crime and punishment essay themes

Crime and Punishment Themes

Theme is a general idea, belief or point of view presented in a literary piece. Themes in Crime and Punishment , a masterpiece of Fyodor Dostoevsky , are aplenty.  Not only does the novel present the dilemma of greatness, but also shows the ways to achieve it through personal reflection, demonstrate alienation of an individual and depict social complications. Some of the major themes in Crime and Punishment have been discussed below.

Themes in Crime and Punishment

Alienation of an individual in a society is one of the major themes of the novel. Raskolnikov, the protagonist of the novel, takes pride in what he sees as his act of achieving greatness, even if that act is equivalent to a crime. This self-reflection over the act separates him from the rest of the people around him, including his mother and sister, Dunya. Also, he thinks that other people are tools of the big scheme imagined by his intellectual capability. As the guilt grows deeper, he faces extreme delirious mood swings. He pushes away his well-wishers including his best friend, Razumikhin and kind police officer, Porfiry Petrovic. He also avoids his mother, sister, and Sonya, his loyal beloved . He finds himself alienated throughout the story until he accepts Sonya’s love.

Psychology of Crime

Raskolnikov commits a crime in the early part of the novel because he needs money to achieve greatness. He keeps dodging the law until the very end of the story. However, the novel focuses on the middle points that a criminal is not always a bad person or a mentally ill. However, they are also genius and intellectual who first generalize things and then apply to a specific situation. Despite his justifications, he comes across wavering, doubt, delirium, despair and extreme mental conflict when he sees his world falling around him. The author focuses on the post-effects of the murder and its impacts on the mind of the criminal. It doesn’t apply to all the criminals. However, a few crimes are committed only out of dire need. Porfiry Petrovic’s argument that Raskolnikov’s crime demonstrates his motives seems to be true. It shows that he understands his psychological condition and its force that could force him into taking that action. His conclusion about Raskolnikov also proves true by the end when he is punished.

Superman Complex

Raskolnikov assumes he is a superman at the beginning of the novel. He believes that he possesses an exceptional ethical framework than others. He also thinks if greatness comes with a murder, then every great person does it. This idea sets him apart from the rest of the people. Hence, he thinks that he is above the law. However, when he comes to face the ensuing mental conflict, he comes to know that it is all a hollow thinking. There is no superman or supermind. He is a common person, who committed a moral , ethical and legal crime by killing a person. This admission leads to his confession, though, he delays it until the end when the law enforces dispatches him to Siberia as a punishment. Moreover, the final confession of love to Sonya, too, makes him realize that he is a common person and not a superman.

Crimes and Morality

Crimes, morality and the ensuing sense of guilt are some other thematic strands in the book. There is no doubt that Raskolnikov has committed a grave crime and deserves punishment. However, at first, he assures himself that such crimes are often committed by great people – a bizarre justification for his crime. As he becomes aware of his crime, he becomes mentally unstable. He initially claims that a pawnbroker has no morals and that her death does not matter. Later, his transformed behavior alters in the story. Moreover, as an intellectual, Raskolnikov has already voiced his opinion to give legitimacy to his action when he wrote a magazine article to claim that great people always commit a crime, giving examples from history. When he comes to know about Sonya’s prostitution and Marmeladov’s alcoholic addiction, he is redeemed.

Free Will and Coincidence

Raskolnikov’s act of murdering two old ladies poses a serious question to the readers whether he has free will, or it is just a chance he had taken. If there were no painters, Raskolnikov might not have escaped. His meeting with Marmeladov is also a chance. When Marmeladov is run over, he assists his family. Coincidently, he later meets Sonya who becomes his close friend and love. Dunya’s meeting and seduction by Svidrigailov is also a coincidence. However, because of free will, she does not fall prey to his plotting.

Raskolnikov seems to touch the brink of madness after murdering two people. His lifestyle demonstrates his mental collapse. He talks to himself in public and continues staying in the bed without eating for days. His aimless roaming in Petersburg and mindless actions show that his friends and relatives have sensed his madness or near-madness situation. Marmeladov’s alcoholic addiction is also a type of madness. However, he does not face the same mental conflict as Raskolnikov. Marmeladov’s wife faces madness after his death. Dunya rejects Svidrigailov and almost kills him. Later, as he could not bear the rejection, he commits suicide.

Sufferings redeem as well as destroy an individual. Raskolnikov suffers from mental torture after killing two women. Even Sonya suffers materially because of her father’s alcoholic addiction. The sufferings destroy Raskolnikov’s mental capability. On the contrary, it redeems Sonya when she helps him. Sonya is a source of redemption for Raskolnikov. Moreover, suffering also means to suffer from financial and physical hardships. Marmeladov’s addiction leads his family to suffer from poverty . Sonya is forced into prostitution for the same reason.

Nihilism means nothingness or the rejection of humanitarian bonds or any other relations for materialism. Raskolnikov’s murder of Alyona and her sister is based on purely practical grounds. The valuables or money stolen was not to achieve high status or greatness. His comments about her that she was a louse and has been better off the social radar points to this thematic idea. At first, Raskolnikov is a nihilist. However, later when he discovers his love for Sonya, he leaves it.

Moral Framework

Every society has a moral framework used by people to justify their actions. Abandoning this framework is dangerous to society. However, there are also exceptions. Raskolnikov justifies his murders on the logical grounds that he wants to achieve greatness. Later, he becomes a victim of an ethical dilemma. The morality of that time of Russia does not allow him to murder merely for his desire of achieving greatness. That is why Razumikhin argues that living souls should be given preference over close abstract concepts.

Utilitarianism

Utilitarianism is associated with nihilism. It means the happiness of the greater number of people. Raskolnikov gives justification to his crime of killing the old woman on the basis of utilitarianism arguing that the old lady deserves death as she was not practically useful for society.

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Themes and Analysis

Crime and punishment, by fyodor dostoevsky.

'Crime and Punishment' features salient themes that are relevant today as they were in Dostoevsky's Russia.

Article written by Israel Njoku

Degree in M.C.M with focus on Literature from the University of Nigeria, Nsukka.

‘Crime and Punishment’ contains numerous themes, reflecting Dostoevsky’s preoccupation with and response to the flurry of ideologies coming into Russia from Western Europe. Asides from complex ideological issues like nihilism and utilitarianism, everyday relatable issues that occupied Dostoevsky like poverty, suffering, and societal alienation are also addressed within the work.

The Dangerous Effects of Nihilism

One of the key themes of ‘Crime and Punishment’ is the effect of harmful ideologies. The problem here is not simply that an individual comes to wholly believe in a dangerous idea and so carries it out, it is also about the parasitic effects of these dangerous ideas as they slowly corrupt our minds and subtly strip us of control and autonomy, pulling us towards the actualization of its destiny even when our hold of and understandings of these ideas are incomplete and tenuous. 

Before Raskolnikov decided to kill the old pawnbroker whom he had deemed expendable on the basis of her wickedness and nastiness, Raskolnikov had written an article where he argued for the right of a certain class of special, superior men to raise themselves above conventional morality and commit crimes in service of aims they deem noble. 

For Raskolnikov, this means an ascendancy to a Napoleon-like personality who has earned the right to kill and commit all sorts of crimes in service of greatness. This extraordinary person is marked by his capacity to commit this crime and profit off it, feeling neither remorse nor weakness in a manner that would undermine the validity of his ideas, or his greatness. 

The more Raskolnikov became possessed by the truth of this idea, the more he wished to be an extraordinary man, to prove he has the capacity to transcend conventional morality in order to do what Raskolnikov deemed noble. Gradually this small theory assumes the nature of an obsession with proving his strength, and that culminated in the murder of the old pawnbroker. It resisted Raskolnikov’s erstwhile moral conscience.

Even when Raskolnikov gets disgusted at the idea of killing the old woman and feels free from the thoughts, he loses control when he overhears at the Hay market that a prime opportunity for the murder was going to present itself soon with the availability of Alyona alone at the house without her sister, 

Raskolnikov finds himself without any control and is thrust into an autopilot program, driving him to test his theory and prove himself extraordinary. The idea took on a life of its own in Raskolnikov’s head and convinced him of its own validity. But when Raskolnikov tries to justify his murder in terms of it being in service to humanity, he finds that he cannot sincerely explain his motivation that way. He discovered that none of the motivations he put forward in his conversation with Sonia inspired him as much as the simple, selfish desire to prove he was “extraordinary”.

A much less pronounced, but definitely evident, theme in the book is that of Egoism. This is an idea espoused to different degrees by a number of characters in the book-namely the likes of Raskolnikov, Svidrigailov, and Luzhin. It can express itself in a direct, undisguised form in service of evil aims, as we see in Svidrigailov’s behaviors. 

Svidrigailov lives for his pleasures and base desires and is not embarrassed by them. He speaks freely to Raskolnikov about desiring and relishing the effort to get these desires. He lives entirely for his own pleasures and is not concerned about others until the very end. Furthermore, he is ruthless in the pursuit of his own gratification and does not consider a grander, nobler aim, nor pretends to consider it in any way.

Raskolnikov is also similar but up until his real motivation is unraveled and understood, he masks this with a pretense of employing his capacity and actions for a larger good. He convinces himself that he was only killing the old pawnbroker because she was a net negative to humanity and her death would benefit many in terms of redistributing her wealth to the poor and preventing her from being wicked to the vulnerable under her. 

It was not until Raskolnikov was forced to examine his motivations for the murder that he realizes that his main aim for committing the murder wasn’t humanistic altruism but rather a naked, selfish pursuit of power, just the same way Svidrigailov was pursuing pleasures. Luzhin similarly masks his egoism under a front of benevolence. In his first encounter with Raskolnikov and Razumikhin, he argues that private charity was in the end counterproductive to the poor and that there would be a net good to society if those who are privileged focused on themselves and refrain from giving handouts to the poor. This argument is obviously only an excuse to legitimize his miserliness. 

The competing forces of natural good and learned evil

In ‘Crime and Punishment ‘, Raskolnikov seems to struggle with the moral demands of his conscience and that of his adopted nihilistic and rational egoistic philosophical outlook. Possibly resulting from his Christian background or a naturally altruistic and humanistic disposition, Raskolnikov seemed to have a basic constitution that has molded a conscience that inspires him to do good. We see this sentiment in his acts of charity towards the Marmeladovs as well as towards the young girl he saves from the lecherous individual stalking her on the streets. 

However, Raskolnikov has also been exposed to and adopted new dangerous ideas which emphasized a cold utilitarian outlook towards life in service of one’s self-interest. The philosophy of the extraordinary emphasizes his elevation over the troubles of the common people. It encourages a cold, statistical approach to life that sees the common people not as individuals but as numbers.

So just after he rescues the young drunken girl from her stalker, he immediately regrets the action because there were bound to be people like her all the time who will make up the number of people who would be vulnerable to predators, who are condemned to a life of prostitution, diseases, and vulnerability. It was a mathematical and sociological certainty, so why bother trying to interfere? 

Also, when he gives Sonia money after he was dragged to the home of the Marmeladovs, he regrets doing so almost immediately for the same purpose. For large stretches of the book, Raskolnikov struggles between these two competing aspects of his personality. 

The theme of Alienation is a prominent one in ‘ Crime and Punishment ‘. Raskolnikov’s alienation from society as a result of his haughty ideals, as well as his overpowering guilt as a result of his murders, is one of the plot points that move the book. Raskolnikov’s ideas separate him from most of the rest of humanity in theory and principle. His conviction that society is divided between a few superior men and a mass of inferior men sets him on a proud and arrogant path that alienates him from most people whom he views as inferior. 

Although poor and near destitute, Raskolnikov still manages to feel disgusted at the surrounding poverty in his area of St Petersburg. After committing the murders, he is overpowered with guilt and a strong sense that he did not belong with society and with the pure people around him, who are far removed from his destructive and tortured state of mind. His guilt makes him believe he cannot bear to continue to interact and coexist normally with his family and friends, who are good people. 

Helplessness

The theme of helplessness is also featured in ‘ Crime and Punishment ‘. Raskolnikov is a very poor student who is dependent on sacrifices from his mother and sister to be able to sustain himself. Given that his family has high hopes for him and views him as a potential breadwinner, Raskolnikov finds himself under great pressure. 

His poverty strips him of any capacity whatsoever to help his family and realize the expectation placed on him. Worse of all, he could do extremely little to prevent his family from enduring humiliating circumstances like Dunya’s employment at Svidrigailov’s and the prospect of a less than happy marriage with an unsavory character, like Luzhin.

This sense of hopelessness contributes to driving Raskolnikov towards the robbery and murders. Other characters in the novel also find themselves in helpless situations. Marmeledov cannot conquer his addiction and bring himself to stop drinking away the little money the family is able to procure, largely out of Sonia’s prostitution. Sonia herself is helpless against the forces that drove her into a life of prostitution against her will. 

Punishment and Suffering

The theme of suffering and punishment is predominant in the book. The book seems to advance the idea that only commensurate punishment and suffering can put the condemned and guilty on the path to redemption. Repentance is not enough and must be backed by a genuine willingness to pay for one’s sins. After Raskolnikov murders the old pawnbroker, his punishment begins almost immediately after. He suffers from crushing guilt, illness, and self-loathing. He cannot master his conscience, and in the end, he succumbs to it.

His guilt and the triumph of his conscience mean he cannot get away with his crime. He betrays himself and therefore leads himself to be suspected by the authorities. This punishment however can only be expatiated by further punishment. Raskolnikov can only get reprieve and redemption if he confesses publicly to the police and suffers the embarrassment of being thought a fool with crazy ideas and a weak constitution, as well as suffer the disappointment of his family and friends, as well as the loss of his freedom.

Analysis of Key Moments

• Raskolnikov witnesses a young student argue with an army officer over the morality of killing the old, detestable pawnbroker, Alyona.
• Raskolnikov has a dream where he tries to prevent some peasants from heartlessly maltreating a mare
• Raskolnikov receives a letter from his mother outlining the interesting events happening at home with his family
• Raskolnikov kills Alyona the pawnbroker and her sister Lizaveta.
• The police begin to suspect Raskolnikov due to his strange behavior at the station after his landlady reports him over unpaid rent.
• Luzhin makes the unfavorable acquaintance of Raskolnikov.
• Dunya and Pulcharia arrive in Saint Petersburg. They are shocked at Raskolnikov’s cold and erratic behavior.
• Dunya breaks off the engagement with Luzhin; A spiteful Luzhin blames Raskolnikov and plans his revenge.
• Svidrigailov tries and fails to rape Dunya
• Porfiry encourages Raskolnikov to confess and accept his suffering in a heart-to-heart talk.
• Raskolnikov confesses his crime to Sonia, then the Police. 
• Raskolnikov repents for real in a Siberian prison and acknowledges the defectiveness of his ideas.

Tone and Style

‘ Crime and Punishment’ is a forerunner of the realistic style that would come to replace the romanticism that was dominant in Western literature at the time. Dostoevsky’s novel is a classic detective story, but the norms of the genre are subverted when we see the killer commit the crime in the first few pages. There is no mystery as regards who committed the crime or the surface level motivations behind it, rather the novel immediately devotes itself to the consequences of the crime on the individual in a psychological, ideological, and spiritual sense.  

Dostoevsky employs realistic descriptions to bring into sharp relief the starkness of Raskolnikov’s poverty, and his very deliberate world-building and scene-setting allow us to glimpse some motivation behind his crime through the skillful use of strong opinionated characters and interesting, realistic dialogues.

Dostoevsky brings forth the opposing arguments he wants to comment on and allows them to fight as fairly as possible in the world in which he has set them out. Dostoevsky lends little outright authorial or editorial presence in the book, as the omniscient narrator stays mostly objective. But Dostoevsky advances his ideas through the mouths of certain characters. Through dreams, Dostoevsky provides clues as to the psychological makeup of the characters, as well as the principal motivations for their actions. 

Analysis of Symbols

The hay market.

A section of St. Petersburg that is reserved for the very poor. This area is the symbol of poverty, and of the common destitute that Raskolnikov feels himself above. There is a distinct sense of filth and wretchedness that Raskolnikov comes to be all too aware of when he passes by. By making Raskolnikov come here to confess, Sonia makes sure Raskolnikov gets the fullest possible punishment for his murders. This is because the hay market is populated by a mass of people whom Raskolnikov despises and thinks are inferior to himself. Confessing here accentuates his humiliation but at the same time fast tracks his redemption.

The cross is a symbol of wilful suffering in service of pious and redemptive aims. Raskolnikov goes to take Sonia’s cross only when he is ready to confess publicly for his sins.

Saint Petersburg

The city of Saint Petersburg was often seen as the most Westernized Russian city, therefore for Slavophiles, or people with slavophilic sentiments in post-Petrine Russia, Saint Petersburg was the most corrupt of Western cities, the city that has strayed farthest from traditional Russian values. The city is depicted this way in ‘Crime and Punishment ‘. Raskolnikov’s descent into the dark extremities of radical ideals begins only after he abandons the conservative society of rural Russia for corrupting Saint Petersburg. The city disgusts Raskolnikov, too, with its stench of filth and poverty and cynical residents. It is infested by “foolish” ideologues, too.

What are the major themes in ‘ Crime and Punishment ?’

‘ Crime and Punishment ‘ contain themes like helplessness, poverty, nihilism, suffering, and alienation, among others.

What did Dostoevsky set out to achieve in ‘ Crime and Punishment ?’

Dostoevsky’s major objective is to display the folly and dangers inherent in radical ideals like utilitarianism, atheism, and nihilism

What literary style did Dostoevsky employ in ‘ Crime and Punishment ?’

Realism. Dostoevsky wrote in a very realistic style, favoring an accurate mimicking of reality over romanticism.

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Crime and Punishment – FAQs

What is the main theme of Crime and Punishment? The main theme of “Crime and Punishment” revolves around the exploration of moral dilemmas, particularly the justification of crime for a perceived greater good and the ensuing psychological turmoil and quest for redemption. It delves into questions of guilt, justice, and the possibility of moral regeneration.

Who is the protagonist of Crime and Punishment? The protagonist of “Crime and Punishment” is Rodion Romanovich Raskolnikov, a former student living in St. Petersburg, who commits a double murder. The novel focuses on his psychological state before and after the crime, exploring his motivations, moral conflicts, and quest for redemption.

What is the significance of Sonia in Crime and Punishment? Sofya Semyonovna Marmeladova (Sonia) plays a crucial role as the moral and spiritual beacon in “Crime and Punishment”. Her unwavering faith, compassion, and capacity for self-sacrifice influence Raskolnikov profoundly, guiding him towards acknowledging his guilt and seeking redemption. Sonia embodies the themes of suffering, sacrifice, and the potential for spiritual rebirth.

How does Dostoevsky use St. Petersburg in the novel ? Dostoevsky uses the setting of St. Petersburg not just as a backdrop but as a symbol of the societal conditions and moral confusion prevalent in the 19th century. The oppressive, labyrinthine city mirrors Raskolnikov’s psychological turmoil and alienation, reinforcing the novel’s themes of isolation and existential angst.

What literary devices are prominent in Crime and Punishment? “Crime and Punishment” features a variety of literary devices, including symbolism, foreshadowing, stream of consciousness, irony, and metaphor. These devices are integral to developing the novel’s complex themes, deep psychological insight, and the atmospheric setting .

Is Crime and Punishment a realist novel ? Yes, “Crime and Punishment” is considered a masterpiece of psychological realism. Dostoevsky’s detailed exploration of Raskolnikov’s psychological state, along with the vivid portrayal of life in St. Petersburg, reflect the novel’s grounding in the realist tradition, despite its philosophical and psychological depth.

What motivates Raskolnikov to commit the murder? Raskolnikov is motivated by a combination of factors, including financial desperation, a desire to test his philosophical theory that certain individuals can transcend moral laws for a higher purpose, and a complex mix of pride, despair, and a misguided sense of justice. His motivations are deeply explored throughout the novel , highlighting his inner conflict and moral ambiguity .

How does Crime and Punishment address the concept of redemption? The concept of redemption is central to “Crime and Punishment”. The novel suggests that redemption is possible through suffering, acceptance of guilt, and moral and spiritual awakening. Sonia’s and Raskolnikov’s eventual confession and sentence to Siberia symbolize his path towards redemption, reflecting Dostoevsky’s belief in the power of faith and moral responsibility.

This quiz is designed to test your comprehension and understanding of “Crime and Punishment” by Fyodor Dostoevsky, touching on key aspects of the plot, characters, themes, and literary devices used throughout the novel .

Identify the literary devices used in the following excerpt from “Crime and Punishment” by Fyodor Dostoevsky:

“Raskolnikov walked into the room with a heavy heart. The dim light barely illuminated the corners, casting long shadows that seemed to dance mockingly around him. His thoughts were a turbulent sea, waves crashing against the shore with no end in sight. The silence of the room was oppressive, a tangible reminder of his isolation.”

Literary Devices Exercise:

• Identify the type of imagery used to describe the room.
• What literary device is employed to describe Raskolnikov’s thoughts?
• Which literary device is used to convey the atmosphere of the room?
• Visual and Kinesthetic Imagery — The description of the light and shadows provides a vivid visual image, while the mention of shadows dancing around him adds a sense of movement, engaging the reader’s senses of sight and motion.
• Metaphor — Raskolnikov’s thoughts are compared to a turbulent sea, illustrating their chaotic and overwhelming nature without using “like” or “as.”
• Personification — The silence of the room is described as oppressive, attributing a human characteristic to a non-human element to enhance the feeling of heaviness and isolation.

This exercise encourages you to closely read and analyze the text for Dostoevsky’s use of literary devices, deepening your understanding of how these elements contribute to the novel’s overall mood and themes.

Crime and Punishment

68 pages • 2 hours read

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Alienation and Shame

In Crime and Punishment , many characters feel alienated from society, cut off or isolated from other people. Raskolnikov is the central embodiment of this alienation. He physically separates himself from people by staying in his room, refusing to engage with friends and family, and retreating into his own thoughts. Trapped like this, Raskolnikov festers with rage. To explain his disconnection, he concocts a complex theory separating people into the ordinary and the extraordinary, to whom everything is permitted. Desperate to believe that he is extraordinary, he commits murder. But this action only isolates him more.

Other characters experience alienation in Crime and Punishment because of shame. Marmeladov’s alcoholism makes him a self-hating pariah, too ashamed to go home to his wife. The shame of Sonia’s profession dehumanizes her as an immoral fallen woman. Raskolnikov witnesses an attempted suicide, and several young women reportedly killed themselves after Svidrigailov raped them—the shame of premarital sex, even when coerced, is enough for them to consider their lives ruined.

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Crime and Punishment

By fyodor dostoevsky, crime and punishment study guide.

In 1865, Dostoevsky was heavily in debt, having taken on his brother Mikhail's debts after he died and amassing his own through gambling. Desperate, he signed an agreement with bookseller F. T. Stellovsky, promising that if he did not hand Stellovsky a manuscript by November 1, 1866, Stellovsky would be given the rights to all Dostoevsky's past and future works. Having done this, he fled abroad to escape his creditors in July of 1865.

At this point, Dostoevsky had two works planned: "The Drunkards," which was to be a long novel concerning what he called "the current problem of drunkenness." The other sprang from an idea that had come to him in prison: an exploration of what he called "the psychological account of a crime." Dostoevsky had expected to complete "The Drunkards" quickly but instead became immersed in the second work. In September of 1865 he sent a detailed outline of it to Mikhail Katkov, the editor of the Russian Herald. His original conception of the work was as a short novel told in the first person by the criminal, who commits murder "under the influence of some of those strange, 'incomplete' ideas which go floating about in the air," as Dostoevsky put it. These "ideas" would be the radical social ideologies that gripped Russia in the 1860's, particularly Nihilism, which was emerging around the time Dostoevsky was beginning work on what would be Crime and Punishment . (The Nihilists advocated the complete destruction of the social order, without giving any theory of what would replace it.)

Dostoevsky's own experimentation with social radicalism and his consequent imprisonment and suffering had a great impact on his voice and on the development of Crime and Punishment. Much of the book's message revolves around his argument that the Western-influenced theories and emphasis on rationalism were not only incompatible with Russian society and history but even dangerous to them. The character of Raskolnikov is the vehicle through which Dostoevsky makes this point.

In December of 1865, Dostoevsky wrote to his friend Baron Vrangel that this work had grown into "a big novel, in six parts. I had much of it written and ready by the end of November. I burned it all. Now I can confess it. I wasn't pleased with it myself. A new form, a new plan captivated me and so I began over again." The new version maintained much of the hero's original characteristics, but it was not told in the first person and the plot was thickened to include the sub-stories of Dunya and Sonya.

In January 1866 the first part of the novel appeared in the Russian Herald, but Dostoevsky still had some unresolved issues to work out. His extensive notes show him still trying to develop Sonya's character (she was at one point rigorous and outspoken) and Raskolnikov's motive for committing the crime. He continued to be busy with Crime and Punishment until the fall, when he had to rush to complete The Gambler for Stellovsky and, to the great benefit of mankind and world literature, save for himself the rights to his own work. Crime and Punishment was completed in November and published to prodigious success.

Crime and Punishment Questions and Answers

The Question and Answer section for Crime and Punishment is a great resource to ask questions, find answers, and discuss the novel.

Who is following Svidrigailov?

Raskolnikov is following Svidrigailov.

Who does Porfiry say confessed to the crime?

Porfiry tells Raskolnikov that Mikolka confessed to the crime.

How does Porfiry answer Rodya's question? Who does he say murdered the woman?

Porfiry answers, "But you did, Rodion Romanych!"

Study Guide for Crime and Punishment

Crime and Punishment study guide contains a biography of Fyodor Dostoevsky, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Crime and Punishment
• Crime and Punishment Summary
• Character List
• Part One, Chapters 1-4 Summary and Analysis
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Essays for Crime and Punishment

Crime and Punishment essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Crime and Punishment by Fyodor Dostoevsky.

• Emerging From Claustrophobia: The Landscape of Redemption
• The Doomed Enslavement of the Individual in Capitalist Society as Viewed by Marx
• Irony in Crime and Punishment
• Suffering in Crime and Punishment
• There Are No Small Parts, Only Small Actors

Lesson Plan for Crime and Punishment

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Crime and Punishment
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Crime and Punishment Bibliography

E-Text of Crime and Punishment

Crime and Punishment e-text contains the full text of Crime and Punishment by Fyodor Dostoevsky.

• Translator's Preface
• Part One, Chapters I-II
• Part One, Chapters III-IV
• Part One, Chapters V-VII
• Part Two, Chapters I-II

Wikipedia Entries for Crime and Punishment

• Introduction

The Classic Journal

A journal of undergraduate writing and research, from wip at uga, an analysis of crime and punishment.

by Paris Whitney

Crime and Punishment by Fyodor Dostoevsky is a novel that has been deemed controversial, yet notable over the course of centuries. This novel was influenced by the time period and setting of 19 th century St. Petersburg, Russia. Society was transitioning from medieval traditions to Westernization, which had a large impact on civilians, specifically those in poverty. Dostoevsky writes this novel centered around a poor man whose poverty drives him to test an ideology that results in his own detriment. Although this is important, the plot is only part of what makes this novel significant. What continues to make this novel memorable centuries after it was written is how Dostoevsky uses the concept of time to progress the plot and establish information, how his use of symbolism contributes to the message and meaning of the story and its characters, and how his writing has unintentionally embraced and related to different philosophies.

symbolism, nature, time, philosophy, existentialism, ego transcendence

Fyodor Dostoevsky is perhaps the most controversial author of the nineteenth century. His best-known work is Crime and Punishment , a novel that explores the psychological depths of man. At the center is Raskolnikov, a character who inflicts and experiences a great deal of suffering, all because he perceives himself to be superior to the average man.

Crime and Punishment takes place in St. Petersburg, Russia. The time is 1860, Alexander II holds reign, and consequently political skepticism is abundant. In addition to skepticism, the country’s economic state has disproportionate effects on its citizens, as the increasing wealth gap parallels the increase of turmoil in the streets. The novel follows Rodion Raskolnikov, a man of lower class whose poverty leads him to forming an idea and testing its validity. This theory is that certain men are exempt from laws created by society, as their actions against these laws are done for the greater good. In order to test this theory, Raskolnikov forms a plan to murder Alyona Ivanovna, an old pawnbroker whom he has had many exchanges with. After killing Ivanovna, he ends up killing her sister Lizaveta as well, when her appearance at Ivanovna’s apartment startles his original plan. In a frenzy, he leaves their bodies at the crime scene, and on his way out his mental state begins to spiral leading the readers to follow his psychological decline. 

Around the world, philologists and psychologists alike have studied Crime and Punishment to understand what makes this work essential to literature. Through studies of symbolism, philosophy, and psychology, it is recognized how Dostoevsky uses the concept of time to develop the story, how he uses symbolism to reflect underlying emotions and intentions of characters, and how different ideologies may be related to the meaning behind Crime and Punishment. These components used together showcase how Dostoevsky’s work remains notable for centuries.  

Crime and Punishment is a novel symbolic of the drawbacks that society can have on individuals, specifically those who are at a disadvantage as a result of their class or mental state. When Dostoevsky penned this novel, the time was 1866. 19 th century Russia was a transition period from medieval traditions to Westernization. During this transition, many people struggled to accommodate to the changing times. There was unrest in the streets, conflict amongst the classes, economic upheaval, and a lack of concern for those suffering by the government. Those who were of higher class were better able to navigate this complex transition, while those in poverty lacked the materials necessary to accommodate to the coming changes. Previously Westernized countries exhibited unrest fromtheir populations while progressing in societal advancement. There was concern about this potentially translating into Russia’s development. Russia was not exempt from these issues, and Dostoevsky was no help in assuring that peace would be maintained. Dostoevsky’s work concerned people in power when he indirectly made an association between violence and societal progression, and how this may prompt the masses to revolt against their government. Localized current events, such as a rise in domestic violence and murder, also influenced this novel. Due to these real-life events that inspired Dostoevsky’s work, it can be said that Crime and Punishment is an accurate representation of its time period [ 1 ] .

Not only was time period an influence on his work, but Dostoevsky would manipulate the concept of time itself to convey the meaning behind his stories. In Crime and Punishment , Dostoevsky writes Raskolnikov as a character continuously in a fever of thoughts. His mind is constantly running rampant, unrelenting even in slumber. Before significant events Raskolnikov would either flashback or dream of memories foreshadowing future moments. An example of this is before committing to murder Alyona Ivanovna, his subconscious takes him and the reader back to a moment where he and his father witnessed the cruel killing of a mule at the hands of a crowd for being too weak to pull a wagon . From a third person perspective, young Raskolnikov’s reaction to this moment is described hither, “But by now the poor boy is beside himself. With a shout he plunges through the crowd into the sorrel, embraces her dead, bloodstained muzzle, and he kisses her, kisses her on the eyes, on the mouth…” (Dostoevsky, 1866, pg. 57). By preceding Raskolnikov’s murderous intentions with his younger self’s mournful reaction to the mule’s death shows the audience how Raskolnikov has developed over time, and the degeneration resulting from his experiences in life.Time also seems to slow down when Raskolnikov is in moments of heightened emotion , because as he loses the ability to conceptualize, the more feverish his mind becomes. Towards the end of the novel, Raskolnikov reflects on the events that have occurred, saying “after a long time had passed, he thought his consciousness must have kept flashing on and off, with several dim, dark intervals, right up to the final catastrophe. He was absolutely convinced he had been mistaken about many things at the time; the duration of time of certain events, for example.” (Dostoevsky, 1866, pg. 417). This feverish mindset also manifests into physiological symptoms, giving Raskolnikov the appearance of being sick. “He was not completely unconscious all the time he was sick, but rather delirious, in a feverish state of half consciousness. He could recall a good deal later. Once in his room seemed full of people… They had all gone out. They were afraid of him.” (Dostoevsky, 1866, pg. 112). Dostoevsky uses syntax and diction to write these occurrences in a way that mimics Raskolnikov’s thinking. The transitions between events are frenetic, reflecting the tumultuous thoughts that plague Raskolnikov as a result of his actions. Choosing to modify the chronology of the novel in this way, he emphasizes the severity of situations by making the readers feel like they are experiencing the event as well.

In addition to this, Crime and Punishment contains levels of symbolism to enhance the mental conditions of characters . George Gibian explored traditionalsymbolism [2] within Crime and Punishment , and came to find that many motifshave religious roots. Ranging from Christianity to Paganism to Russian Orthodoxy, Dostoevsky’s implementation of images such as water, vegetation, air, and earth come together to express the mental state of the characters immersed in a particular setting. For example, Gibian described how water is used as a symbol of rebirth or regeneration. In Crime and Punishment , Raskolnikov would aimlessly walk about the setting in moments where his mind and thoughts were chaotic. He would end up in symbolically important nature scenes, for instance beside a river that ran through his town, or on the ground surrounded by bushes and trees. When near the water, he would feel the weight of guilt coming from the crimes he has committed. “He stared at the darkening water of the canal. He seemed to be scrutinizing this water. At last red circles danced before his eyes, the buildings swayed, the passersby, the embankments, the carriages- everything around him began to swirl and dance. All of a sudden he shuddered. A wild and grotesque scene saved him, perhaps, from another fainting spell.” (Dostoevsky, 1866, pg. 163). In this scene, Raskolnikov’s physiological symptoms begin to arise as his consciousness fights for contrition. This is important because Raskolnikov’s proximity to water when these feelings arise is representative of the good side of his conscience, trying to push him in the direction of what is right.

While water and vegetation are symbols that typically have a positive connotation, their presence can be used to emphasize the degeneration of one’s mental state . An example would be Svidrigailov, a character whose presence is nothing short of problematic. He strives to satisfy his erotic desires regardless of who may be harmed in the process, solidifying his position as one of the antagonists in Crime and Punishment . Svidrigailov also possesses a dislike for nature. This is shown when he visits St. Petersburg, and in his final night of life he ends up spiraling in his hotel room. During this downward spiral, he hears the sound of trees rustling outside of his window combined with rain. Instead of comforting him, they drive him further towards insanity. “‘The trees are sighing. I must admit I don’t care for the sighing of trees on a dark, stormy night- it gives me the creeps!’” He takes time to contemplate his life, saying, “ ‘I never in my life liked water… You’d think now, of all times, I’d be indifferent to these fine points of esthetics and comfort, whereas actually I’m fussier,’” (Dostoevsky, 1866, pg. 480). He resents the sound of vegetation when having a mental breakdown, and he ends up committing suicide in the midst of a fog that has emerged after a thunderstorm- showing his opposition to growing as a person. The use of nature as a way to reflect internal torments and emotions of different characters shows Dostoevsky’s proficiency in storytelling. Having the character’s surroundings speak the unspoken about what they may be feeling adds a level of meaning to the novel. This implementation of pathetic fallacy strengthens the story while aiding the reader in understanding the message of the text. When looking at the novel as a whole, it is clear nature bridges a connection between the audience and the author, by contextualizing events using the description of the setting where they take place. The narrator establishing the environment before delving into details about actions is a way to indicate to the reader potential outcomes of events, or foreshadow underlying emotions.

Symbolism in this novel does not stop with traditional aspects. Janet Tucker [3] explored the significance of clothing in respect to a character’s religious prospects and how their clothing reflects their beliefs or state of mind. When being worn by someone who has dedicated their life to Christ, clothing is modest and kept to the best of their ability. Sonya is a character in Crime and Punishment who serves as a deuteragonist, being one of the women that only have pure intentions when it comes to helping Raskolnikov. She tries to help Raskolnikov find faith and become a better person, and she does her best to comfort him in his worst moments of mental distress. Sonya even follows Raskolnikov to Siberia when he is imprisoned, despite his resistance to loving her. After analyzing this description of character, it can be said that Sonya’s clothes reflect the graciousness of her soul. She conceals her body in rags because she is poor, although she tries her best to keep them from becoming tattered, showing her values and how she maintains her composed state of mind. Comparing her to Raskolnikov, his mental state is too far distracted for him to care about trivial matters such as his appearance. His clothes are riddled with holes, and he lacks the incentive to fix the damage. An interesting point that Tucker made is how Raskolnikov uses his clothes in his crimes. He wears an overcoat that he uses to conceal his murder weapon and the items he has stolen from Ivanovna after killing her. Considering this, Tucker’s point is validated by the quality of clothing matching the quality of the person who bears it. Dostoevsky using clothing to portend the mental state and values that characters hold is a creative and effective way to give the readers insight as to how they will be progressing throughout the novel. Astute members of the audience will be able to recognize the differences among presentation of characters and base predictions about their actions off of their clothing. It is also interesting to see how characters’ religious affiliations can be observed through their attention to quality of clothing, reflecting how they choose to preserve and care for their items. In contrast to nature’s reflection of emotions, clothing gives insight about personal traits and the morals that shape a character into who they are.

While symbolism is important to developing the meaning behind Crime and Punishment , what makes this novel so notable are the philosophies it both challenges and embraces unintentionally. Existentialism [4] is a philosophy maintaining the belief that as individuals, there is a right within everyone to determine quality of life through acts of free will. It is easy to see how Crime and Punishment can be regarded by many existentialists as representative of this philosophy, but overall Dostoevsky is not one many would like to consider an archetype for existentialism. And, in retrospect, he is not. Dostoevsky’s main character in Crime and Punishment spends a lot of his time soliloquizing his belief that certain men are greater than others. Raskolnikov thinks men like this come to be by exercising their free will in ways that defy the common laws of life, but with the intention that what they are doing will better the world in the end. This idea is the reason behind Raskolnikov’s eventual murder of Alyona Ivanovna, a pawnbroker, and her half-sister Lizaveta. He kills Ivanovna as a way to test if he can be one of these people, but quickly discovers in the throes of his crime that he is not. This misconstrued idea of free will presented in Crime and Punishment can be where many begin to wonder if Dostoevsky was an existentialist. But a conclusion can be made that Dostoevsky’s free will is psychologically based and pushes the boundaries between what is right and what is wrong. Existentialism, on the other hand, is a philosophy centered around creativity and authenticity of the self.       

On a more granular level, while Dostoevsky was not an existentialist, his work shows his agreement with the philosophical concept of ego transcendence [5] . Transcendence of the ego is described as an advancement of the “authentic self” through experiences that result in a greater awareness. Once this awareness is achieved, this person usually begins to see themselves as greater than the average human. This is easily relatable to Raskolnikov’s philosophy that he reiterates often throughout the novel. The way that Dostoevsky sets his characters up for transcendence is through suffering. Richard Chapple analyzed the way Dostoevsky progresses Crime and Punishment by noting the use of the prism of the divine [6] . The prism of the divine includes 6 reasons that people suffer, and Dostoevsky provides different scenarios for representations of each reason. Raskolnikov suffers as a result of “recognition of transgression,” which is his guilt overpowering him after killing two women. It is even more stressful because in this guilt he realizes that he is not the monumental person he thought he was. In turn, he suffers because of “involvement in the torments and suffering of others,” as a result of brutally murdering his victims, followed by “greed and ambition.” Once failing to follow through with his entire plan beyond murdering Ivanovna, the weight of his ambition becomes heavy as it never had a chance at being attained. This dissatisfaction with himself contributes more to his depression than the fact that he is a murderer.

The last three prisms of the divine are “lack of faith,” “pride,” and the “inability to love.” Here, it is important to note Chapple’s perspective on how pride stems into all categories of suffering. Chapple discussed concepts such as clothing, a previously mentioned symbol, and how its relation to pride can be interpreted. He states, “The proud often suffer because of poverty or other seemingly external circumstances such as name, clothing and position. Pride generates a façade, and characters wear masks to conceal an inner reality…” (1983, p. 97). While Raskolnikov’s hubris is his biggest torment, Raskolnikov suffers for all of these reasons, and these intersections are where Sonya tries to ease his pain. When Raskolnikov is in his apartment with Sonya and is attempting to explain his crimes, she reassures him that she will not forsake him as he believes she will, going as far as to promise to follow him wherever he goes, even to prison. When he asks her what he should do, she advises him to go back to where he committed these atrocities, kiss the earth and kneel on the ground, then confess aloud that he is a murderer. By doing so, he is confessing to God and has a chance of being forgiven for his sins.

While religion plays a big role in Crime and Punishment , Dostoevsky’s implementation of Lazarus is predominately referencing the song rather than the biblical story- though that is mentioned. The Lazarus song [7] is a song that encapsulates the belief that the relationship between the rich and the poor should include the rich helping those in poverty by almsgiving. When Raskolnikov is preparing to face Porfiry Petrovich, a detective in the case of Ivanovna and Lizaveta’s murders, he says to himself “I’ll have to play the part of Lazarus for him too,” ( Crime and Punishment , 237). When Raskolnikov says this, he means that he is going to have to embrace his situation as a poor, college dropout, as a way to appear more innocent to Petrovich. This manipulation is seen from the side of poor people such as Raskolnikov, but also from those of wealth.

Raskolnikov’s sister, Dunya, was engaged to a man of the name Luzhin who expected her to marry him out of desperation. When Dunya backs out of the marriage, Luzhin scolds himself for not using his money to manipulate her into staying by purchasing expensive gifts, as opposed for thinking he should have treated her better. It is through secondary characters like these when many underlying messages are being portrayed. While Raskolnikov is the central character of Crime and Punishment , Dostoevsky uses secondary characters as a way to reflect certain aspects that Raskolnikov may be lacking, such as consciousness and an ability to recognize and admit to one’s mistakes. With Sonya, she was a part of a family that forced her into prostitution because they were too poor to provide for her, with a father who was too drunk to care. Marmeladov was the father’s name, and he is who Raskolnikov first meets in a bar and confesses to his shame about the situation he has put his daughter in. Similarly, Raskolnikov’s mother reduces his sister to working in uncomfortable scenarios in order to be able to send Raskolnikov to college. She feels guilt at this when Dunya becomes the center of town drama, after the husband in the family she works for begins to lust after her. These characters have made mistakes, but what parallels them to Raskolnikov is the fact that they acknowledge their wrongs, whereas he has to find the courage to do so .

Raskolnikov’s struggles with admitting that he can make mistakes like anybody else stem from his beliefs that there are two types of people in the world. He references Napoleon throughout the novel, because he believes him to be an example of how things considered to be bad have to happen in order for progress to be made. Pearl Niemi defines this as “power-cult [ 8] ,” the part of Raskolnikov believing in certain people’s superiority to regular laws. The part of Raskolnikov that cripples him once he tries exercising this belief can be referred to as “child-cult.” The child-cult is Raskolnikov’s emotions and thoughts that challenge the power-cult and ultimately overtake it. This duality within Raskolnikov has an interesting relation with his name. “Raskolot,” is the Russian verb meaning division, or split. When analyzing the schism between Raskolnikov’s feelings and actions, it gives his name a greater meaning and shows how Dostoevsky was very intentional with his work.

Considering what makes a novel notable, Hugh Curtler [9] elaborated on the idea that a novel which can be widely interpreted is what makes it memorable. Curtler referred to the part of the writer that allows for this to happen as the “poet,” because they write without clarification. In this respect, they acknowledge how Dostoevsky was successful at this throughout the majority of Crime and Punishment. Where Curtler thought Dostoevsky failed with this novel is in the epilogue. Instead of leaving the audience to gather their own opinions about certain aspects, he writes an epilogue that confirms what would have been better left unsaid, specifically Raskolnikov’s ability to feel emotions such as sadness, love, regret,etc .

In retrospect, Dostoevsky’s use of time, symbolism, and philosophical aspects in Crime and Punishment each provide different levels of meaning to the story. When incorporating the concept of time in terms of context and story progression, it allows the reader to grasp the importance of the events being foreshadowed, in addition to understanding the influences on decisions of characters. His attention to detail using motifs to communicate underlying emotions and intentions of his characters creates another layer of meaning for this novel, as the interpretation of these motifs make Crime and Punishment different for every reader. And lastly, Dostoevsky’s novel embraces different philosophies, while simultaneously maintaining its individuality from any one ideology. He writes this novel in a way where it applies to different ideals, wherein itself it is exclusive from being categorized, due to its unique central message. This message is one that can be applied to many time periods in history, including the 21 st century. The inevitable progression of societies tends to commonly leave those who are underprivileged to fend for themselves. When this isolation persists, is it unexpected to have people who attempt to create a life for themselves trying to prove that they are worth something, when their government treats them like nothing? Crime and Punishment provides a variety of perspectives for the audience’s consideration. Despite the many ways that this novel can be read and interpreted, one thing is clear, Crime and Punishment is illustrious.

Bourgeois, P. (1980). Dostoevsky and Existentialism: An Experiment in Hermeneutics. Journal of Thought, 15(2), 29-37. Retrieved May 8, 2021, from http://www.jstor.org/stable/42588842

Chapple, R. (1983). A Catalogue of Suffering in the Works of Dostoevsky: His Christian Foundation. The South Central Bulletin, 43(4), 94-99. doi:10.2307/3187246

Curtler, H. (2004). The Artistic Failure of Crime and Punishment.  Journal of Aesthetic Education,   38 (1), 1-11. doi:10.2307/3527358

Dostoevsky, F. (1866). Crime and Punishment. Signet Classics.

Gibian, G. (1955). Traditional Symbolism in Crime and Punishment.  PMLA,   70 (5), 979-996. doi:10.2307/459881

Harrison, L. (2013). THE NUMINOUS EXPERIENCE OF EGO TRANSCENDENCE IN DOSTOEVSKY. The Slavic and East European Journal, 57(3), 388-402. Retrieved May 8, 2021, from http://www.jstor.org/stable/43857534

Ivanits, L. (2002). The Other Lazarus in Crime and Punishment.  The Russian Review,   61 (3), 341-357. Retrieved May 8, 2021, from http://www.jstor.org/stable/3664132

Kohlberg, L. (1963). Psychological Analysis and Literary Form: A Study of the Doubles in Dostoevsky. Daedalus, 92(2), 345-362. Retrieved May 8, 2021, from http://www.jstor.org/stable/20026782

Niemi, P. (1963). THE ART OF “CRIME AND PUNISHMENT”.  Modern Fiction Studies,   9 (4), 291-313. Retrieved May 8, 2021, from http://www.jstor.org/stable/26278717

Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

Tucker, J. (2000). The Religious Symbolism of Clothing in Dostoevsky’s Crime and Punishment. The Slavic and East European Journal, 44(2), 253-265. doi:10.2307/309952

[1] Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

[2] Gibian, G. (1955). Traditional Symbolism in Crime and Punishment. PMLA, 70(5), 979-996. doi:10.2307/459881

[3] Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

[4] Bourgeois, P. (1980). Dostoevsky and Existentialism: An Experiment in Hermeneutics. Journal of Thought, 15(2), 29-37. Retrieved May 8, 2021, from http://www.jstor.org/stable/42588842

[5] Harrison, L. (2013). THE NUMINOUS EXPERIENCE OF EGO TRANSCENDENCE IN DOSTOEVSKY. The Slavic and East European Journal, 57(3), 388-402. Retrieved May 8, 2021, from http://www.jstor.org/stable/43857534

[6] Chapple, R. (1983). A Catalogue of Suffering in the Works of Dostoevsky: His Christian Foundation. The South Central Bulletin, 43(4), 94-99. doi:10.2307/3187246

[7 ] Ivanits, L. (2002). The Other Lazarus in Crime and Punishment. The Russian Review, 61(3), 341-357. Retrieved May 8, 2021, from http://www.jstor.org/stable/3664132

[8 ] Niemi, P. (1963). THE ART OF “CRIME AND PUNISHMENT”. Modern Fiction Studies, 9(4), 291-313. Retrieved May 8, 2021, from http://www.jstor.org/stable/26278717

[9] Curtler, H. (2004). The Artistic Failure of Crime and Punishment. Journal of Aesthetic Education, 38(1), 1-11. doi:10.2307/3527358

Citation style: APA 6 th edition

Crime and Punishment

Fyodor dostoevsky, ask litcharts ai: the answer to your questions.

What does it mean “to be in one’s right mind”? Raskolnikov is presented, from the beginning, as a character on the brink of mental collapse. He talks to himself in public, lies in bed all day in his small apartment, and barely eats. He walks aimlessly around Petersburg, and he often does not remember where he goes or what he does. Razumikhin , Pulcheria , and Dunya fear for Raskolnikov’s mental state, eroded not only by his poverty but, later, by his guilt and paranoia over the murder.

Many other characters are also touched by mental illness or drunkenness. Marmeladov’s alcoholism prevents him from holding down a job and supporting his family. He is eventually crushed under a wagon. Katerina , his wife, succumbs to madness prompted by her grief over her husband’s death and the weight of their family’s poverty. Razumikhin is a notable drinker who first arranges for Pulcheria’s and Dunya’s comfort in Petersburg while deeply intoxicated. Svidrigailov is so broken by Dunya’s unwillingness to elope with him that he decides to kill himself. Pulcheria’s grief over Raskolnikov’s condition and exile drives her illness and death. Her grief, like Katerina's, is essentially indistinguishable from madness.

Although questions of madness and sanity dominate the novel, Raskolnikov never admits that his crime was caused by temporary insanity—although this, more or less, is the verdict rendered after his confession. Raskolnikov cannot find any one reason for killing the two women. Indeed, it becomes clear that his madness derives more from the crime than it does prompt the crime.

Madness and Intoxication ThemeTracker

Madness and Intoxication Quotes in Crime and Punishment

Details, details above all! . . . It’s these details that ruin everything always . . .

It is necessary that every man have at least somewhere to go.

This marriage will not take place as long as I live, and to the devil with Mr. Luzhin!

God . . . but can it be, can it be that I will really take an axe and hit her on the head and smash her skull . . . ?

If he had ever once managed to analyze and finally decide everything down to the last detail . . . at that point he would most likely have renounced it all as absurd, monstrous, and impossible.

But a sort of absentmindedness, even something like reverie, began gradually to take possession of him: as if he forgot himself at moments . . . and clung to trifles.

If indeed this whole thing was done consciously and not foolheadedly . . . then how is it that so far you have not even looked into the purse and do not know what you’ve actually gained?

"And what if it was I who killed the old woman and Lizaveta?"

"But can it be?"

"Admit that you believed it! Right? Am I right?"

He finally got it!

What I’m driving at . . . is that your complete recovery now depends chiefly on you yourself. . . . I should like to impress upon you that it is necessary to eliminate the original, so to speak, radical causes that influenced the onset of your ill condition.

Despite her eighteen years, she looked almost like a little girl, much younger than her age . . . and this sometimes even appeared comically in some of her movements.

. . . only peasants or the most inexperienced novices deny everything outright and all down the line. A man with even a bit of development . . . will certainly try to admit as far as possible all the external and unavoidable facts.

You’ve all been saying that I was mad . . . and just now I imagined that perhaps I really am mad and was only seeing a ghost!

Jesus therefore again groaning in himself cometh to the grave . . . . Jesus said, Take ye away the stone. . . . Jesus lifted up his eyes, and said, Father, I thank thee that thou has heard me, . . . and he cried with a loud voice, Lazarus, come forth. And he that was dead came forth.

One little word, Rodion Romanovich, sir; concerning everything else, it’s as God wills, but all the same we’ll have to ask you a thing or two formally, sir . . . so we’ll be seeing each other right enough, sir.

Nonsense! I simply killed—killed for myself, for myself alone . . . and it was not money above all that I wanted when I killed . . . .

Dunya! This Razumikhin, Dmitri Prokofych, is a very good man . . . He is a practical man, hard-working, honest, and capable of deep love . . . .

He’s a political conspirator, he is, for sure, for sure!

You’d run away, and come back on your own. It’s impossible for you to do without us.

"Well, never mind, brother. It’s a good place. If they start asking you, just tell them he went to America."

"Oi, dat’s not allowed, it’s de wrong place!"

I’m wicked, I see that . . . but why do they love me so, when I’m unworthy of it!

• climate change

I Hate Summer—and You Should Too

W ake me when it’s over—summer, that is. I know, I know, you just love it: the long days, the warm evenings, the trips to the beach, the afternoons at the ballpark when your favorite team is playing and the pennant race is tightening—and the temperature is skyrocketing, and your skin is blistering, and the beer is $6, and the drive home will be in 88° heat, which is fine if you don’t mind running the air conditioner, except that you’re burning through $4–a-gallon gas, because it’s summer-driving season and the giant oil companies didn’t get to be the giant oil companies without knowing the right time of year to hike their prices. 

And that’s hardly all of it. Summertime is the season of horribles, from higher crime rates, to increased warfare, to spikes in asthma, to raging wildfires, to swarms of bugs, to a rise in traffic accidents—and even to a bump in divorces, because how could a 100° heat wave, a busted A.C., and the kids out of school not spell domestic bliss?

What’s more, it’s only getting worse. Last summer was the hottest on record, according to the National Oceanic and Atmospheric Administration, and the 10 warmest years were all from 2010 to 2022. So with a lousy part of the year becoming lousier still, here, in no particular order, are nine reasons summer is the suckiest season of them all.

Road wrecks

There’s nothing like long days, no school, and lots of teen drivers to make the highways a safe place to be. Not . It’s no coincidence that the Automobile Association of America (AAA) labels the stretch between Memorial Day and Labor Day “the 100 deadliest days.” There are over 11.7 million U.S. drivers between the ages of 15 and 20, and if you know what’s good for you you’ll stay out of their way—especially when they’re out as a group, driving recreationally. “We know that when teens are joyriding as opposed to driving with a specific destination and time in mind, there is a heightened risk,” said Diana Gugliotta, senior manager of public affairs for AAA Northeast, in a statement last year.

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AAA’s numbers back that up. When a teen driver has only other teens in a vehicle, the risk of fatality for the driver and all passengers increases 51%. When at least one passenger is over 35, the overall fatality risk declines 8%. From 2011 to 2020, there were 7,316 deaths in summertime teen-related traffic accidents—nearly half the total of all teen-related traffic accidents for the year.

This means war

Napoleon Bonaparte could tell you a thing or two about what it’s like to pick a fight with Russia in the dead of winter. In 1812, the French army suffered half a million casualties in battles that climaxed in December—a rout that led to Napoleon’s abdication and exile in 1815. Any general worth his steed would prefer to fight in the summer when there’s plenty of light, the roads are clear, and soldiers aren’t bundled up against the cold. As far back as 55 BCE , the Roman army’s “campaigning season” would end when summer wound down and the soldiers would retreat to their winter quarters. It’s probably not a coincidence that World War I began in August 1914, World War II on Sept. 1, 1939, and Nazi Germany’s invasion of Russia in June 1941. More recently , in August 1990, Iraq invaded Kuwait, and in August 1991, the old Soviet Union nearly fell into civil war when communist hardliners tried to oust President Mikhail Gorbachev. America’s 20-year war in Afghanistan typically saw its fiercest fighting in the summer months, and the same is true of the war in Ukraine .

Hot-weather warfare is likely only to get worse. A 2009 paper in PNAS found that rising temperatures exacerbated by climate change could lead to a 54% increase in the risk of civil war in Africa by 2030. A 2011 study in Nature found that warmer weather during El Niño years doubled the risk of civil war in 90 tropical countries and could have accounted for 20% of conflicts around the world over the past half century. Meantime, what’s the season of peace on Earth and goodwill toward men? Wintertime, baby. Wintertime.

Going buggy

Summer advertises itself as the season of birdsong and butterflies. Don’t believe it. It’s the season of pests—particularly ticks, mosquitoes, flies, fleas, bees, and wasps. Ticks, mosquitoes, and fleas in particular can spread diseases that include malaria, yellow fever, Zika, dengue, Lyme, and chikungunya. Bees, wasps, and yellowjackets—with their infernal stings—are similarly creatures of the summer. And you think you know flies? You don’t know flies. There are 110,000 species of them —most more active in hot weather—making up a global population of 17 million flies for every living human. Pssst ! They’ve got us surrounded.

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Season of wheeze

Ah, summer, it takes your breath away. Literally. More than 25 million Americans have asthma, and 4.7 million of them are children— according to the U.S. Centers for Disease Control and Prevention (CDC). If that means suffering during the temperate months, it’s much worse when the oven that is summer turns the dial up to broil. Heat and humidity constrict and narrow airways , trap ozone, and cause the air to entrain more particulate matter from cars, trucks, and smokestacks. What’s more, stagnant summer air—especially in homes with poor air conditioning or none at all—can exacerbate the presence of mold, dust, and pollen. And then—and stop me if I’ve mentioned this before—climate change is making things more punishing still for people with asthma. A 2023 U.S. Environmental Protection Agency report found that rising temperatures could increase the incidence of childhood asthma by anywhere from 4% to 11%, due partly to worsening pollution and allergies, and the growing problem of wildfire smoke .

Speaking of wildfires…

When it comes to dust, haze, and a mustard-colored sky, Mars has got nothing on Earth—at least during the summer fire season. Last year’s Canadian wildfires , sparked by lightning and fueled by high temperatures and drought, torched more than 71,000 square miles of land in Canada—an area the size of North Dakota—and yellowed out skies in the U.S. from the Midwest to the Northeast to the mid-Atlantic states. But the U.S. is playing with matches too. California’s wildfire season runs from April through October—peaking in the summer—with megadroughts and heat waves driving the flames. Of the state’s 20 largest fires, half occurred from 2017 to 2022. Climate change, of course, plays a regrettable role in all of this.

Crime and punishment

Nothing puts bad guys in a bad mood like hot weather—or so it seems. A 2019 study by the National Bureau of Economic Research found that on days with a maximum temperature above 85°F, all crime increases by 2.2% and violent crime by 5.7%. A 2023 study in PLOS One attributed this to what is known as the Theory of Routine Activities, which postulates that for crime to occur, three factors must be present: a motivated offender, a suitable target, and an absence of guards or surveillance. Of these, it is the second one—the suitable target—that is especially common in summer, according to the 2023 study, with greater numbers of people out on the streets. 

As for the first variable, a motivated offender, well, even criminals don’t   want to be outside commiting a crime in a 20°-below polar vortex. During a particularly deep freeze in 2015, Boston saw a 32% drop in burglaries, a 35% drop in larceny, and 46% drop in vehicle theft. Over the same period, New York City set a modern-day record , going 12 days without a homicide.

Summer’s contribution to violent crime in particular may be due at least in part to the common experience of hot weather leading to hot tempers, with even the most even-keeled people more inclined to blow a seam if they can’t cool off. One 2020 study found that people playing competitive video games in a hot room were more aggressive toward their gaming partner than they were when the room was cooler.

Daylight Saving Time

Don’t get me started on Daylight Saving Time. There is just nothing to like about this spring-forward inanity. For starters, it increases energy consumption (when it was supposed to decrease it) due to greater use of air conditioning. The changes in sleep patterns it causes contribute to heart attack , stroke , inflammation , and suicide , not to mention a 6% increase in fatal traffic accidents due to circadian scrambling and overall sleepiness. Small children and teens suffer particularly when the change in the clocks affects sleep cycles.

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Finally, the atmospherics are all wrong. Nighttime is nighttime, people; the sun is the party guest that won’t go home if it’s still out at 9 p.m. I say send it packing no later than 8 p.m. and then race back to a nice wintertime sundown at cocktail hour. Cheers.

Trouble on the homefront

If you want to stay married, it might be wise to sleep through summer. That’s the finding of a 2016 study out of the University of Washington showing that August, along with March, are the two peak months for divorce in the U.S. The reason in both cases is more or less the same: couples tend to see winter and summer vacations as untouchable family time and, even in highly stressed marriages, will make it a point to hold the ship together for those treasured stretches. Once the good times are over, however, the marriages might be too.

“People tend to face the holidays with rising expectations, despite what disappointments they might have had in years past,” said sociology professor and the study’s co-author Julie Brines, in a statement at the time the research was released. “They’re very symbolically charged moments in time.”

When those expectations are dashed, a bust-up is likelier to follow. And while both early spring and late summer were implicated equally in that study, other research by Stowe Family Law in the U.K. found that September—the tail end of summer—is the peak divorce month on the other side of the pond, with total-immersion family time throwing financial, interpersonal, and other issues into relief. 

It kills your skin

No matter how good it might feel to bake in the sun, your skin really, truly does not want a tan. In a rapidly warming world, it should come as no surprise that the sun is murder on your skin—drying it, aging it, cracking it, and much more importantly, leading to cancer. A 2022 paper in the journal Cureus found the highest rates of skin cancer diagnoses occurring from July to October. 

Simple steps like wearing sunscreen , avoiding the sun from 10 a.m. to 4 p.m., and wearing protective clothing can all help reduce the risk. Sunshine in the winter, of course, can cause similar damage, but in the summer you're out a whole lot more and wearing a whole lot less. That—like summer as a whole—spells trouble.

Correction: The original version of this story misstated the date of Napoleon Bonaparte's abdication. It was 1815, not 1914.

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Write to Jeffrey Kluger at [email protected]