conscience
brother's crime and about Raskolnikov's theory that "a single
continues to bother him, causing a serious fear of death. How
misdeed is permissible if the principal aim is right." He
can such a terrible man also do good?
speculates that her brother became carried away by the idea
Raskolnikov is likely sitting across the table from another that "a great many men of genius have not hesitated at
criminal. Svidrigaïlov said at an earlier meeting that he thought wrongdoing, but have overstepped the law without thinking
they were "birds of a feather." Raskolnikov may loathe about it." Svidrigaïlov recognizes that Raskolnikov's pride is
Svidrigaïlov as "vile," but these chapters show how much they wounded because he has failed to do the same. Dounia
are alike. Despite differences in background and wealth, both remembers Raskolnikov's article but refuses to believe that he
are capable of terrible crimes, and both are troubled in some committed the murders.
way by their conscience. Both are intelligent, articulate, and
When Dounia tries to leave, she finds that Svidrigaïlov has
capable of manipulating other people's points of view. Both can
locked her in and made sure no one in the building can hear
also be surprisingly generous to others in need. And both are
her. In a frenzy Svidrigaïlov declares his love but tries to
paradoxical characters whose behavior is often contradictory.
blackmail Dounia into sleeping with him. First he promises to
On the other hand, Raskolnikov is scarcely as experienced as save her brother, then threatens to expose him if she doesn't

do what Svidrigaïlov wants. Finally, he threatens to rape her. and of considering her potential victim's point of view.
Dounia pulls out a revolver. She accuses Svidrigaïlov of Are there limits to compassion, and, if so, what are they?
poisoning his wife. He dares her to shoot him. She fires, Throughout the novel characters such as Raskolnikov,
grazing his scalp. He dares her to shoot again, but when she Marmeladov, Katerina Ivanovna, and others exhibit morally
does the gun misfires. She realizes that "he would sooner die objectionable emotions, beliefs, and behaviors. At the same
than let her go" and tosses the gun aside. He embraces her, time, they also show themselves capable of kindness and other
asking her whether she loves him now or could ever love him, virtues. The novel often challenges readers to consider how
and Dounia firmly says no. He sadly lets her go, keeping the much compassion to show these characters. In these chapters
revolver. the reader is challenged by Svidrigaïlov.
Chapter 5 confirms what Raskolnikov had feared about

Part 6, Chapter 6 Svidrigaïlov. He is indeed a loathsome cad, a blackmailer, and a
rapist. By the end of the chapter, however, Svidrigaïlov falls
Svidrigaïlov takes all his money from his room. He visits Sonia into despair when Dounia insists she can never love him. There
and gives her 3,000 rubles, telling her he is going to America. is no question that Svidrigaïlov treats women criminally. Who
She protests, but he insists she accept the money and use it to would think such a man capable of having his heart broken?
follow Raskolnikov to Siberia. Sonia is shocked that he knows His suicidal reaction in Chapter 6 is as much a testament to
about Raskolnikov's crime; Svidrigaïlov assures her he will tell Dounia's purity and goodness as it is to Dostoevsky's complex
no one. He also gives his young fiancée a large sum of money. moral characterization.
He gets a small, low room under the stairs in a hotel—the only
one left. He is unable to eat and begins to feel feverish. He Before his suicide Svidrigaïlov breaks down in some of the
wonders if Dounia could have made him a better man after all. same ways Raskolnikov has. He loses his appetite and
develops a fever. His mind racing, he has vivid fever dreams
That night he has fever dreams: first a mouse runs all over him. that he has trouble distinguishing from reality. The dream of
Then he sees the girl he molested and drove to suicide in her the mouse running over him is reminiscent of his vision of the
coffin, within a beautiful cottage covered inside and out with afterlife as a room crawling with spiders. His second dream
flowers. The dream implies that he did indeed commit the acknowledges his guilt in the case of the young girl he drove to
crime. He gets up and finds a five-year-old girl, cold and crying, suicide. Svidrigaïlov's last dream of the five-year-old girl
in the hallway. He believes she is neglected or may have been reflects his own depravity and mocks his attempt at
treated cruelly. He takes her to his room and puts her to bed to compassion, as his influence corrupts her innocence before his
sleep, but he is horrified when her expression becomes lewd. eyes.
He wakes up to discover it has only been a dream.
Svidrigaïlov leaves the hotel with the revolver in his pocket and
wanders, looking for a witness. He approaches a man, says he
Part 6, Chapter 7
is going to America, and shoots himself in the head.
Summary
Analysis
Raskolnikov claims to have finally made up his mind. He visits
Chapter 5 sharply contrasts Dounia's choice not to kill with his mother, who weeps with relief. Ironically, she has read
Raskolnikov's earlier choice to commit murder. Does she spare Raskolnikov's article, published in Periodical Discourse, about
Svidrigaïlov, or does she not want to give him the satisfaction? his "great man" theory and thinks he is a genius. He asks if she
It is hard to say. But Dounia appears capable of killing, and she will always love him, no matter what she hears, and he assures
might have killed Svidrigaïlov if her gun had not misfired. In the her he loves her. Raskolnikov says he has to leave that day and
end she considers Svidrigaïlov's state of mind and throws go very far away. Pulcheria knows he is suffering. She prays
down the gun. She is capable of deciding whether to kill or not with him, making the sign of the cross. He falls down to kiss her
feet, and they cry together. He promises to come back the

next day. twisted morality that he portrays alienation as a social good.
Raskolnikov goes home and finds Dounia waiting. He realizes

she knows everything, and she tells him she has just visited
Sonia. Raskolnikov calls himself a "vile man" and admits he
Part 6, Chapter 8
considered committing suicide by jumping in the river but
decided against it. Now he will confess. But then he changes
gears, objecting to Dounia's description of the murders as a
Summary
crime, then rationalizing them: "I killed a vile noxious insect, an
Sonia is deeply relieved to find that Raskolnikov has not killed
old pawnbroker woman, of use to no one!"
himself. Rambling and distracted, he asks for her little wooden
Seeing he has made his sister and mother suffer, he feels cross. She gives him it to him, but Raskolnikov thinks bitterly it
guilty and promises to try to live a good life even if he is a would be more appropriate if he wore Alyona's cross. He gets
murderer. He asks her to take care of their mother. He notices irritable, snapping at Sonia for crying. He prays and crosses
a portrait of his former fiancée, his landlady's daughter who himself at her request but feels numb. He yells at Sonia to let
died of typhus, and kisses it, remembering her fondly. He him go alone to the police, not even saying good-bye.
declares that if he had never loved or been loved, none of this Raskolnikov does not really want to go, but his feet keep
would have happened to him, and he insists that he loathes all moving. Why did he go to Sonia? He denies he loves her. He
humankind. concludes he wanted to see her suffer.
In the Hay Market square, Raskolnikov wants to avoid other
Analysis people, but he is drawn to the crowd. He is in a heightened

state of awareness, noticing everything around him.
Raskolnikov's moods in this chapter are especially erratic, as Raskolnikov recalls Sonia's words, and, weeping, he bows
his struggle with his own conscience reaches a fever pitch. down and "kisse[s] that filthy earth with bliss and rapture." He
Even after deciding to confess, he continues to wrestle with his notices Sonia secretly following him and realizes that she will
emotions. always stay with him.
He is more candid with his family in Chapter 7 than at any Raskolnikov arrives at the same police station where he
previous point in the novel: he expresses love for his mother fainted. He has decided to confess, not to Porfiry but to Ilya
and weeps with her. When he reconnects with his emotions, he Petrovitch, the police lieutenant who originally suspected him.
also reconnects with his faith and asks his mother to pray for The lieutenant talks nonstop, barely letting Raskolnikov speak.
him. He opens up to Dounia more than he has with anyone Strangely, he apologizes for suspecting Raskolnikov.
other than Sonia, admitting to suicidal thoughts.

Raskolnikov is shocked to learn of Svidrigaïlov's suicide.
But the familiar tension returns between old and new Svidrigaïlov left a note saying only that he was in his right mind
moralities, between faith and rationalizations. With Dounia, he and that no one was to blame for his death. Relieved of
falls back on stale excuses, claiming Alyona was worth killing. Svidrigaïlov's threat but feeling suffocated, Raskolnikov leaves
He questions whether it is worth suffering through the police without confessing. However, he sees Sonia outside,
imprisonment for his crime, and his opinion of other people is who looks at him despairingly. He returns and finally speaks
lower than ever: "Every one of them a scoundrel and a criminal the words: "It was I [who] killed the old pawnbroker woman and
at heart and, worse still, an idiot." her sister Lizaveta with an axe and robbed them."
If all his motivations for the crime seemed accounted for,

readers are in for a surprise when Raskolnikov adds one more: Analysis
"Oh, if only I were alone and no one loved me and I too had
never loved anyone! Nothing of all this would have happened." Raskolnikov's journey from Sonia's to the police station is a
He fondly recalls the former fiancée who suffered from fever, mini-tour of his madness. He revisits many of his disordered
as he did, but who died of it. It is another sign of Raskolnikov's mental states from the last few weeks: irrational anger,

contempt, forgetfulness, and agitation. He humors Sonia by plan to relocate to Siberia in a few years. Sonia has followed
praying, then still wonders if he can avoid confessing. Raskolnikov there and works as a seamstress. She visits him
frequently.
However, once he reaches the Hay Market, he escapes from
these thoughts into a new state of mind for him. In a fit of In prison Raskolnikov is depressed and "shuts himself off from
religious ecstasy, he bows down to kiss the ground. He is now everyone." He asks himself what he has to live for when he
weeping with joy. gets out, and he barely reacts to his mother's death. At first he
is angry at Sonia for her daily visits, but he eventually comes to
Raskolnikov's acceptance of Sonia's cross is highly symbolic, depend on them. The other prisoners dislike Raskolnikov. He
reminiscent of the moment when Christ takes up the cross to becomes seriously ill.
atone for humanity's sins. But instead of seeing it as an act of
redemption, Raskolnikov views it only as one of suffering, so he
laughs because he was already suffering. He may now be Epilogue, Part 2
burdened with responsibility, but the possibility of redemption
is still far from his mind. Before his illness Raskolnikov still hangs onto his idea that the
murders were not really a crime; he just was not enough of an
Raskolnikov's confession is almost derailed by the news of "exceptional man": "His pride had been stung to the quick. It
Svidrigaïlov's suicide. Svidrigaïlov's knowledge of the crime has was wounded pride that made him ill." He still cannot truly
been hanging over Raskolnikov's head. When he learns that repent, and he thinks his real crime was deciding to confess.
threat no longer exists, he changes his mind about confession. But the narrator reveals that Raskolnikov rejected suicide
Seeing Sonia's fear for him sends him back to do it finally, but it because a part of him could see the possibility of redemption
is entirely possible Raskolnikov would have kept walking away, and new life. The other prisoners continue to loathe him: "You
continuing his misery, if she were not there. Raskolnikov's don't believe in God," they shouted. "You ought to be killed."
confession is not a magical transformation. Dostoevsky sees They adore Sonia, however.
human beings as imperfect and paradoxical and redemption as
a tough road. While he is ill, he dreams the world is infected with a disease
that makes people believe their ideas are infallible. Fighting
each other, they cause a global war and the complete
Epilogue, Parts 1–2 breakdown of society. He becomes upset when Sonia does not
visit for a few days. When he recovers, he finds out she has
been ill, too, although not seriously.
Summary A few days later Raskolnikov is working outside. Sonia arrives.

He takes her hand gladly, not reluctantly as usual. Suddenly all
of his love pours out, and he throws himself at Sonia's feet.
Epilogue, Part 1 Later he wonders if he can believe in religion as she does. The
narrator tells us Raskolnikov's suffering is not over, but he is
Nine months later Raskolnikov is in a Siberian prison. At his trial
beginning a new "story of the gradual renewal of a man, the
he told what he did in detail and did not attempt to excuse his
story of his gradual regeneration, of his passing from one
actions. Evidence emerged that Raskolnikov is capable of
world into another, of his initiation into a new unknown life."
good: Razumihin discovered that he had a habit of giving
money he couldn't afford to strangers. His landlady testified
that he once rescued children from a burning building. His final
Analysis
sentence is lenient, only eight years.
In the account of Raskolnikov's trial in Part 1 of the Epilogue,

Pulcheria suffers from fever and delirium. She lives in a world
we learn important new information. For Dostoevsky human
of her own, insisting that her son will visit her soon and has a
nature is full of surprises. Raskolnikov has a much longer
brilliant future. Just before she dies, her words suggest she
history of impulsive generosity to those in need than anyone
knows the truth about him. Dounia and Razumihin marry and

Crime and Punishment Study Guide Quotes 35
realized. As if that weren't enough, he rescued two children

come forth, ye weak ones, come
from a burning building. He never bragged about his good
deeds to anyone, and Dostoevsky did not reveal them to the forth, ye children of shame! ... This
reader in mitigation of his crime.
is why I receive them ... that not
Illness is a form of physical suffering that appears throughout
one of them believed himself to be
the novel, and it is particularly symbolic in the Epilogue. Often
the troubled mind attacks the body. Pulcheria suffers from a worthy of this.'"
conflict between her fantasy of her son as a genius who can
do no wrong and the reality of his crimes. Unable to admit the — Marmeladov, Part 1, Chapter 2
truth about him, she resorts to fantasies, not unlike her son's
delusions about his crime.
Marmeladov, an alcoholic who has driven his family into
Raskolnikov's resistance to his crime and its punishment rises starvation and illness, believes that redemption is still possible
in his mind like a toxin, making him physically ill. During his on Judgment Day because God embraces everyone, even if
illness he dreams of an imaginary disease, a plague that they feel unworthy of acceptance or love. The novel is packed
overtakes the world, infecting its victims with the illusion that with "children of shame," including the novel's protagonist,
their beliefs and opinions are absolute. Dostoevsky, as always, Raskolnikov, Sonia, and others. His belief opens the door to
delivers some of the most devastating analysis of his redemption early in the novel.
characters' states of mind through their dreams. The disease
he describes is one that Raskolnikov suffers from himself.
"Kill her, take her money and with
Raskolnikov's final fever dream also paints a frightening vision
of the consequences of the new radical ideas—they will tear the help of it devote oneself to the
the world apart. For Dostoevsky this imaginary worldwide
service of humanity and the good
plague is an allegory for the spread of dangerous ideas he
witnessed actually taking place in Russian culture. of all. What do you think, would not
A number of details also symbolically reference new life: one tiny crime be wiped out by
Raskolnikov's illness occurs around Easter, when the
thousands of good deeds? ... One
resurrection of Christ is celebrated. The roughly nine months
between his confession and transformation call to mind the death, and a hundred lives in
length of a pregnancy. He comes back to life after a long
illness. In addition, Raskolnikov's return to his faith is
exchange—it's simple arithmetic!"
suggested when he picks up Sonia's New Testament.
— Student in tavern, Part 1, Chapter 6
g Quotes This is part of Raskolnikov's rationale for the murder of Alyona,

typical of the new moralities based on logic or reasoning. If a
crime resulted in a greater good, it would not really be a crime.
"And He will judge and will forgive Unfortunately for Raskolnikov, more than simple arithmetic is
involved. All humans hold life sacred, making killing a profound
all. ... And when He has done with violation.
all of them, then He will summon
us. 'You too come forth,' He will
"If he had to remain standing on a
say, 'Come forth ye drunkards,
square yard of space all his life, a

Crime and Punishment Study Guide Quotes 36
thousand years, eternity, it were "In short, I maintain that all great
better to live so than to die at men or even men a little out of the
once! Only to live, to live and live! common, that is to say capable of
Life, whatever it may be! ... How giving some new word, must from
true it is! Good God, how true! Man their very nature be
is a vile creature! ... And vile is he criminals—more or less, of course."
who calls him vile for that."
— Raskolnikov, Part 3, Chapter 5

This is Raskolnikov's grand theory that spawns the murders.
There are people in history who were destined to be great, and
Referencing a quote from the novel The Hunchback of Notre
their greatness cost lives to achieve. In fact, he thinks that they
Dame by Victor Hugo (1802–1885), Raskolnikov wonders why
"must from their very nature be criminals." Shouldn't they have
people hang on to life, even when life is like standing for
the right to shed blood to achieve greatness? Of course, this
eternity on a tiny ledge without being able to move. He decides
theory does not work out well for Raskolnikov when he tries it
it is better to live, even in this torturous circumstance, than to
himself.
die. People may act badly, but life remains precious.
"It's not a matter of permission or

"Human nature is not taken into
prohibition. He will suffer if he is
account, it is excluded, it's not
sorry for his victim. Pain and
supposed to exist! ... They believe
suffering are always inevitable for
that a social system that has come
a large intelligence and a deep
out of some mathematical brain is
heart. The really great men must, I
going to organise all humanity at
think, have great sadness on
once and make it just and sinless
earth."
in an instant, quicker than any
living process! ... The living soul — Raskolnikov, Part 3, Chapter 5
demands life, the soul won't obey

Although the great can kill without being considered
the rules of mechanics." murderers, if they are smart, feeling individuals they will suffer
in their hearts. Raskolnikov is projecting the pain of his own
— Razumihin, Part 3, Chapter 5 conscience onto his concept of the extraordinary man.
Razumihin identifies one major problem with socialism. Human

nature doesn't follow neat mathematical rules. It is also the "I did not bow down to you, I
problem with Raskolnikov's plan—he overvalues reason and
fails to take human nature, especially his own, into account.
bowed down to all the suffering of

Crime and Punishment Study Guide Symbols 37
humanity." to the bank and set you safe on

your feet again. ... You must fulfil
the demands of justice."
Sonia's willingness to sacrifice herself for her family and to
take on his suffering as well inspires Raskolnikov to tell her she — Porfiry, Part 6, Chapter 2
is a symbol of all suffering in the world.

Porfiry does not advise seeking out suffering, but he does
recognize it as one of life's important experiences. He is
"Did I murder the old woman? I optimistic that, if Raskolnikov moves ahead fearlessly and
trusts in life itself, he can survive the suffering he will
murdered myself, not her! I encounter once he confesses.
crushed myself once for all,
forever. ... But it was the devil that
killed that old woman, not I." l Symbols
Garret
Raskolnikov recognizes that committing the murders has
ended his life as he knew it. However, he is still not able to take
responsibility for the murder. Here he finds a new source to Raskolnikov's garret represents his poverty, as well as his
blame: the devil. alienation, arrogance, and claustrophobic state of mind. The
tiny fifth-floor room is messy and cramped; he cannot stand up
straight in it or stride across it. It has little light or air. The
"What all men need is fresh air, room's location at the top of the house also represents the
heights from which he views nearly everything and everyone
fresh air ... more than anything!" around him, looking down in contempt at others. His self-
imposed isolation in the room allows him to plot obsessively
— Svidrigaïlov, Part 6, Chapter 1 the murders he commits.
Svidrigaïlov may be making a veiled reference to his knowledge

of Raskolnikov's confession, joking that he should be going to
Cross
Siberia, where there is nothing but fresh air. Fresh air is also a
metaphor for how confession unburdens the soul, figuratively
clearing the air. Either way Raskolnikov needs to confess.
A symbol of Christianity, Christ's death, and salvation, the
cross represents both faith and suffering. Displaying the cross
can be a sincere or hollow gesture. Alyona's faith is hollow. She
"Suffering, too, is a good thing.
wears two crosses but lacks any Christian compassion.
Suffer! ... Fling yourself straight Raskolnikov uses the sign of the cross to trick her into
believing his tightly wrapped package is a more valuable object
into life, without deliberation; don't to pawn, distracting her with greed and providing him the
be afraid—the flood will bear you opportunity to kill her. Nikolay, the house painter, trades his
cross for a drink, symbolically rejecting his religion before he

Crime and Punishment Study Guide Themes 38
tries to commit suicide. Sonia gives Raskolnikov a cross before

he confesses, symbolizing both the burden of their shared Alienation
suffering and the redemption promised by surrendering to
faith. By accepting Sonia's cross, Raskolnikov begins the
process of acknowledging his burden of responsibility and Alienation takes many forms in this novel. Several characters
accepting the suffering of his punishment. struggle with being isolated, or cut off, from themselves or
from others.
Raskolnikov alienates himself from those around him

Napoleon physically, mentally, and socially. As a student at the university
"he kept aloof from everyone." After leaving school he has
been cooped up in his tiny attic room where his isolation feeds
his delusions and monomania. Arrogant, he sees himself as
Rising to power in the wake of the French Revolution,
superior to others. His alienation both contributes to and
Napoleon conquered most of Europe and achieved the title of
results from his crimes. After the murders he finds he can no
emperor in the service of personal ambition. Although his
longer reach his loved ones across the gulf of his secret.
military campaigns killed hundreds of thousands, he was
Above all he is deeply alienated from himself. Redemption for
regarded through most of the 19th century as a great leader.
Raskolnikov is only possible when he finally connects with
Raskolnikov uses him as a prime example of the "extraordinary
Sonia in the Epilogue.
man" who is so brilliant and daring he has the right to shed
blood. Raskolnikov's crime is an attempt to be this kind of man, Many other characters face alienation through poverty. Sonia
but he conveniently forgets the crimes of which Napoleon was is alienated from her family and from normal society after
guilty and the exile in which he spent his final years. turning to prostitution to support her family. Marmeladov and
his wife, Katerina Ivanovna, an alcoholic and a consumptive, are
also social outcasts. Dounia is threatened with alienation
through Svidrigaïlov's overtures, a situation that Luzhin
Lazarus attempts to extort, but she is rescued through her association
with Razumihin.
In a story from the New Testament of the Bible, Christ brings The novel also abounds with suicides and attempted suicides,
Lazarus back to life after he has been dead for days. Sonia possibly the ultimate form of alienation. Raskolnikov is minding
reads the story to Raskolnikov on his first visit to her room. The his own business when a woman standing next to him suddenly
two main excerpts she reads focus on Lazarus's sister's leaps into a canal, nearly drowning before she is rescued.
declaration of faith in Christ as the son of God, an important Nikolay also tries to commit suicide but fails. Both Sonia and
prerequisite to raising Lazarus from the dead. Raskolnikov is Raskolnikov consider suicide but decide to live, although
fascinated by this story, bringing it up more than once—even Raskolnikov believes that, when he commits the murders, he
declaring his literal belief in it to Porfiry, despite wavering on has symbolically killed himself. Marmeladov is a rumored
religion in general. The story of Lazarus promises new life suicide, and Svidrigaïlov, who drives a young girl to suicide,
through faith. ultimately dies by his own hand.
m Themes Crime
Dostoevsky explores the title word crime in a broad sense,

including crimes defined under the law such as murder, social
crimes such as poverty, and crimes against humanity—bringing

Crime and Punishment Study Guide Themes 39
needless suffering upon oneself and others.

Suffering
Two types of crime intersect in the character of Raskolnikov.
He commits murder, a legal crime. He has a theory that
extraordinary men can commit crimes, or violate moral
Dostoevsky sees suffering as a double-edged sword—it can
boundaries, on their way to greatness without penalty.
destroy or redeem depending on the circumstances. Suffering
However, once he puts his theory into action, he finds that
springs from a number of sources throughout the novel: crime,
either it or he is flawed. His conscience tortures him. The
illness and disease, poverty, cruelty, self-hatred, alienation,
murders he commits force him to recognize the suffering he
rejection, and failure. These different types of suffering often
has caused himself and others, beyond the murders
overlap. For Dostoevsky the way characters respond to their
themselves. Raskolnikov is often cruel to people who love him.
own suffering or the suffering of others often defines them.
He claims on numerous occasions to loathe all humankind, but
his actions undermine his words while consistently Suffering in the novel often has religious connotations.
demonstrating a hatred for himself. This is his psychological Marmeladov "tortures" himself with alcohol in the hope of being
crime and punishment. forgiven by God in the afterlife, and Nikolay seeks the
punishment for murder to atone for lesser sins. Sonia, like
Svidrigaïlov has also committed illegal acts, including rape and
Christ, takes on the suffering of others through compassion.
possibly murder. He has spent time in prison for debts. But
She is instrumental in Raskolnikov's redemption in prison. It is
overall he suffers few external consequences for his actions.
only when Raskolnikov confesses and submits himself to the
Like Raskolnikov, some of his crimes do not fall under the rule
suffering of punishment that his mental healing can begin. His
of law. His careless manipulation of others, such as his
cycle of sin, struggle, confession, and redemption is at the core
seduction of a married woman with children, is often very
of Christianity.
damaging to them. Still his conscience ultimately catches up
with him, too, and is a major factor in his suicide. Nearly every character in Crime and Punishment suffers from
some degree of poverty, often with physical and moral
Sonia's criminality is debatable. Prostitution fell in a gray area
consequences. Marmeladov suffers from uncontrollable
in mid-19th-century Russia. Previously considered a serious
alcoholism, forcing his family to suffer starvation, disease, and
crime, it began to be viewed with greater tolerance once
homelessness. Sonia is forced to work as a prostitute to
prostitution became regulated in 1843 via the "yellow ticket."
support them and suffers the loss of her reputation.
This licensing system for prostitutes provided governmental
Raskolnikov barely has enough money to survive throughout
oversight of prostitutes' health in order to curb the spread of
the novel, but he frequently shares what he has with others
venereal disease. However, an unregistered or infected
who have even less.
prostitute could be arrested and detained. Regardless of
whether it was a crime legally, it carried heavy societal In Crime and Punishment suffering is often psychological in
consequences, demonstrated by Sonia's suffering. nature: many characters face inner conflicts, particularly
Raskolnikov and Svidrigaïlov, who struggle painfully with their
Technically Luzhin is an upright citizen, a lawyer even, but his
consciences. Raskolnikov's suffering manifests itself in many
criminality can hardly be denied. He chooses Dounia to be his
ways. His crime and its desperate aftermath are a map of his
wife through her situation as Marfa Petrovna's governess. She
pain. His dreams, such as the dream of the horse being beaten
is thus doubly "blessed" in his eyes: her reputation has been
to death, reveal his terrible struggles within himself. In his
compromised by Svidrigaïlov's advances, and Marfa Petrovna
interior monologues readers hear every detail as he obsesses
has given sworn assurances of her purity. As a triple benefit,
in his own mind about how to cover up his crime or whether he
Dounia is poor. For all of these reasons, she is the perfect
should confess. Other characters suffer mental breakdowns or
subject of his fantasies, a beautiful, righteous woman he can
opt to attempt suicide when their suffering overwhelms them.
grind underneath his heel. The tortures he intends for her are
Katerina's suffering eventually drives her mental breakdown
only hinted at in the accusations of robbery he makes against
and death.
Sonia.

Crime and Punishment Study Guide Character Names 40
names connected to their natures, based on words that

Morality Russian readers understood:
Raskolnikov is from the Russian raskol meaning "split," or

raskolnik, meaning "schismatic" (someone who splits from a
The conflict between traditional morality, defined by Orthodox
group, often a religion). The name both indicates
Christianity in Russia and based in faith, and the new "rational"
Raskolnikov's tendency to be torn between conflicting ideas
concepts of morality that Raskolnikov favors, based in logic
and his attempt to break away from religious morality.
and reason, appears in many forms throughout the novel, with
Sofya is from the Greek sophia, meaning "wisdom,"
Dostoevsky clearly arguing in favor of religious morality.
demonstrating that Dostoevsky values Sonia's deep faith
"Rational" concepts of morality emphasized reason and logic
and quiet common sense above Raskolnikov's lack of faith
as the best paths for ethical and social change. Traditional
and rationalizations.
Christian beliefs were based in faith, suffering, sin, and
Razumihin is from the Russian razum, meaning "reason" or
redemption.
"good sense." Razumihin's clear head and good sense
Razumihin primarily argues for traditional concepts of morality, contrast with Raskolnikov's moodiness and poor judgment.
favoring the "living soul" over airless theories that lack Luzhin is derived from luzha, meaning "puddle" in Russian,
humanity. However, Raskolnikov is torn between the representing his low and dirty character.
competing moralities: he forms and executes a theory based Zametov comes from the Russian zametit, meaning "to
on the new morality, based in rationality, but his conscience is notice." The police head clerk is the first person to whom
rooted in the old morality, based in religion. The conflict ends Raskolnikov makes a fumbling attempt to confess.
up mentally unbalancing him. His insistence on living out his
"extraordinary man" theory leads to a spectrum of suffering.
Traditional Christian morality, focused on redemption through e Suggested Reading
suffering, is his path to a new life.
Dostoevsky, Fyodor M. Fyodor Dostoevsky's Crime and

Punishment. Ed. Harold Bloom. Philadelphia: Chelsea, 2004.
Print. Bloom's Mod. Critical Interpretations.
b Character Names
Dostoyevsky, Fyodor. Crime and Punishment: A New
The characters in Crime and Punishment can be named in a Translation. Trans. Oliver Ready. Penguin, 2015. Print.
variety of ways.
Frank, Joseph. Dostoevsky: A Writer in His Time. Ed. Mary
Russian names have three parts: the individual's first name, a Petrusewicz. Princeton: Princeton UP, 2010. Print.
patronymic (see below), and the family's last name. For
Maus, Derek C., ed. Readings on Crime and Punishment. San
example: Rodion (first name) Romanovitch (patronymic)
Diego: Greenhaven, 2000. Print. Greenhaven Lit. Companion
Raskolnikov (family's last name).
Ser.
The Russian patronymic is formed using the first name of a
person's father and adding either -ovitch ("son of") for males or
-ovna ("daughter of") for females. These patronymics are often
combined with a person's first name in familiar address
("Katerina Ivanovna" for Katerina Ivanovna Marmeladov).
Some characters are more commonly referred to by their

nicknames ("Sonia" for Sofya Semyonovna) or simply by their
last names ("Luzhin" for Pyotr Petrovitch Luzhin).
In addition, Dostoevsky gave many important characters
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jurisdictions and may not be reproduced or distributed without the express written consent. Contact Course Hero
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Crime and

readers to immerse themselves in the psychology of each of

j Book Basics ................................................................................................. 1 TENSE

a Author Biography ..................................................................................... 2

h Characters .................................................................................................. 3 d In Context

c Chapter Summaries .............................................................................. 12 Historical Context

In the 18th century Czar Peter I (1672–1725), also known as

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arrested in 1849. They were subjected to a fake execution, and

By 1866 Dostoevsky was desperate. He and his brother's latest

Dostoevsky went on to write what are considered his greatest ideals.

novels in addition to Crime and Punishment: The Idiot (1869),

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Other Major Character

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Full Character List Semyon Zaharovitch Marmeladov is

Nikolay Dementyev is a painter who

Pulcheria Alexandrovna Raskolnikov

Dmitri Prokofitch Razumihin is Amalia Amalia Fyodorovna Lippevechsel is

Girl in Part 1, The girl is a drunken teenager whom

Lizaveta Ivanovna is Alyona's much Alexandr Grigorievitch Zametov is a

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Raskolnikov wants to get caught, but he does not want to

Raskolnikov tries to help a drunken girl in the street. Later he

The police summon Raskolnikov for unpaid debts. He arouses

Luzhin visits Raskolnikov, who threatens him about Dounia.

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Part 5 Epilogue, Chapters 1–2

The Marmeladovs are evicted and become homeless. Katerina

Raskolnikov meets Svidrigaïlov, whose stories reveal he is a

Svidrigaïlov lures Dounia to his apartment and locks her in. He

Svidrigaïlov gives money to Sonia's family and to his fiancée.

The next day Raskolnikov says goodbye to his family. Sonia

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1. Raskolnikov plans a crime. 9. Raskolnikov confesses the murders to Sonia.

Rising Action Falling Action

4. Raskolnikov faints in the police station, raising suspicion.

5. Porfiry interrogates Raskolnikov about the murders.

8. Porfiry accuses Raskolnikov of the murders.

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A hot day in July

Raskolnikov plots his crime and meets the Marmeladov

The next day

Raskolnikov debates with himself about the crime, then

The next day

Raskolnikov kills the pawnbroker and her half-sister, who

The next day

Raskolnikov is called to the police. He hides the

A few days later

Raskolnikov recovers, threatens Luzhin, drops hints

The next day

Raskolnikov meets Porfiry, then Svidrigaïlov. Dounia

The next day

Nikolay confesses to the murders; Svidrigaïlov overhears

A few days later

Porfiry accuses Raskolnikov, who then meets with

The next day

Svidrigaïlov kills himself. Raskolnikov turns himself into

Nine months later

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Raskolnikov goes to a Siberian prison. After an illness he

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He tells Raskolnikov his story. He and his family are