Crime and Punishment

1484:, Bakhtin argues that attempts to understand Dostoevsky's characters from the vantage point of a pre-existing philosophy, or as individualized 'objects' to be psychologically analysed, will always fail to penetrate the unique "artistic architechtonics" of his works. In such cases, both the critical approach and the assumed object of investigation are 'monological': everything is perceived as occurring within the framework of a single overarching perspective, whether that of the critic or that of the author. Dostoevsky's art, Bakhtin argues, is inherently 'dialogical': events proceed on the basis of interaction between self-validating subjective voices, often within the consciousness of an individual character, as is the case with Raskolnikov. Raskolnikov's consciousness is depicted as a battleground for all the conflicting ideas that find expression in the novel: everyone and everything he encounters becomes reflected and refracted in a "dialogized" interior monologue. He has rejected external relationships and chosen his tormenting internal dialogue; only Sonya is capable of continuing to engage with him despite his cruelty. His openness to dialogue with Sonya is what enables him to cross back over the "threshold into real-life communication (confession and public trial)—not out of guilt, for he avoids acknowledging his guilt, but out of weariness and loneliness, for that reconciling step is the only relief possible from the cacophony of unfinalized inner dialogue." 421:

pretext of pawning a watch, he visits her apartment, but he remains unable to commit himself. Later in a tavern, he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth. Marmeladov tells him about his teenage daughter, Sonya, who has become a prostitute in order to support the family. The next day, Raskolnikov receives a letter from his mother in which she describes the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov. To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya's situation. Raskolnikov is enraged at his sister's sacrifice, feeling it is the same as what Sonya felt compelled to do. Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it.

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portentous appearance of Luzhin. He sternly announces that a 100-ruble banknote disappeared from his apartment at the precise time that he was being visited by Sonya, whom he had invited in order to make a small donation. Sonya fearfully denies stealing the money, but Luzhin persists in his accusation and demands that someone search her. Outraged, Katerina Ivanovna abuses Luzhin and sets about emptying Sonya's pockets to prove her innocence, but a folded 100-ruble note does indeed fly out of one of the pockets. The mood in the room turns against Sonya, Luzhin chastises her, and the landlady orders the family out. But Luzhin's roommate Lebezyatnikov angrily asserts that he saw Luzhin surreptitiously slip the money into Sonya's pocket as she left, although he had thought at the time that it was a noble act of anonymous charity. Raskolnikov backs Lebezyatnikov up by confidently identifying Luzhin's motive: a desire to avenge himself on Raskolnikov by defaming Sonya, in hopes of causing a rift with his family. Luzhin is discredited, but Sonya is traumatized, and she runs out of the apartment. Raskolnikov follows her.

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the crime to uncomprehending Sonya. She is horrified, not just at the crime, but at his own self-torture, and tells him that he must hand himself in to the police. Lebezyatnikov appears and tells them that the landlady has kicked Katerina Ivanovna out of the apartment and that she has gone mad. They find Katerina Ivanovna surrounded by people in the street, completely insane, trying to force the terrified children to perform for money, and near death from her illness. They manage to get her back to Sonya's room, where, distraught and raving, she dies. To Raskolnikov's surprise, Svidrigailov suddenly appears and informs him that he will be using the ten thousand rubles intended for Dunya to make the funeral arrangements and to place the children in good orphanages. When Raskolnikov asks him what his motives are, he laughingly replies with direct quotations of Raskolnikov's own words, spoken when he was trying to explain his justifications for the murder to Sonya. Svidrigailov has been residing next door to Sonya, and overheard every word of the murder confession.

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described Raskolnikov as a product of his environment, and argued that the main theme of the work was poverty and its results. He measured the novel's excellence by the accuracy with which Dostoevsky portrayed the contemporary social reality, and focused on what he regarded as inconsistencies in the novel's plot. Strakhov rejected Pisarev's contention that the theme of environmental determinism was essential to the novel, and pointed out that Dostoevsky's attitude towards his hero was sympathetic: "This is not mockery of the younger generation, neither a reproach nor an accusation—it is a lament over it." Solovyov felt that the meaning of the novel, despite the common failure to understand it, is clear and simple: a man who considers himself entitled to 'step across' discovers that what he thought was an intellectually and even morally justifiable transgression of an arbitrary law turns out to be, for his conscience, "a sin, a violation of inner moral justice... that inward sin of self-idolatry can only be redeemed by an inner act of self-renunciation."

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angrily tells the others to leave as well, and then sneaks out himself. He looks for news about the murder, and seems almost to want to draw attention to his own part in it. He encounters the police official Zamyotov, who was present when he fainted in the bureau, and openly mocks the young man's unspoken suspicions. He returns to the scene of the crime and re-lives the sensations he experienced at the time. He angers the workmen and caretakers by asking casual questions about the murder, even suggesting that they accompany him to the police station to discuss it. As he contemplates whether or not to confess, he sees Marmeladov, who has been struck mortally by a carriage. He rushes to help and succeeds in conveying the stricken man back to his family's apartment. Calling out for Sonya to forgive him, Marmeladov dies in his daughter's arms. Raskolnikov gives his last twenty five roubles (from money sent to him by his mother) to Marmeladov's consumptive widow, Katerina Ivanovna, saying it is the repayment of a debt to his friend.

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and idealistic egoism that has become perverted into a contemptuous disdain for the submissive herd". Raskolnikov's inner conflict in the opening section of the novel results in a utilitarian-altruistic justification for the proposed crime: why not kill a wretched and "useless" old moneylender to alleviate the human misery? Dostoevsky wants to show that this utilitarian style of reasoning had become widespread and commonplace; it was by no means the solitary invention of Raskolnikov's tormented and disordered mind. Such radical and utilitarian ideas act to reinforce the innate egoism of Raskolnikov's character, and help justify his contempt for humanity's lower qualities and ideals. He even becomes fascinated with the majestic image of a Napoleonic personality who, in the interests of a higher social good, believes that he possesses a moral right to kill. Indeed, his "Napoleon-like" plan impels him toward a well-calculated murder, the ultimate conclusion of his self-deception with utilitarianism.

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he is still mentally distracted and merely forcing himself to endure the meeting. He demands that Dunya break with Luzhin, but Dunya fiercely defends her motives for the marriage. Mrs Raskolnikova has received a note from Luzhin demanding that her son not be present at any future meetings between them. He also informs her that he witnessed her son give the 25 rubles to "an unmarried woman of immoral behavior" (Sonya). Dunya has decided that a meeting, at which both Luzhin and her brother are present, must take place, and Raskolnikov agrees to attend that evening along with Razumikhin. To Raskolnikov's surprise, Sonya suddenly appears at his door. Timidly, she explains that he left his address with them last night, and that she has come to invite him to attend her father's funeral. As she leaves, Raskolnikov asks for her address and tells her that he will visit her soon.

821:, with his new anti-radical ideological themes. The main plot involves a murder as the result of "ideological intoxication," and depicts all the disastrous moral and psychological consequences that result from the murder. Raskolnikov's psychology is placed at the center, and carefully interwoven with the ideas behind his transgression; every other feature of the novel illuminates the agonizing dilemma in which Raskolnikov is caught. From another point of view, the novel's plot is another variation of a conventional nineteenth-century theme: an innocent young provincial comes to seek his fortune in the capital, where he succumbs to corruption, and loses all traces of his former freshness and purity. However, as Gary Rosenshield points out, "Raskolnikov succumbs not to the temptations of high society as 513:

approaches Svidrigailov and demands to know what he meant in his letter about her brother's "secret". She reluctantly accompanies him to his rooms, where he reveals what he overheard and attempts to use it to make her yield to his desire. Dunya, however, has a gun and she fires at him, narrowly missing: Svidrigailov gently encourages her to reload and try again. Eventually she throws the gun aside, but Svidrigailov, crushed by her hatred for him, tells her to leave. Later that evening he goes to Sonya to discuss the arrangements for Katerina Ivanovna's children. He gives her 3000 rubles, telling her she will need it if she wishes to follow Raskolnikov to Siberia. He spends the night in a miserable hotel and the following morning commits suicide in a public place.

892:(Arkady Ivanovich) – Sensual, depraved, and wealthy former employer and former pursuer of Dunya. He overhears Raskolnikov's confessions to Sonya and uses this knowledge to torment both Dunya and Raskolnikov, but does not inform the police. Despite his apparent malevolence, Svidrigaïlov seems to be capable of generosity and compassion. When Dunya tells him she could never love him (after attempting to shoot him) he lets her go. He tells Sonya that he has made financial arrangements for the Marmeladov children to enter an orphanage, and gives her three thousand rubles, enabling her to follow Raskolnikov to Siberia. Having left the rest of his money to his juvenile fiancée, he commits suicide. 1249:

believes that the moral "freedom" propounded by Raskolnikov is a dreadful freedom "that is contained by no values, because it is before values". In seeking to affirm this "freedom" in himself, Raskolnikov is in perpetual revolt against society, himself, and God. He thinks that he is self-sufficient and self-contained, but at the end "his boundless self-confidence must disappear in the face of what is greater than himself, and his self-fabricated justification must humble itself before the higher justice of God". Dostoevsky calls for the regeneration and renewal of "sick" Russian society through the re-discovery of its national identity, its religion, and its roots.

864:(Sofya Semyonovna Marmeladova), is the daughter of a drunkard named Semyon Zakharovich Marmeladov, whom Raskolnikov meets in a tavern at the beginning of the novel. She is often characterized as self-sacrificial, shy, and innocent, despite being forced into prostitution to help her family. Raskolnikov discerns in her the same feelings of shame and alienation that he experiences, and she becomes the first person to whom he confesses his crime. Sensing his deep unhappiness, she supports him, even though she was friends with one of the victims (Lizaveta). Throughout the novel, Sonya is an important source of moral strength and rehabilitation for Raskolnikov. 487:

office, but at that moment there is a commotion outside the door and a young man (Mikolka the painter) bursts in, followed by some policemen. To both Porfiry and Raskolnikov's astonishment, Mikolka proceeds to loudly confess to the murders. Porfiry doesn't believe the confession, but he is forced to let Raskolnikov go. Back at his room Raskolnikov is horrified when the old artisan suddenly appears at his door. But the man bows and asks for forgiveness: he had been Porfiry's "little surprise", and had heard Mikolka confess. He had been one of those present when Raskolnikov returned to the scene of the murders, and had reported his behavior to Porfiry.

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politely requests a brief chat. He sincerely apologises for his previous behavior and seeks to explain the reasons behind it. Strangely, Raskolnikov begins to feel alarmed at the thought that Porfiry might think he is innocent. But Porfiry's changed attitude is motivated by genuine respect for Raskolnikov, not by any thought of his innocence, and he concludes by expressing his absolute certainty that Raskolnikov is indeed the murderer. He claims that he will be arresting him soon, but urges him to confess to make it easier on himself. Raskolnikov chooses to continue the struggle.

854:, and the novel focuses primarily on his perspective. A 23-year-old former student, now destitute, Raskolnikov is described in the novel as "exceptionally handsome, taller than average in height, slim, well built, with beautiful dark eyes and dark brown hair." On the one hand, he is cold, apathetic, and antisocial; on the other, he can be surprisingly warm and compassionate. He commits murder as well as acts of impulsive charity. His chaotic interaction with the external world and his nihilistic worldview might be seen as causes of his social alienation or consequences of it. 874:, "sense", "intelligence"). He jokes that his name is actually 'Vrazumíkhin' – a name suggesting "to bring someone to their senses". He is upright, strong, resourceful and intelligent, but also somewhat naïve – qualities that are of great importance to Raskolnikov in his desperate situation. He admires Raskolnikov's intelligence and character, refuses to give any credence to others' suspicions, and supports him at all times. He looks after Raskolnikov's family when they come to Petersburg, falling in love with and later marrying Dunya. 434:

talking about the murder, Raskolnikov faints. He quickly recovers, but he can see from their faces that he has aroused suspicion. Fearing a search, he hides the stolen items under a large rock in an empty yard, noticing in humiliation that he hasn't even checked how much money is in the purse. Without knowing why, he visits his old university friend Razumikhin, who observes that Raskolnikov seems to be seriously ill. Finally he returns to his room where he succumbs to his illness and falls into a prolonged delirium.

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conversation. He expresses extreme curiosity about an article that Raskolnikov wrote some months ago called 'On Crime', in which he suggests that certain rare individuals—the benefactors and geniuses of mankind—have a right to 'step across' legal or moral boundaries if those boundaries are an obstruction to the success of their idea. Raskolnikov defends himself skillfully, but he is alarmed and angered by Porfiry's insinuating tone. An appointment is made for an interview the following morning at the police bureau.

985: – Raskolnikov's landlady (called Pashenka). Shy and retiring, Praskovya Pavlovna does not figure prominently in the course of events. Raskolnikov had been engaged to her daughter, a sickly girl who had died, and Praskovya Pavlovna had granted him extensive credit on the basis of this engagement and a promissory note for 115 roubles. She had then handed this note to a court councillor named Chebarov, who had claimed the note, causing Raskolnikov to be summoned to the police station the day after his crime. 880:(Avdotya Romanovna Raskolnikova) – Raskolnikov's beautiful and strong-willed sister who works as a governess. She initially plans to marry the wealthy but unsavory lawyer Luzhin, thinking it will enable her to ease her family's desperate financial situation and escape her former employer Svidrigailov. Her situation is a factor in Raskolnikov's decision to commit the murder. In St. Petersburg, she is eventually able to escape the clutches of both Luzhin and Svidrigailov, and later marries Razumikhin. 483:

by her faith in God. She reveals that she was a friend of the murdered Lizaveta. In fact, Lizaveta gave her a cross and a copy of the Gospels. She passionately reads to him the story of the raising of Lazarus from the Gospel of John. His fascination with her, which had begun at the time when her father spoke of her, increases and he decides that they must face the future together. As he leaves he tells her that he will come back tomorrow and tell her who killed her friend Lizaveta.

886:(Pyotr Petrovich) – A well-off lawyer who is engaged to Dunya in the beginning of the novel. His motives for the marriage are dubious, as he more or less states that he has sought a woman who will be completely beholden to him. He slanders and falsely accuses Sonya of theft in an attempt to harm Raskolnikov's relations with his family. Luzhin represents immorality, in contrast to Svidrigaïlov's amorality, and Raskolnikov's misguided morality. 479:

attention to the slander in his letter, Luzhin becomes reckless, exposing his true character. Dunya tells him to leave and never come back. Now free and with significant capital, they excitedly begin to discuss plans for the future, but Raskolnikov suddenly gets up and leaves, telling them, to their great consternation, that it might be the last time he sees them. He instructs the baffled Razumikhin to remain and always care for them.

898: – The head of the Investigation Department in charge of solving the murders of Lizaveta and Alyona Ivanovna, who, along with Sonya, moves Raskolnikov towards confession. Unlike Sonya, however, Porfiry does this through psychological means, seeking to confuse and provoke the volatile Raskolnikov into a voluntary or involuntary confession. He later drops these methods and sincerely urges Raskolnikov to confess for his own good. 3424: 1225:

ethic proposed that thought and will in Man were subject to the laws of physical science. Dostoevsky believed that such ideas limited man to a product of physics, chemistry and biology, negating spontaneous emotional responses. In its latest variety, Russian nihilism encouraged the creation of an élite of superior individuals to whom the hopes of the future were to be entrusted.

1043:" is "one who splits" or "dissenter"; the verb raskalyvat' means "to cleave", "to chop","to crack","to split" or "to break". The former translations clarify the literal meaning of the word. The figurative meaning of the word is "to bring to light", "to make to confess or acknowledge the truth", etc. The word Raskol is meant to evoke the ideas of the splitting of the 1245:

taverns, the noise and stench, all are transformed by Dostoevsky into a rich store of metaphors for states of mind. Donald Fanger asserts that "the real city ... rendered with a striking concreteness, is also a city of the mind in the way that its atmosphere answers Raskolnikov's state and almost symbolizes it. It is crowded, stifling, and parched."

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committed in order to remove obstacles to the higher goals of 'extraordinary' men. Once the deed is done, however, he finds himself wracked with confusion, paranoia, and disgust. His theoretical justifications lose all their power as he struggles with guilt and horror and is confronted with both internal and external consequences of his deed.

916: – Hopeless drunk who Raskolnikov meets while still considering the murder scheme. Raskolnikov is deeply moved by his passionate, almost ecstatic confession of how his abject alcoholism led to the devastation of his life, the destitution of his wife and children, and ultimately to his daughter Sonya being forced into prostitution. 352:

form of a diary. The Wiesbaden edition concentrates entirely on the moral and psychological reactions of the narrator after the murder. It coincides roughly with the story that Dostoevsky described in his letter to Katkov and, written in the form of a diary or journal, corresponds to what eventually became part 2 of the finished work.

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with the idea that he possesses enough intellectual and emotional fortitude to deal with the ramifications, but his sense of guilt soon overwhelms him to the point of psychological and somatic illness. It is only in the epilogue that he realizes his formal punishment, having decided to confess and end his alienation from society.

991: – Svidrigaïlov's deceased wife, whom he is suspected of having murdered, and who he claims has visited him as a ghost. In Pulkheria Alexandrovna's letter to her son, Marfa Petrovna is said to have vigorously defended Dunya against Svidrigailov, and introduced her to Luzhin. She leaves Dunya 3000 rubles in her will. 2627:

able to perceive them. Thoughts are treated as unwanted things, fit only for expulsion. Such pathological projective identification results in violent fragmentation and the disintegration of the personality; the evacuated particles are experienced as having an independent life threatening him from outside." From

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ridiculed the notion that Raskolnikov's ideas could be identified with those of the radicals of the time. The radicals' aims were altruistic and humanitarian, but they were to be achieved by relying on reason and suppressing the spontaneous outflow of Christian compassion. Chernyshevsky's utilitarian

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Due to the fullness of his confession at a time when another man had already confessed, Raskolnikov is sentenced to only eight years of penal servitude. Dunya and Razumikhin marry and plan to move to Siberia, but Raskolnikov's mother falls ill and dies. Sonya follows Raskolnikov to Siberia, but he is

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Razumikhin tells Raskolnikov that Dunya has become troubled and distant after receiving a letter from someone. He also mentions, to Raskolnikov's astonishment, that Porfiry no longer suspects him of the murders. As Raskolnikov is about to set off in search of Svidrigailov, Porfiry himself appears and

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This compositional balance is achieved by means of the symmetrical distribution of certain key episodes throughout the novel's six parts. The recurrence of these episodes in the two halves of the novel, as David Bethea has argued, is organized according to a mirror-like principle, whereby the "left"

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When Raskolnikov presents himself for his interview, Porfiry resumes and intensifies his insinuating, provocative, ironic chatter, without ever making a direct accusation. With Raskolnikov's anger reaching fever pitch, Porfiry hints that he has a "little surprise" for him behind the partition in his

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Razumikhin tends to Raskolnikov, and manages to convince the distressed mother and sister to return to their apartment. He goes with them, despite being drunk and rather overwhelmed by Dunya's beauty. When they return the next morning Raskolnikov has improved physically, but it becomes apparent that

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Feeling renewed, Raskolnikov calls on Razumikhin, and they go back together to Raskolnikov's building. Upon entering his room Raskolnikov is deeply shocked to see his mother and sister sitting on the sofa. They have just arrived in Petersburg and are ecstatic to see him, but Raskolnikov is unable to

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debates with Katkov in the early 1860s, had never published anything in its pages before. In a letter to Katkov written in September 1865, Dostoevsky explained to him that the work was to be about a young man who yields to "certain strange, 'unfinished' ideas, yet floating in the air". He planned to

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In "Raskolnikov's transgression and the confusion between destructiveness and creativity" Richard Rosenthal discusses Raskolnikov's crime in terms of the projection of intrapsychic violence: "Raskolnikov believes that frustration and pain can be evaded by attacking that part of the mental apparatus

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In his depiction of Petersburg, Dostoevsky accentuates the squalor and human wretchedness that pass before Raskolnikov's eyes. He uses Raskolnikov's encounter with Marmeladov to contrast the heartlessness of Raskolnikov's convictions with a Christian approach to poverty and wretchedness. Dostoevsky

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Raskolnikov exemplifies the potentially disastrous hazards contained in such an ideal. Contemporary scholar Joseph Frank writes that "the moral-psychological traits of his character incorporate this antinomy between instinctive kindness, sympathy, and pity on the one hand and, on the other, a proud

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Back at her room, Raskolnikov draws Sonya's attention to the ease with which Luzhin could have ruined her, and consequently the children as well. But it is only a prelude to his confession that he is the murderer of the old woman and Lizaveta. Painfully, he tries to explain his abstract motives for

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Raskolnikov proceeds to Sonya's place. She is gratified that he is visiting her, but also frightened of his strange manner. He asks a series of merciless questions about her terrible situation and that of Katerina Ivanovna and the children. Raskolnikov begins to realize that Sonya is sustained only

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Svidrigailov indulges in an amiable but disjointed monologue, punctuated by Raskolnikov's terse interjections. He claims to no longer have any romantic interest in Dunya, but wants to stop her from marrying Luzhin, and offers her ten thousand roubles. Raskolnikov refuses the money on her behalf and

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In a state of extreme nervous tension, Raskolnikov steals an axe and makes his way once more to the old woman's apartment. He gains access by pretending he has something to pawn, and then attacks her with the axe, killing her. He also kills her half-sister, Lizaveta, who happens to stumble upon the

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Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, "one possibility is that his protagonist began to develop beyond the boundaries in which he had first been conceived". The notebooks indicate that Dostoevsky became aware of the emergence of new

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Dostoevsky uses different speech mannerisms and sentences of different length for different characters. Those who use artificial language—Luzhin, for example—are identified as unattractive people. Mrs. Marmeladov's disintegrating mind is reflected in her language. In the original Russian text, the

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Despite its title, the novel does not so much deal with the crime and its formal punishment as with Raskolnikov's internal struggle – the torments of his own conscience, rather than the legal consequences of committing the crime. Believing society would be better for it, Raskolnikov commits murder

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I wrote with genuine inspiration, but perhaps it is no good; but for them the question is not its literary worth, they are worried about its morality. Here I was in the right—nothing was against morality, and even quite the contrary, but they saw otherwise and, what's more, saw traces of nihilism

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in a sequence roughly corresponding to the various stages of composition. As a result, there exists a fragmentary working draft of the novella, as initially conceived, as well as two other versions of the text. These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the

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Raskolnikov finds Svidrigailov at an inn and warns him against approaching Dunya. Svidrigailov, who has in fact arranged to meet Dunya, threatens to go to the police, but Raskolnikov is unconcerned and follows when he leaves. When Raskolnikov finally turns home, Dunya, who has been watching them,

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The meeting with Luzhin that evening begins with talk of Svidrigailov—his depraved character, his presence in Petersburg, the unexpected death of his wife and the 3000 rubles left to Dunya. Luzhin takes offence when Dunya insists on resolving the issue with her brother, and when Raskolnikov draws

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Leaving Razumikhin with his mother and sister, Raskolnikov returns to his own building. He is surprised to find an old artisan, whom he doesn't know, making inquiries about him. Raskolnikov tries to find out what he wants, but the artisan says only one word – "murderer", and walks off. Petrified,

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In a feverish and semi-delirious state Raskolnikov conceals the stolen items and falls asleep exhausted. He is greatly alarmed the next morning when he gets summoned to the police station, but it turns out to be in relation to a debt notice from his landlady. When the officers at the bureau begin

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Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny rented room in Saint Petersburg. Isolated and antisocial, he has abandoned all attempts to support himself and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawnbroker. On the

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perspectives. Dostoevsky initially considered four first-person plans: a memoir written by Raskolnikov, his confession recorded eight days after the murder, his diary begun five days after the murder, and a mixed form in which the first half was in the form of a memoir, and the second half in the

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omniscient perspective. It is told primarily from the point of view of Raskolnikov, but does at times switch to the perspective of other characters such as Svidrigaïlov, Razumikhin, Luzhin, Sonya or Dunya. This narrative technique, which fuses the narrator very closely with the consciousness and

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The seventh part of the novel, the Epilogue, has attracted much attention and controversy. Some of Dostoevsky's critics have criticized the novel's final pages as superfluous, anticlimactic, unworthy of the rest of the work, while others have defended it, offering various schemes that they claim

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Raskolnikov returns to his room and falls into thought and then sleeps. He wakens from an eerie nightmare about the murder of the old woman to find another complete stranger present, this time a man of aristocratic appearance. The man politely introduces himself as Arkady Ivanovich Svidrigailov.

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called Mikolka, who was working in a neighbouring flat at the time, has been detained, and the old woman's clients are being interviewed. They are interrupted by the arrival of Luzhin, Dunya's fiancé, who wishes to introduce himself, but Raskolnikov deliberately insults him and kicks him out. He

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shared Solovyov and the symbolists' sense of the novel's spiritual significance, seeing it as an illustration of the modern age's hubristic self-deification, or what he calls "the suicide of man by self-affirmation". Raskolnikov answers his question of whether he has the right to kill solely by

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Dostoevsky's Petersburg is the city of unrelieved poverty; "magnificence has no place in it, because magnificence is external, formal abstract, cold". Dostoevsky connects the city's problems to Raskolnikov's thoughts and subsequent actions. The crowded streets and squares, the shabby houses and

1412:(moist mother earth). Raskolnikov is a "son of Earth" whose egoistic aspirations lead him to ideas and actions that alienate him from the very source of his strength, and he must bow down to her before she can relieve him of the terrible burden of his guilt. Philosopher and Orthodox theologian 926:

and ill-tempered second wife, stepmother to Sonya. She drives Sonya into prostitution in a fit of rage, but later regrets it. She beats her children, but works ferociously to improve their standard of living. She is obsessed with demonstrating that slum life is far below her station. Following

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The novel soon attracted the criticism of the liberal and radical critics. G.Z. Yeliseyev sprang to the defense of the Russian student corporations, and wondered, "Has there ever been a case of a student committing murder for the sake of robbery?" Pisarev, aware of the novel's artistic value,

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Raskolnikov says a painful goodbye to his mother, without telling her the truth. Dunya is waiting for him at his room, and he tells her that he will be going to the police to confess to the murders. He stops at Sonya's place on the way and she gives him a crucifix. At the bureau, he learns of

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came into being only when, in November 1865, Dostoevsky decided to recast his novel in the third person. This shift was the culmination of a long struggle, present through all the early stages of composition. Once having decided, Dostoevsky began to rewrite from scratch and was able to easily

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who plans to kill an unscrupulous pawnbroker, an old woman who stores money and valuable objects in her flat. He theorises that with the money he could liberate himself from poverty and go on to perform great deeds, and seeks to convince himself that certain crimes are justifiable if they are

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Parts I–III present the predominantly rational and proud Raskolnikov: Parts IV–VI, the emerging "irrational" and humble Raskolnikov. The first half of the novel shows the progressive death of the first ruling principle of his character; the last half, the progressive birth of the new ruling

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Raskolnikov attends the Marmeladovs' post-funeral banquet at Katerina Ivanovna's apartment. The atmosphere deteriorates as guests become drunk and the half-mad Katerina Ivanovna engages in a verbal attack on her German landlady. With chaos descending, everyone is surprised by the sudden and

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At Raskolnikov's behest, Razumikhin takes him to see the detective Porfiry Petrovich, who is investigating the murders. Raskolnikov immediately senses that Porfiry knows that he is the murderer. Porfiry, who has just been discussing the case with Zamyotov, adopts an ironic tone during the

1343:, but in translation the subtlety of the Russian language is predominantly lost due to differences in language structure and culture. For example, the original Russian title ("Преступление и наказание") is not the direct equivalent to the English "Crime and Punishment". "Преступление" ( 3427: 1400:, but a tendency toward mysticism among the new generation of symbolists in the 1900s led to a reevaluation of the novel as an address to the dialectic of spirit and matter. In the character of Sonya (Sofya Semyonovna) they saw an embodiment of both the Orthodox feminine principle of 910: – Raskolnikov's naïve, hopeful and loving mother. Following Raskolnikov's sentence, she falls ill (mentally and physically) and eventually dies. She hints in her dying stages that she is slightly more aware of her son's fate, which was hidden from her by Dunya and Razumikhin. 437:

When he emerges several days later he finds that Razumikhin has tracked him down and has been nursing him. Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor about the status of the police investigation into the murders: a

526:

initially hostile towards her as he is still struggling to acknowledge moral culpability for his crime, feeling himself to be guilty only of weakness. It is only after some time in prison that his redemption and moral regeneration begin under Sonya's loving influence.

315:

explore the moral and psychological dangers of the ideology of "radicalism", and felt that the project would appeal to the conservative Katkov. In letters written in November 1865 an important conceptual change occurred: the "story" had become a "novel". From then on,

1295:"is formally two distinct but closely related, things, namely a particular type of tragedy in the classical Greek mold and a Christian resurrection tale". Cassedy concludes that "the logical demands of the tragic model as such are satisfied without the Epilogue in 1177:

Dostoevsky's letter to Katkov reveals his immediate inspiration, to which he remained faithful even after his original plan evolved into a much more ambitious creation: a desire to counteract what he regarded as nefarious consequences arising from the doctrines of

1331:. A late nineteenth-century reader was, however, accustomed to more orderly and linear types of expository narration. This led to the persistence of the legend that Dostoevsky was an untidy and negligent craftsman, and to observations like the following by 973: – A police official and Nikodim Fomich's assistant, nicknamed "Gunpowder" for his very bad temper. He is the first to have suspicions about Raskolnikov in relation to the murder, and Raskolnikov ultimately makes his official confession to Gunpowder. 425:

scene of the crime. Shaken by his actions, he steals only a handful of items and a small purse, leaving much of the pawnbroker's wealth untouched. Due to sheer good fortune, he manages to escape the building and return to his room undetected.

1417:

reference to his own arbitrary will, but, according to Berdyaev, these are questions that can only be answered by God, and "he who does not bow before that higher will destroys his neighbor and destroys himself: that is the meaning of

291:

At the time Dostoevsky owed large sums of money to creditors and was trying to help the family of his brother Mikhail, who had died in early 1864. After appeals elsewhere failed, Dostoevsky turned as a last resort to the publisher

517:

Svidrigailov's suicide, and almost changes his mind, even leaving the building. However, he sees Sonya (who has followed him) looking at him in despair, and he returns to make a full and frank confession to the murders.

1315:

point of view of the central characters, was original for its period. Frank notes that Dostoevsky's use of time shifts of memory and manipulation of temporal sequence begins to approach the later experiments of

3383: 2372:, p. xxx: "It is the persistent tracing of this theme of a 'Russian sickness' of spiritual origin and its cure throughout the book that justify the author's characterization of it as an 'Orthodox novel'." 1756: 1335:: "A word ... one does not even notice, a small fact that takes up only a line, have their reverberations fifty pages later ... the continuity becomes unintelligible if one skips a couple of pages". 475:

refuses to facilitate a meeting. Svidrigailov also mentions that his wife, who defended Dunya at the time of the unpleasantness but died shortly afterwards, has left her 3000 rubles in her will.

1648: 1347:) is literally translated as 'a stepping across'. The physical image of crime as crossing over a barrier or a boundary is lost in translation, as is the religious implication of transgression. 324:

At the end of November much had been written and was ready; I burned it all; I can confess that now. I didn't like it myself. A new form, a new plan excited me, and I started all over again.

1568:

The Garnett translation was the dominant translation for more than 80 years after its publication in 1914. Since the 1990s, McDuff and Pevear/Volokhonsky have become its major competitors.

949: – Alyona's handicapped, innocent and submissive sister. Raskolnikov murders her when she walks in immediately after Raskolnikov had killed Alyona. Lizaveta was a friend of Sonya. 358:... I took it back, and this revision of a large chapter cost me at least three new chapters of work, judging by the effort and the weariness; but I corrected it and gave it back. 256:

in twelve monthly installments during 1866. It was later published in a single volume. It is the second of Dostoevsky's full-length novels following his return from ten years of

870:(Dmitry Prokofyich) is Raskolnikov's loyal friend and also a former law student. The character is intended to represent something of a reconciliation between faith and reason ( 2724: 4209: 1406:(holy wisdom) – "at once sexual and innocent, redemptive both in her suffering and her veneration of suffering", and the most important feminine deity of Russian folklore 296:

and sought an advance on a proposed contribution. He offered his story or novella (at the time he was not thinking of a novel) for publication in Katkov's monthly journal

943: – Suspicious old pawnbroker who hoards money and is merciless to her patrons. She is Raskolnikov's intended target, and he kills her in the beginning of the book. 1299:... At the same time, this tragedy contains a Christian component, and the logical demands of this element are met only by the resurrection promised in the Epilogue". 955: – A friend of Razumikhin and a doctor with a particular interest in 'psychological' illnesses. He ministers to Raskolnikov during his delirium and its aftermath. 1241:

as the first great Russian novel "in which the climactic moments of the action are played out in dirty taverns, on the street, in the sordid back rooms of the poor".

4219: 1858: 3464: 1455:

held Dostoevsky's work in high esteem, and many of his followers have attempted psychoanalytical interpretations of Raskolnikov. Among the existentialists,

937:

roommate who witnesses his attempt to frame Sonya and subsequently exposes him. He is proven right by Raskolnikov, the only one knowing of Luzhin's motives.

2196:

did nothing but continue the polemic, incarnating the tragedy of nihilism in Raskolnikov and caricaturing it in Lebezyatnikov and, partially, in Luzhin" (

1474:

Russia: interpretations of Raskolnikov tended to align with Pisarev's idea of reaction to unjust socio-economic conditions. An exception was the work of

1001:– A house painter who happens to be nearby at the time of the murder and is initially suspected of the crime. Driven by memories of the teachings of his 374:

integrate sections of the early manuscript into the final text. Frank says that he did not, as he told Wrangel, burn everything he had written earlier.

3937: 369:

aspects of Raskolnikov's character as the plot developed, and he structured the novel in conformity with this "metamorphosis". The final version of

1220:. The radicals refused to recognize themselves in the novel's pages, since Dostoevsky pursued nihilistic ideas to their most extreme consequences. 4214: 3494: 2714: 1011: – Ten-year-old adopted daughter of Semyon Zakharovich Marmeladov and younger stepsister to Sonya, sometimes known as Polechka and Polya. 2983: 1237:

Dostoevsky was among the first to recognize the symbolic possibilities of city life and imagery drawn from the city. I. F. I. Evnin regards

4144: 3986: 961: – Raskolnikov's landlady's cheerful and talkative servant who is very caring towards Raskolnikov and often brings him food and drink. 1273:, who has argued that Dostoevsky was a skilled craftsman, highly conscious of the formal pattern in his art, has likened the structure of 3733: 2922: 1396:

movement that dominated Russian letters in the 1880s was concerned more with aesthetics than the visceral realism and intellectuality of

4229: 4224: 4199: 3300: 2835: 3763: 3690: 3559: 1605: 3639: 3534: 1719: 1577: 2782:

Bourgeois, Patrick Lyall (1996). "Dostoevsky and Existentialism: An Experiment in Hermeunetics". In Mc Bride, William Leon (ed.).

4204: 3567: 556: 3758: 3258: 2783: 1543: 1146:(perhaps) named after the Neoplatonic philosopher or after the Russian "порфира" ("porphyra") meaning "purple, purple mantle" 4184: 3647: 3397: 3310: 2013: 20: 4179: 3023: 1735: 1480: 3340: 3008: 2881: 2812: 1005:

sect, which holds it to be supremely virtuous to suffer for another person's crime, he falsely confesses to the murders.

4025: 3487: 927:

Marmeladov's death, she uses the money Raskolnikov gives her to hold a funeral. She eventually succumbs to her illness.

264:

is considered the first great novel of his mature period of writing and is often cited as one of the greatest works of

3092: 3674: 3329: 3289: 3268: 3200: 3154: 3133: 3106: 3081: 3058: 3033: 2993: 2966: 2936: 2908: 2849: 2797: 2772: 2698: 545: 3186: 3631: 3623: 3607: 3599: 3591: 3575: 3543: 3144: 1849: 1712: 1669: 1625: 3726: 3165: 2349: 257: 4194: 4122: 3951: 3753: 1190:, the main ideas of which inspired the radicals, continuing a fierce criticism he had already started with his 206: 1765:, a 2007 television serial directed by Dmitry Svetozarov, starring Vladimir Koshevoy as Raskolnikov. Aired on 4189: 4169: 4007: 3820: 3788: 3480: 846: 818: 535: 1131:

a Lithuanian duke of the fifteenth century (the name given to a character rather by sound, than by meaning)

4174: 3804: 3682: 3472: 1511: 399:

who later became Dostoevsky's wife, was of great help to him during this difficult task. The first part of

143: 1478:, considered by many commentators to be the most original and insightful analyst of Dostoevsky's work. In 3972: 3698: 2841: 3068:

Lindenmeyr, Adele (2006). "Raskolnikov's City and the Napoleonic Plan". In Peace, Richard Arthur (ed.).

3958: 3796: 3719: 3320:

Wasiolek, Edward (2006). "Raskolnikov's City and the Napoleonic Plan". In Peace, Richard Arthur (ed.).

2958: 1872: 1427:

was regarded as an important work in a number of 20th-century European cultural movements, notably the

3860: 2928: 4135: 3452: 3812: 3228:

Rosenshield, Gary (Winter 1973). "First- Versus Third-Person Narration in Crime and Punishment".

3192: 3073: 2900: 2503: 1044: 223: 190: 2400:"On the Structure of Crime and Punishment", in: PMLA, March 1959, vol. LXXIV, No. 1, pp. 132–33. 3911: 3895: 3876: 2921:(1994). "The Making of Crime and Punishment". In Polhemus, Robert M.; Henkle, Roger B. (eds.). 1811: 1332: 1311: 1192: 1140: 348: 344: 343:

final plan, involving the shift from a first-person narrator to Dostoevsky's innovative use of

4234: 3279: 3125: 3117: 2979: 2946: 2918: 1616: 1213: 298: 252: 101: 4116: 3366: 2499: 2008:. By Dostoyevsky, Fyodor. Translated by Constance Garnett. Wordsworth Editions. p. x. 1786: 1444: 8: 4092: 4050: 4032: 3852: 3836: 2789: 2238: 383: 3371: 2747: 822: 4098: 4070: 3615: 3551: 3524: 3345:. Vol. 1. International Dostoevsky Society - University of Toronto. Archived from 3245: 3013:. Vol. 3. International Dostoevsky Society - University of Toronto. Archived from 2895:

Fanger, Donald (2006). "Apogee: Crime and Punishment". In Peace, Richard Arthur (ed.).

2719: 1766: 1701: 1694: 1591: 275: 3339:

Wellek, René (1980). "Bakhtin's view of Dostoevsky: 'Polyphony' and 'Carnivalesque'".

2861: 4127: 4110: 4086: 4055: 4000: 3993: 3742: 3503: 3416: 3325: 3306: 3285: 3264: 3196: 3150: 3129: 3102: 3077: 3054: 3029: 2989: 2962: 2951: 2932: 2904: 2845: 2793: 2768: 2694: 2009: 1635: 1520:

Revised by George Gibian (Norton Critical Edition, 3 editions – 1964, 1975, and 1989)

1499: 1493: 1470:

with both religious mysticism and psychoanalysis led to suppression of discussion in

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Davydov, Sergei (1982). "Dostoevsky and Nabokov: The Morality of Structure in

2818: 1125: 4163: 3965: 3446: 1750: 1684: 1452: 1373: 1320: 1002: 392: 303: 3502: 1716:(2000), an adaptation set in modern America and "loosely based" on the novel 1705: 1663: 1631: 1620: 1600: 1549: 1537: 1471: 1460: 1201: 923: 834: 396: 335: 41: 35: 19:

This article is about the novel by Fyodor Dostoevsky. For other uses, see

1612: 1402: 1328: 1316: 1212:

utilitarianism, which had developed under revolutionary thinkers such as

1187: 851: 566: 307: 135: 3216:

Lindenmeyr, Adele. "Raskolnikov's City and the Napoleonic Plan", 37–49.

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has been commented upon, with the suggestion that there is a degree of

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Wasiolek, Edward. "Raskolnikov's City and the Napoleonic Plan", 51–74.

329:— Dostoevsky's letter to his friend Alexander Wrangel in February 1866 3844: 3780: 3376: 3050: 1746: 1659: 1363:

met with public success. In his memoirs, the conservative belletrist

1282:

principle. The point of change comes in the very middle of the novel.

826: 3711: 3411: 3433: 3241: 1688: 1266: 1258: 830: 3438: 3003:

Gill, Richard (1982). "The Bridges of St. Petersburg: a Motive in

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prove its inevitability and necessity. Steven Cassedy argues that

979: – Head clerk at the police station and friend to Razumikhin. 334:

In the complete edition of Dostoevsky's writings published in the

3022:

Hardy, James D. Jr.; Stanton, Leonard J. (1999). "Introduction".

311: 1829: 1687:

in the lead role. The story has been transplanted to modern-day

1196:. Dostoevsky utilized the characters, dialogue and narrative in 302:—a prestigious publication of its kind, and the outlet for both 3010:

Dostoevsky Centenary Conference at the University of Nottingham

2886:. Vol. 3. International Dostoevsky Society. Archived from 2883:

Dostoevsky Centenary Conference at the University of Nottingham

2817:. Vol. 3. International Dostoevsky Society. Archived from 2814:

Dostoevsky Centenary Conference at the University of Nottingham

2807:

Cassedy, Steven (1982). "The Formal Problem of the Epilogue in

2767:. Translated by Emerson, Caryl. University of Minnesota Press. 2412:, for instance, regards the Epilogue as a blemish on the book ( 1408: 1033: 977:

Alexander Grigorievich Zamyotov (Александр Григорьевич Заметов)

2924:

Critical Reconstructions: The Relationship of Fiction and Life

1787:

University of Minnesota – Study notes for Crime and Punishment

1371:

was the literary sensation of 1866 in Russia. Tolstoy's novel

1009:

Polina Mikhailovna Marmeladova (Полина Михайловна Мармеладова)

3979: 3447:

Lit2Go audiobook version of the Constance Garnett translation

3281:

The Wild East: Crime and Lawlessness in Post-communist Russia

3260:

Crime and Punishment: The Techniques of the Omniscient Author

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ideas. He thus attacked a peculiar Russian blend of French

1172: 1983: 1182:. In the novel, Dostoevsky pinpointed the dangers of both 817:, Dostoevsky fuses the personality of his main character, 155: 3299:

Simmons, Ernest J. (2007). "In the Author's Laboratory".

2693:(1st ed.). Princeton University Press. p. 152. 1742: 1655: 2517: 2307: 1463:

in particular have acknowledged Dostoevsky's influence.

2670: 1873:"100 must-read classic books, as chosen by our readers" 1654:

is a three-part 1979 television serial produced by the

381:

on time, as he was simultaneously contracted to finish

3213:

Fanger, Donald. "Apogee: Crime and Punishment", 17–35.

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Structure and Theme – Don Quixote to James Joyce

338:, the editors reassembled the writer's notebooks for 228: 3322:

Fyodor Dostoevsky's Crime and Punishment: A Casebook

3188:

Fyodor Dostoevsky's Crime and Punishment: A Casebook

3070:

Fyodor Dostoevsky's Crime and Punishment: A Casebook

2897:

Fyodor Dostoevsky's Crime and Punishment: A Casebook

2658: 2634: 2631:(ed. James Grotstein) (1981). Caesura Press. p. 200. 2319: 2295: 2252: 2174: 2062: 2050: 2038: 1955: 1931: 1780: 4210:

Works originally published in The Russian Messenger

2581: 2542: 2134: 1883: 407:, and the last one was published in December 1866. 2950: 2860: 2162: 1848: 1792: 1339:names of the major characters have something of a 2811:: The Logic of Tragic and Christian Structures". 2646: 2608: 2554: 2384: 2382: 2237:Pisarev had sketched the outlines of a new proto- 274:follows the mental anguish and moral dilemmas of 250:. It was first published in the literary journal 4161: 2985:Dostoevsky: The Mantle of the Prophet, 1871–1881 2535:Solovyov commemorative speech (1881), quoted in 2269: 2267: 1359:published in the January and February issues of 2394: 1451:are some of those who have discussed the work. 3938:Another Man's Wife and a Husband Under the Bed 2379: 391:, who had imposed extremely harsh conditions. 377:Dostoevsky was under great pressure to finish 4220:Novels set in the 19th-century Russian Empire 3727: 3488: 3222:Peace, Richard. "Motive and Symbol", 75–101. 2264: 1439:. Of the writers associated with Bloomsbury, 1287:half of the novel reflects the "right" half. 1257:The novel is divided into six parts, with an 837:, but to those of rationalistic Petersburg". 807:An acute accent marks the stressed syllable. 216: 210: 171: 70: 4145:Twenty Six Days from the Life of Dostoyevsky 3342:Dostoevsky Studies – Form and Structure 3021: 2988:. Princeton University Press. Introduction. 2604:. New York: Meridian Books. pp. 99–101. 2473: 1582:There have been over 25 film adaptations of 3256: 3227: 3146:Fyodor M. Dostoevsky's Crime and Punishment 3094:Fyodor M. Dostoevsky's Crime and Punishment 2953:Dostoevsky: The Miraculous Years, 1865–1871 2152: 1989: 1812:"The 50 Most Influential Books of All Time" 1741:, a 2002 television serial produced by the 1679:), the first movie by the Finnish director 3734: 3720: 3495: 3481: 3302:Dostoevsky – The Making of a Novelist 3067: 3025:Crime and Punishment by Fyodor Dostoyevsky 2691:The First Hundred Years of Mikhail Bakhtin 2577:. New York: Noonday Press. pp. 77–78. 2313: 239:[prʲɪstʊˈplʲenʲɪje‿ɪ‿nəkɐˈzanʲɪje] 34: 3987:The Beggar Boy at Christ's Christmas Tree 3691:Crime and Punishment: A Falsified Romance 2781: 2500:"Dostoevsky's Life and Career, 1865–1881" 16:1866 Russian-language novel by Dostoevsky 3319: 3277: 3042: 2599: 2373: 2337: 2289: 2225: 2209: 2001: 1578:Film adaptations of Crime and Punishment 1173:Nihilism, rationalism and utilitarianism 3298: 3118:"Crime and Punishment in the Classroom" 2871: 2826:Church, Margaret (1983). "Dostoevsky's 2806: 2762: 2688: 2676: 2664: 2437: 2425: 2388: 2128: 1909: 1846: 1487: 1261:. The notion of "intrinsic duality" in 4162: 3453:Full text in old orthography (russian) 3338: 3210:Peace, Richard. "Introduction", 1–16. 3142: 3115: 3091:McDuff, David (2002). "Introduction". 3090: 3046:Dostoevsky and the Idea of Russianness 2894: 2863:Crime and Punishment: A Mind to Murder 2825: 2715:"Raskolnikov Says the Darndest Things" 2572: 2536: 2523: 2485: 2465: 2413: 2369: 2353: 2325: 2301: 2197: 2156: 2100: 2002:Carabine, Keith (2000). Introduction. 1961: 1949: 1921: 1544:Richard Pevear and Larissa Volokhonsky 403:appeared in the January 1866 issue of 363:— Dostoevsky's letter to A.P. Milyukov 4215:Novels first published in serial form 3741: 3715: 3476: 3184: 3163: 3143:Morris, Virginia B. (1984). "Style". 2978: 2945: 2917: 2727:from the original on 8 November 2020. 2469: 2453: 2449: 2357: 2285: 2273: 2258: 2246: 2242: 2221: 2205: 2201: 2180: 2140: 2116: 2112: 2096: 2092: 2080: 2068: 2056: 2044: 2032: 2028: 1937: 1925: 1905: 1901: 1889: 1861:from the original on 11 January 2022. 1850:"The 100 greatest novels of all time" 1798: 995:Nikolai Dementiev (Николай Дементьев) 959:Nastasya Petrovna (Настасья Петровна) 310:. Dostoevsky, having been engaged in 237: 21:Crime and Punishment (disambiguation) 3230:The Slavic and East European Journal 3002: 967: – The amiable chief of police. 387:for the prominent Russian publisher 3367:University of Minnesota study guide 3185:Peace, Richard Arthur, ed. (2006). 3164:Ozick, Cynthia (16 February 1997). 2858: 2652: 2640: 2614: 2587: 2560: 2548: 2168: 1847:Writers, Telegraph (23 July 2021). 1233:The environment of Saint Petersburg 908:Pulkheria Alexandrovna Raskolnikova 901: 840: 13: 4026:Winter Notes on Summer Impressions 1200:to articulate an argument against 14: 4246: 4230:Russian novels adapted into plays 4225:Novels about Russian prostitution 4200:Russian novels adapted into films 3355: 449:speak, and collapses in a faint. 3952:The Christmas Tree and a Wedding 3632:Crime and Punishment in Suburbia 3422: 3372:Text and Analysis at Bibliomania 2765:Problems of Dostoevsky's Poetics 2497: 1713:Crime and Punishment in Suburbia 1481:Problems of Dostoevsky's Poetics 1161:from the Greek meaning "wisdom" 1077:rationality, mind, intelligence 931:Andrey Semyonovich Lebezyatnikov 278:, an impoverished ex-student in 3149:. Barron's Educational Series. 3122:Dostoevsky's Unfinished Journey 2707: 2682: 2620: 2593: 2566: 2529: 2491: 2459: 2443: 2403: 2363: 2343: 2279: 2231: 2215: 2186: 2146: 2106: 2086: 2022: 1995: 1967: 1555:Nicolas Pasternak Slater (2017) 1103:to fawn on somebody, to cringe 4205:Novels set in Saint Petersburg 2629:Do I Dare Disturb the Universe 1915: 1895: 1865: 1840: 1822: 1804: 1571: 971:Ilya Petrovich (Илья Петрович) 965:Nikodim Fomich (Никодим Фомич) 1: 4008:The Dream of a Ridiculous Man 3525:Rodion Romanovich Raskolnikov 2973:Katkov, Crime and Punishment. 2095:, pp. 170, 179–80, 184; 1773: 983:Praskovya Pavlovna Zarnitsyna 920:Katerina Ivanovna Marmeladova 914:Semyon Zakharovich Marmeladov 819:Rodion Romanovich Raskolnikov 529: 286: 4185:Russian philosophical novels 3805:The Village of Stepanchikovo 3278:Sergeyev, Victor M. (1998). 3116:Miller, Robin Feuer (2007). 1979:. University of Keele. 1981. 1512:Princess Alexandra Kropotkin 1350: 1277:to a "flattened X", saying: 1252: 989:Marfa Petrovna Svidrigaïlova 922: – Semyon Marmeladov's 850:(Rodion Romanovitch) is the 7: 4180:Novels by Fyodor Dostoevsky 3432:public domain audiobook at 3324:. Oxford University Press. 2842:Ohio State University Press 2742:Dostoevsky, Fyodor (1866). 2600:Berdyaev, Nicholas (1957). 2575:Freedom and the Tragic Life 2573:Ivanov, Viacheslav (1957). 2192:Donald Fanger states that " 1789:– (retrieved on 1 May 2006) 1642:, Victoria Fyodorova) dir. 520: 319:is referred to as a novel. 229: 215:; post-reform Russian: 115:1866; separate edition 1867 10: 4251: 3257:Rosenshield, Gary (1978). 2959:Princeton University Press 2474:Hardy & Stanton (1999) 1575: 230:Prestupleniye i nakazaniye 18: 4079: 4043: 4017: 3922: 3887: 3772: 3749: 3666: 3533: 3517: 3465:Mapping St. Petersburg – 3263:. Peter de Ridder Press. 3166:"Dostoyevsky's Unabomber" 2929:Stanford University Press 2785:Existentialist Background 2763:Bakhtin, Mikhail (1984). 2746:Translated in English by 1708:and Adriana Dávila Franke 1167: 806: 786: 645: 599: 541: 503: 490: 469: 452: 428: 415: 217: 211: 185: 172: 165: 153: 141: 127: 119: 109: 96: 86: 78: 66: 56: 33: 3043:Hudspith, Sarah (2003). 1760:(2007 Russian TV series) 1377:was being serialized in 1302: 677:Vrazumíkhin, Razumíkhin 218:Преступление и наказание 212:Преступленіе и наказаніе 174:Преступление и наказание 72:Преступление и наказание 3813:Humiliated and Insulted 3193:Oxford University Press 3074:Oxford University Press 2901:Oxford University Press 2689:Emerson, Caryl (1997). 2504:University of Minnesota 2200:, p. 21; see also 2155:, p. 76. See also 2083:, pp. 179–80, 182. 1816:Open Education Database 1045:Russian Orthodox Church 675:Вразуми́хин, Разуми́хин 636:Со́фья, Со́ня, Со́нечка 410: 3912:Notes from Underground 3877:The Brothers Karamazov 1558:Michael R. Katz (2017) 1517:Jessie Coulson (1953) 1284: 1193:Notes from Underground 1090:to notice, to realize 638:Sófya, Sónya, Sónechka 360: 349:first-person narrative 345:third-person narrative 326: 246:by the Russian author 71: 4195:Existentialist novels 3821:The House of the Dead 3126:Yale University Press 3017:on 19 September 2008. 2744:Crime and Punishment. 2356:, pp. xiii–xiv; 1753:as Porfiry Petrovich. 1666:as Porfiry Petrovich. 1561:Roger Cockrell (2022) 1379:The Russian Messenger 1361:The Russian Messenger 1279: 1214:Nikolai Chernyshevsky 1039:a schism, or split; " 997:, also known as 405:The Russian Messenger 355: 322: 299:The Russian Messenger 253:The Russian Messenger 102:The Russian Messenger 29:Crime and Punishment 4190:Psychological novels 4170:Crime and Punishment 4117:The Grand Inquisitor 3829:Crime and Punishment 3699:Crime and Punishment 3683:Crime and Punishment 3675:Crime and Punishment 3648:Crime and Punishment 3640:Crime and Punishment 3624:Crime and Punishment 3608:Crime and Punishment 3600:Crime and Punishment 3592:Crime and Punishment 3576:Crime and Punishment 3568:Crime and Punishment 3560:Crime and Punishment 3544:Crime and Punishment 3509:Crime and Punishment 3467:Crime and Punishment 3429:Crime and Punishment 3412:Crime and Punishment 3398:Crime and Punishment 3379:Crime and Punishment 3005:Crime and Punishment 2874:Crime and Punishment 2828:Crime and Punishment 2809:Crime and Punishment 2790:Taylor & Francis 2539:, pp. xii–xiii. 2194:Crime and Punishment 2005:Crime and Punishment 1834:thegreatestbooks.org 1830:"The Greatest Books" 1758:Crime and Punishment 1737:Crime and Punishment 1721:Crime and Punishment 1698:(1994 Peruvian film) 1671:Crime and Punishment 1650:Crime and Punishment 1627:Crime and Punishment 1609:(1935 American film) 1607:Crime and Punishment 1599:, 1923) directed by 1597:Crime and Punishment 1584:Crime and Punishment 1534:Julius Katzer (1985) 1488:English translations 1468:Crime and Punishment 1445:John Middleton Murry 1425:Crime and Punishment 1419:Crime and Punishment 1398:Crime and Punishment 1383:Crime and Punishment 1381:at the same time as 1369:Crime and Punishment 1357:Crime and Punishment 1308:Crime and Punishment 1297:Crime and Punishment 1293:Crime and Punishment 1275:Crime and Punishment 1263:Crime and Punishment 1239:Crime and Punishment 1216:and became known as 1198:Crime and Punishment 815:Crime and Punishment 401:Crime and Punishment 379:Crime and Punishment 371:Crime and Punishment 340:Crime and Punishment 317:Crime and Punishment 272:Crime and Punishment 262:Crime and Punishment 202:Crime and Punishment 191:Crime and Punishment 46:Crime and Punishment 4175:1866 Russian novels 4093:Lyubov Dostoevskaya 3853:The Eternal Husband 3694:(2007 Ochiai manga) 3686:(1953 Tezuka manga) 1749:as Raskolnikov and 1677:Rikos ja Rangaistus 1662:as Raskolnikov and 1564:David Gildea (2024) 1531:Sidney Monas (1968) 1024:Meaning in Russian 538: 67:Original title 30: 4099:Mikhail Dostoevsky 4071:Rodion Raskolnikov 4051:Nastasya Filipovna 3797:Netochka Nezvanova 3616:Without Compassion 3349:on 2 October 2013. 3028:. Signet Classic. 2859:Cox, Gary (1990). 2821:on 2 October 2013. 2720:The New York Times 2526:, pp. xi–xii. 2245:, pp. 100–1; 2224:, pp. 100–1; 2153:Rosenshield (1978) 2031:, pp. 170–2; 1990:Rosenshield (1973) 1818:. 26 January 2010. 1767:Channel One Russia 1702:Francisco Lombardi 1696:Without Compassion 1638:, Tatyana Bedova, 1355:The first part of 1310:is written from a 534: 276:Rodion Raskolnikov 207:pre-reform Russian 28: 4155: 4154: 4111:Dostoevsky Museum 4087:Anna Dostoevskaya 4056:Alyosha Karamazov 4001:The Peasant Marey 3743:Fyodor Dostoevsky 3709: 3708: 3678:(1947 radio play) 3504:Fyodor Dostoevsky 3417:Project Gutenberg 3312:978-1-4067-6362-1 2867:. Boston: Twayne. 2748:Constance Garnett 2723:. 26 April 1992. 2643:, pp. 18–21. 2391:, pp. 162–3. 2350:Vladimir Solovyov 2314:Lindenmeyr (2006) 2015:978-1-84022-430-6 1976:Essays in Poetics 1675:(original title, 1636:Georgi Taratorkin 1500:Constance Garnett 1494:Frederick Whishaw 1333:Melchior de Vogüé 1206:utopian socialism 1165: 1164: 953:Zosimov (Зосимов) 947:Lizaveta Ivanovna 935:utopian socialist 933: – Luzhin's 896:Porfiry Petrovich 811: 810: 389:Fyodor Stellovsky 248:Fyodor Dostoevsky 227: 198: 197: 61:Fyodor Dostoevsky 50:Constance Garnett 4242: 4061:Fyodor Karamazov 4033:A Writer's Diary 3966:A Nasty Anecdote 3945:The Honest Thief 3736: 3729: 3722: 3713: 3712: 3563:(1935, American) 3535:Film adaptations 3497: 3490: 3483: 3474: 3473: 3443: 3426: 3425: 3419: 3350: 3335: 3316: 3295: 3274: 3253: 3206: 3181: 3179: 3177: 3160: 3139: 3112: 3099:Penguin Classics 3087: 3064: 3039: 3018: 2999: 2975: 2956: 2942: 2914: 2891: 2890:on 20 June 2014. 2868: 2866: 2855: 2822: 2803: 2778: 2729: 2728: 2711: 2705: 2704: 2686: 2680: 2679:, pp. 74–5. 2674: 2668: 2662: 2656: 2650: 2644: 2638: 2632: 2624: 2618: 2612: 2606: 2605: 2597: 2591: 2590:, pp. 15–6. 2585: 2579: 2578: 2570: 2564: 2558: 2552: 2551:, pp. 14–5. 2546: 2540: 2533: 2527: 2521: 2515: 2514: 2512: 2510: 2495: 2489: 2488:, pp. x–xi. 2483: 2477: 2463: 2457: 2456:, pp. 92–3. 2447: 2441: 2435: 2429: 2423: 2417: 2407: 2401: 2398: 2392: 2386: 2377: 2376:, pp. 56–7. 2367: 2361: 2360:, pp. 75–6. 2347: 2341: 2335: 2329: 2323: 2317: 2311: 2305: 2299: 2293: 2283: 2277: 2271: 2262: 2256: 2250: 2235: 2229: 2219: 2213: 2190: 2184: 2178: 2172: 2166: 2160: 2150: 2144: 2138: 2132: 2126: 2120: 2110: 2104: 2103:, pp. 58–9. 2090: 2084: 2078: 2072: 2066: 2060: 2054: 2048: 2042: 2036: 2026: 2020: 2019: 1999: 1993: 1987: 1981: 1980: 1971: 1965: 1959: 1953: 1952:, pp. 58–9. 1947: 1941: 1935: 1929: 1919: 1913: 1899: 1893: 1887: 1881: 1880: 1869: 1863: 1862: 1852: 1844: 1838: 1837: 1826: 1820: 1819: 1808: 1802: 1796: 1790: 1784: 1731:Vanessa Redgrave 1652:(1979 TV series) 1586:. They include: 1526:Michael Scammell 1506:David Magarshack 1466:The affinity of 1429:Bloomsbury Group 1414:Nikolay Berdyaev 1365:Nikolay Strakhov 1180:Russian nihilism 1015: 1014: 902:Other characters 841:Major characters 823:Honoré de Balzac 590:Авдо́тья, Ду́ня 539: 533: 364: 330: 280:Saint Petersburg 266:world literature 258:exile in Siberia 241: 236: 232: 222: 220: 219: 214: 213: 177: 176: 157: 131: 111:Publication date 91:Literary fiction 74: 48:, translated by 38: 31: 27: 4250: 4249: 4245: 4244: 4243: 4241: 4240: 4239: 4160: 4159: 4156: 4151: 4075: 4039: 4013: 3931:Mr. Prokharchin 3918: 3883: 3768: 3745: 3740: 3710: 3705: 3662: 3529: 3513: 3501: 3441: 3423: 3409: 3403:Standard Ebooks 3358: 3353: 3332: 3313: 3292: 3284:. M.E. Sharpe. 3271: 3203: 3175: 3173: 3157: 3136: 3109: 3084: 3061: 3036: 2996: 2969: 2939: 2911: 2852: 2800: 2775: 2753: 2733: 2732: 2713: 2712: 2708: 2701: 2687: 2683: 2675: 2671: 2663: 2659: 2651: 2647: 2639: 2635: 2625: 2621: 2613: 2609: 2598: 2594: 2586: 2582: 2571: 2567: 2559: 2555: 2547: 2543: 2534: 2530: 2522: 2518: 2508: 2506: 2496: 2492: 2484: 2480: 2464: 2460: 2452:, p. 184; 2448: 2444: 2436: 2432: 2424: 2420: 2410:Mikhail Bakhtin 2408: 2404: 2399: 2395: 2387: 2380: 2374:Wasiolek (2006) 2368: 2364: 2348: 2344: 2336: 2332: 2324: 2320: 2312: 2308: 2300: 2296: 2290:Sergeyev (1998) 2288:, p. 107; 2284: 2280: 2272: 2265: 2257: 2253: 2236: 2232: 2226:Hudspith (2003) 2220: 2216: 2210:Sergeyev (1998) 2208:, p. 114; 2191: 2187: 2179: 2175: 2167: 2163: 2151: 2147: 2139: 2135: 2127: 2123: 2111: 2107: 2091: 2087: 2079: 2075: 2067: 2063: 2055: 2051: 2043: 2039: 2027: 2023: 2016: 2000: 1996: 1988: 1984: 1973: 1972: 1968: 1960: 1956: 1948: 1944: 1936: 1932: 1920: 1916: 1904:, p. 170; 1900: 1896: 1888: 1884: 1871: 1870: 1866: 1845: 1841: 1828: 1827: 1823: 1810: 1809: 1805: 1797: 1793: 1785: 1781: 1776: 1644:Lev Kulidzhanov 1580: 1574: 1490: 1476:Mikhail Bakhtin 1409:mat syra zemlya 1353: 1305: 1271:Edward Wasiolek 1255: 1235: 1222:Dimitri Pisarev 1218:rational egoism 1175: 1170: 1049:Patriarch Nikon 941:Alyona Ivanovna 904: 843: 802: 798: 792: 788: 783: 777: 773: 768: 761: 756: 751: 744: 739: 734: 727: 722: 717: 710: 705: 700: 693: 688: 683: 676: 671: 666: 659: 654: 647: 642: 637: 630: 625: 620: 613: 608: 601: 596: 592:Avdótya, Dounia 591: 584: 579: 574: 543: 536:Character names 532: 523: 506: 493: 472: 455: 431: 418: 413: 366: 362: 332: 328: 289: 234: 168: 161:PG3326 .P7 1993 146: 112: 52: 24: 17: 12: 11: 5: 4248: 4238: 4237: 4232: 4227: 4222: 4217: 4212: 4207: 4202: 4197: 4192: 4187: 4182: 4177: 4172: 4153: 4152: 4150: 4149: 4141: 4133: 4125: 4123:Pushkin Speech 4120: 4113: 4108: 4105:Polina Suslova 4102: 4096: 4090: 4083: 4081: 4077: 4076: 4074: 4073: 4068: 4066:Prince Myshkin 4063: 4058: 4053: 4047: 4045: 4041: 4040: 4038: 4037: 4029: 4021: 4019: 4015: 4014: 4012: 4011: 4004: 3997: 3990: 3983: 3976: 3969: 3962: 3955: 3948: 3941: 3934: 3926: 3924: 3920: 3919: 3917: 3916: 3908: 3900: 3891: 3889: 3885: 3884: 3882: 3881: 3873: 3869:The Adolescent 3865: 3857: 3849: 3841: 3833: 3825: 3817: 3809: 3801: 3793: 3785: 3776: 3774: 3770: 3769: 3767: 3766: 3761: 3756: 3750: 3747: 3746: 3739: 3738: 3731: 3724: 3716: 3707: 3706: 3704: 3703: 3695: 3687: 3679: 3670: 3668: 3664: 3663: 3661: 3660: 3652: 3651:(2002 TV film) 3644: 3636: 3628: 3620: 3612: 3604: 3596: 3588: 3580: 3572: 3571:(1935, French) 3564: 3556: 3548: 3539: 3537: 3531: 3530: 3528: 3527: 3521: 3519: 3515: 3514: 3500: 3499: 3492: 3485: 3477: 3471: 3470: 3456: 3455: 3450: 3444: 3436: 3420: 3407: 3405: 3388: 3387: 3374: 3369: 3357: 3356:External links 3354: 3352: 3351: 3336: 3330: 3317: 3311: 3305:. 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Lawrence 1441:Virginia Woolf 1437:existentialism 1433:psychoanalysis 1367:recalled that 1352: 1349: 1341:double meaning 1325:Virginia Woolf 1304: 1301: 1254: 1251: 1234: 1231: 1184:utilitarianism 1174: 1171: 1169: 1166: 1163: 1162: 1159: 1152: 1148: 1147: 1144: 1137: 1133: 1132: 1129: 1122: 1118: 1117: 1116:marmalade/jam 1114: 1109: 1105: 1104: 1101: 1096: 1092: 1091: 1088: 1083: 1079: 1078: 1075: 1070: 1066: 1065: 1062: 1057: 1053: 1052: 1037: 1030: 1026: 1025: 1022: 1019: 1013: 1012: 1006: 992: 986: 980: 974: 968: 962: 956: 950: 944: 938: 928: 917: 911: 903: 900: 842: 839: 809: 808: 804: 803: 800: 794: 793: 790: 785: 779: 778: 775: 770: 764: 763: 762:Lebezyátnikov 758: 753: 747: 746: 741: 736: 730: 729: 728:Svidrigáilova 726:Свидрига́йлова 724: 719: 713: 712: 707: 702: 696: 695: 690: 685: 679: 678: 673: 668: 662: 661: 656: 650: 649: 644: 639: 633: 632: 627: 622: 616: 615: 614:Aleksándrovna 610: 604: 603: 602:Raskól'nikova 600:Раско́льникова 598: 593: 587: 586: 581: 576: 570: 569: 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2169:Cox (1990) 1774:References 1691:, Finland. 1392:The early 1210:Benthamite 1108:Marmeladov 1069:Razumikhin 868:Razumíkhin 684:Praskóv'ya 682:Праско́вья 672:Prokófyich 670:Проко́фьич 643:Semyónovna 624:Заха́рович 607:Пульхери́я 595:Рома́новна 580:Románovich 562:Patronymic 553:First name 530:Characters 287:Background 180:Wikisource 4101:(brother) 3845:The Idiot 3781:Poor Folk 3439:Full text 3176:17 August 3051:Routledge 2832:The Trial 2509:24 August 1747:John Simm 1660:John Hurt 1611:starring 1394:Symbolist 1351:Reception 1253:Structure 1064:a puddle 1041:raskolnik 827:Rastignac 787:Ива́новна 782:Лизаве́та 774:Petróvich 772:Петро́вич 767:Порфи́рий 755:Семёнович 740:Petróvich 738:Петро́вич 721:Петро́вна 706:Ivánovich 704:Ива́нович 692:Зарницына 687:Па́вловна 660:Ivánovna 658:Ива́новна 653:Катери́на 641:Семёновна 609:Pulkhería 597:Románovna 578:Ромáнович 312:polemical 224:romanized 97:Publisher 4139:magazine 4131:magazine 4028:" (1863) 4010:" (1877) 4003:" (1876) 3996:" (1876) 3989:" 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