Crime and Punishment, Russian 

Prestupleniye i nakazaniye, novel by Russian

writer Fyodor Dostoyevsky, first published in 1866. His first masterpiece, the novel is a
psychological analysis of the poor former student Raskolnikov, whose theory that he is an
extraordinary person able to take on the spiritual responsibility of using evil means to achieve
humanitarian ends leads him to murder. The act produces nightmarish guilt in Raskolnikov.
The story is one of the finest studies of the psychopathology of guilt written in any language.

Raskolnikov Room
The room is as shabby as it is small--not a seemingly likely place for posing intellectual
questions of great significance. But Dostoevsky is a writer fond of achieving great things
with equally great economy. Just as he stretches a two-week period into a hefty novel,
Dostoevsky makes a dingy student's apartment more important than a grand palace.
Raskolnikov's room becomes a nexus for the story. It is there Raskolnikov cowers, broods
and slips into depraved and fitful slumber. Almost all of the major characters in the book pay
a visit to the room, and sometimes it even seems as if they are all stuffed into the tiny space at
once. Yet the room is more than just a meeting place, more than a central location. It takes on
a character of its own, illustrating Raskolnikov's mental turmoil, becoming an image of him
to others and perhaps even doing much to induce or at least enforce his degenerate state. It
shows how cramped he is both in terms of physical and mental space. Hence, he often tries to
escape the confines of his room and wander out in the open street. The room also symbolizes
his solitude or isolation from human society. Raskolnikov's thoughts about the "square yard
of space" are closely associated with this idea of his being confined in his room. Related to
this symbol is the idea of his need for "fresh air" and his bouts of illness and depression after
the murder. The fresh air could represent not just a cure of physical or psychological
ailments, but also freedom from the agony of guilt that follows him after his heinous crime.
Ironically, Raskolnikov finds this "free air" only in the confines of his Siberian prison camp.
Raskolnikov’s room symbolizes his mind.
YELLOW SIGNIFICANCE / SYMBOLISM
Another important symbol repeated throughout the novel is the Color yellow.  The Color
yellow can symbolize not only logic and intellect, but cowardice and lack of emotion.
Raskolnikov's character is somewhat exemplified through the combination of meanings of the
Color yellow. Also, yellow somewhat comforts Raskolnikov although it signifies his
suffering. 
FACES
Several character's faces are described as yellow, symbolizing poor health, death, and
physical corruption.
Marmelodov: ''[B]loated from continual drinking, [it] was of a yellow, even greenish,
tinge, with swollen eyelids out of which keen reddish eyes gleamed like little chinks.''

Porfiry Petrovitch: ''[h]is soft, round, rather snub-nosed face was of a sickly yellowish
colour, but had a vigorous and rather ironical expression.''

Raskolnikov: ''feverish eyes and [a] wasted, pale and yellow face.''

Suicidal Woman: ''long, yellow, wasted.''

Katerina: ''pale, yellow, wasted face dropped back, her mouth fell open, her leg
moved convulsively, [and] she gave a deep, deep sigh and died.''
MONEY
Svidrigailov: "He poured her out a full glass, and laid down a yellow note."
 A "yellow note" = one rubble.

"Because Svidrigaïlov is a known adulterer and womanizer, and because Katia is

dependent on his generosity for her survival, we can also link the yellow note with
corruption."
PASSPORT AND TICKET
In Russia at the time, prostitutes carried a "yellow ticket" or "yellow passport."

Sonia: "When my own daughter first went out with a yellow ticket, then I had to go...
(for my daughter has a yellow passport)"

"For Sonia and other prostitutes, the yellow passport is a mark of their poverty and
shame, but it also represents the moral corruption of a society where prostitution is
permitted and even officially regulated."

VARIOUS DOMESTIC OBJECT

Svidrigailov: "He poured her out a full glass, and laid down a yellow note."
Alyona: ''mangy fur cape, yellow with age'' and her furniture is ''all very old and of
yellow wood.''
After fainting at the police station: "someone... was standing on the left, holding a
yellowish glass filled with yellow water''
Tea: ''two yellow lumps of sugar.''
In these examples, yellow represents extreme age, physical corruption, dilapidation,
decay, and impurity,
However, it can have a positive connotation, such as when Dostoevsky describes
Porfiry's things: ''all government furniture, of polished yellow wood,'' and he wears an
''extremely handsome ring with a yellow stone on his middle finger.''

WALLPAPER

Raskolnikov's Apartment: ''ha[s] a poverty-stricken appearance with its dusty yellow

paper peeling off the walls,'' and he feels ''cramped and stifled in the little yellow
room.''
Sonia's Wallpaper: "in the dirty, yellow paper he picked out one clumsy, white flower
with brown lines on it and began examining how many petals there were in it..."
Alyona's Apartment: "with yellow paper on the walls"
Svidrigailov's Room: ''[t]he walls looked as though they were made of planks,
covered with shabby paper, so torn and dusty that the pattern was indistinguishable,
though the general Color—yellow—could still be made out.''
"In all three examples, yellow wallpaper is characterized by extreme age, dirt, and
deterioration—more forms of physical corruption."
Svidrigailov notes some "''bright yellow, wooden, little houses [that] looked dirty and
dejected with their closed shutters.''

WATER

Water as a Symbol
Water in the novel Crime and Punishment comes to represent life and renewal and has
different meanings for different characters. For positive characters, it comes to represent life
and growth. Whereas water terrifies negative characters with its threat of death.
Raskolnikov contains within him both positive and negative influences. His positive side
includes his respect for beauty while his negative side pushes him towards rationalism. This
same rationalism will lead him to murder two women. Whichever side Raskolnikov leans
towards, positive or negative, is indicative of the type of experience he will have with water.
The closer he moves toward water, the closer he comes to redemption. There are many
instances when the author uses water in this novel.

The Dark Side

One of the negative characters is Svidrigailov. Svidrigailov is a bad guy whose flaws include
being unfaithful to his wife, attempting to rape Donya, and molesting young girls. He does
help out Sonia's family and treats her well, but he is by and large a negative character.
This is important due to his experience with the symbol of water. Svidrigailov is afraid of
water just as he is afraid of salvation. He states that he couldn't even tolerate water in
paintings. It is no accident that the weather includes rain the night Svidrigailov kills himself.
The rain is so severe, there is a flood warning. His rejection of water reflects his symbolic
rejection of ending his wicked ways.

Water as a Restorative
Soon after the murders, the police call Raskolnikov into the station. After a brief interview
with the detective Ilya Petrovitch, he faints. When he revives, someone has brought him a
glass of yellow water. This glass is just as literally clouded and impure as his conscious is
metaphorically impure. However, the glass of water is brought to help revive him again
showing itself as a restorative element.
Later, Raskolnikov falls ill. His fever and delirium persist for days at a time. Raskolnikov's
friend Razumihin frequently attends him. He often gives Raskolnikov water or tea in hopes of
restoring his health. These gestures physically aid in his recovery by hydrating him.
However, his friend giving him the symbolic water of redemption shows the power of
friendship. Raskolnikov increasingly isolates himself from others, including Razumihin.
Razumihin giving water to Raskolnikov shows that to find redemption, Raskolnikov must
connect more with other people. "It's nothing, nothing!" he cried to the mother and
sister--"it's only a faint, a mere trifle! Only just now the doctor said he was much better, that
he is perfectly well! Water! See, he is coming to himself, he is all right again!"
While out walking, Raskolnikov notices a crowd surrounding Marmeladov. A carriage had
run him over. Raskolnikov brings the dying man home to be with his family. With
Raskolnikov's help, Marmeladov's wife Katrina gives water to her dying husband and cleans
him. Just as he is given last rights by a priest, the symbolic cleansing of the dying man makes
his soul ''clean.'' Though he is not restored to life, through the symbol of water, Marmeladov
is elevated to eternal life.

HISTORICAL

POVERTY / SOCIAL PROBLEM

Throughout part four of Crime and Punishment, Dostoevsky incorporates historical concepts
of his time period in addition to referring to others as well.
Poverty is a predominant motif infused throughout part four of Crime and Punishment that
represents the lifestyle of a majority of those living in Russia during the mid-1800's. Poverty
is also significant as it corresponds to the life of Dostoevsky and his experiences living
through poverty. On page 237, Dostoevsky writes that Svidrigailov has gotten "into prison for
debt, because of a mean Greek from Nezhin." This alludes to Dostoesvky's financial troubles
and his debt caused by his addiction to gambling (Teuber).
The author included the social ills of the story to centralize the theme of poverty. Due to
poverty, people resort to desperation. Marmedelov becomes an alcoholic because he believes
he is helping his family by not being present. Sonia becomes a prostitute to help her poor
family. The theme of poverty also helps to partially justify Raskolnikov's desperation towards
making such a hasty decision with the murder of the pawnbroker.
Consider the social problems that are prevalent throughout the story - alcoholism,
prostitution, poverty, etc.

NAPOLEON AND FRENCH CULTURE

Napoleon is a historical allusion that Dostoevsky refers to in part four of Crime and
Punishment. Napoleon is significant to the novel because Raskolnikov thinks of Napoleon as
an "extraordinary" man; one who exercises his right to transcend the laws of society due to
his intellectual superiority. When speaking to Raskolnikov, Porfiry says how "on paper,
they'd beaten Napoleon and taken him prisoner" (325). Raskolnikov's transformation can
allude to Napoleon's attempt conquering Russia. Napoleon was at his peak and conquering
Moscow would result in ending the war. However, Russia was not easily conquerable, and in
turn, Moscow was burned not capitulated. Napoleon was forced to retreat, and was later
exiled. Raskolnikov’s life follows a similar pattern. After thinking of himself as an
intellectual superior, he plans to murder an old pawnbroker, which hereby represents Russia.
Although he successfully committed the murder, he was not free of the burden; he did not
fully destroy his crime, he only singed it. In turn, Raskolnikov confesses which aligns to
Napoleon's retreat. Both Raskonikov and Napoleon were subsequently exiled.
In addition to Napoleon, French culture is symbolic as it is spoken by certain characters in the
novel. At the time during which the novel was written, France was regarded as a major world
power. The use of French by characters such as Svidrigailov and Porfiry depict specific
powers they embody. A minor historical influence in part four, but a major historical
influence in the overall novel is the influence of nihilism in Russia during the mid-1800's.
Specifically, Svidrigailov states that he is "a man et nihil humananum" along with
Raskolnikov (269). This is the only time where it is literally written that Raskolnikov is a
nihilist. However, Dostoevsky opposed the nihilist movement. Instead, his opposition to this
philosophy is shown through the character development in Raskolnikov throughout the entire
novel.

QUES. EPILOGUE OF THE NOVEL’S CRIME AND PUNISHMENT

The Epilogue opens in Siberia, where Raskolnikov has been sent to a prison camp

one and a half years after the crime. In an official statement after his confession, Raskolnikov
gave exact details of the crime, and told the authorities the rock under which the stolen
articles might be found. Authorities are confused as to why Raskolnikov made no efforts
actually to steal the goods. This and Dr. Zossimov’s testimony caused them to find that
Raskolnikov was “temporarily insane” during the crime.

The epilogue consists of two parts. In the first part of the epilogue- fate of the main
characters has developed. In the second part: Raskolnikov’s inner world when the hero is in
custody. The first part of the epilogue begins with a description of the trial in the case of
Rodion Raskolnikov. The process goes very smoothly, due to the fact that Raskolnikov
honestly admits everything, does not hide from the court what was really. The judge
concludes that at the time of the murder Raskolnikov was insane and did not understand what
he was doing, all the more, at that time “the latest fashionable theory of temporary insanity
arrived”. Because of this, Raskolnikov is given eight years in prison in the Omsk prison,
located on the banks of the Irtysh. Together with Raskolnikov, Sonia is also leaving for
Siberia. The mother of the hero - Pulcheria Alexandrovna - is dying. Before death, she is in a
half-crazy state for a long time. The woman probably suspected that some misfortune had
happened to her son, whom she was so proud of. They are trying to hide from her what is
really happening with Raskolnikov. But, as we know, it is impossible to deceive the mother’s
heart, therefore, of course, she feels that something is wrong with her son. For a long time
Pulkheria Alexandrovna raves, thoughts about her son do not leave her for a minute. Before
her death, she waits for him, cleans the room, supposedly cooking for her son, but dies the
next day. Dunya and Razumikhin got married. They dream of a bright future, think about
how they will leave for the North in five years, and will happily live next to Rodion.
Sonya in the North with Raskolnikov. And in the first part of the epilogue, it is from
her face that we learn about Raskolnikov, his condition and behaviour. Unfortunately, what
we see is very pessimistic. Raskolnikov became isolated in himself, does not communicate
with anyone. Sonya is very worried about his condition and is trying to somehow help him.
She makes various acquaintances in the city that can somehow help Raskolnikov.
In the second part of the epilogue, before us appears the inner world of Rodion
Raskolnikov. The following lines speak very well of his condition: “... his pride was greatly
wounded; he fell ill with a wounded pride. " Raskolnikov was very worried about the fact that
he himself so stupidly ruined his life, trying to prove something to someone by killing.
Immediately after the crime, he realized the senselessness of his act. Later, the hero will
understand that it is necessary to change the surrounding life for the better in a completely
different way.
At the beginning of the conclusion, Raskolnikov did not have a relationship with other
prisoners due to the fact that he was constantly immersed in his thoughts, did not
communicate with anyone, and was alienated to everyone. With this behaviour Rodion sets
everyone up against himself, and this leads to the fact that once in the service in the church he
was even nearly killed.
After leaving the hospital, Raskolnikov changes. In one of the meetings with Sonya,
"something seemed to catch him and as if threw him at her feet." Big changes took place in
the hero’s soul; he has a completely different attitude to life. Raskolnikov now thinks that
seven years will fly by very quickly and he has a wonderful future ahead of him next to his
beloved woman. His condition is very well characterized by the following epithets: “endless
happiness”, “endless sources of life”, “infinitely loves”, “he will atone for all her sufferings
with infinite love”.
A special role in the epilogue is played by landscape. From the gloomy, stuffy,
oppressive Petersburg, the action is transferred to the banks of a wide and deserted river: "A
wide neighbourhood was opened from a high bank ... There were freedom and other people
lived ...".

Extra Point
The New Testament symbolizes a new beginning. Throughout the novel, there are
multiple biblical references to stories in the Old Testament. In the Epilogue, Raskolnikov
receives a New Testament, symbolizing a new beginning with the start of his new life.
In the epilogue, Dostoevsky takes a different approach to writing. Instead of focusing
on Raskolnikov's emotional aspects, he focuses more on finishing the story and wrapping up
the subplots. Raskolnikov simply states, "My conscience is at rest." (406)
 The most obvious allusions are the biblical allusions decorated throughout the
epilogue.
"...as though the age of Abraham and his flocks had not passed." (410) Abraham is a
biblical figure who led the Jews to freedom.
CONCLUSION
The epilogue is play a important role in the novel, as it focuses on the "punishment"
aspect and how Raskolnikov is able to achieve redemption in his own mind.
Throughout the novel, Raskolnikov receives punishment through his conscience, but
he doesn't believe he is redeemed. In the Epilogue, he has confessed and received his
sentence in prison, which, in his mind, is redemption enough.
Role of Confessional

Raskolnikov’s motives for

confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.

Raskolnikov’s motives for

confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.
Raskolnikov’s motives for
confessing
his crime and accepting
punishment, although the
greater part of the novel is
devoted to this process.
Indeed, after the crime
committed early on in the
plot,
the rest of Crime and
Punishment deals with
Raskolnikov’s vacillation
between his
instinct of self-preservation
and urge for confession and
punishment, with the
eventual triumph of the
latter. According to Priscilla
Meyer, Dostoevsky planned
Crime and Punishment as a
confessional novel.

CHARACTERS
Lizaveta Ivanovna
The other of Raskolnikov’s victims and admitted by Raskolnikov to be innocent, Lizaveta is
the shy sister of the pawnbroker, who often helps out by serving as a middleman between
merchants and buyers in the Haymarket neighbourhood.  Lizaveta walks in when
Raskolnikov is busy robbing Alyona Ivanovna, having murdered her. Desperate, he kills
Lizaveta as well. Later he finds out that she had been a friend of Sonya's.