crime and punishment book report

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

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Crime and Punishment

Fyodor dostoevsky.

Welcome to the LitCharts study guide on Fyodor Dostoevsky's Crime and Punishment . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Crime and Punishment: Introduction

Crime and punishment: plot summary, crime and punishment: detailed summary & analysis, crime and punishment: themes, crime and punishment: quotes, crime and punishment: characters, crime and punishment: symbols, crime and punishment: literary devices, crime and punishment: theme wheel, brief biography of fyodor dostoevsky.

Historical Context of Crime and Punishment

Other books related to crime and punishment.

• Full Title: Crime and Punishment (In Russian: Prestuplenie i nakazanie )
• When Written: 1865-1866
• Where Written: St. Petersburg
• When Published: 1866 (serially, in twelve installments)
• Literary Period: Realism
• Genre: Psychological realism
• Setting: St. Petersburg, Russia; 1860s
• Climax: Raskolnikov confesses to Sonya his murder of the pawnbroker and Lizaveta
• Antagonist: Porfiry Petrovich
• Point of View: Third-person omniscient

Extra Credit for Crime and Punishment

The Problem of Translation. The Russian language is filled with prefixes, suffixes, and forms of words that allow for numerous shades of meaning, depending on circumstances, and which allow certain ideas to recur throughout a text. For example, the Russian word for crime used often in the novel can be translated as “stepping over”—and the idea of “overstepping” the bounds of civilized society becomes a fixation of Raskolnikov’s throughout the work. Dostoevsky has been translated into English many times over the past one hundred-odd years, with the most recent version (the version used as the basis for this guide) being Richard Pevear and Larissa Volokhonsky’s 1992 translation. This latter version, in the words of the translator, attempts to capture both the “roughness” of Dostoevsky’s language and the repetitions and echoes that are a hallmark of his prose.

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Crime and Punishment

Murder, Motives, and Malice

Author: Fyodor Dostoevsky

Have you ever thought that you are better than your circumstances? Have you ever thought that maybe you are meant for something more? Have you ever thought that maybe the rules don’t apply to you?

Romanovich Raskolnikov is a poverty stricken student in Petersburg with aspirations. An ardent follower of philosophy, a lover of historical figures with the grit and tyranny to do what needs to be done, Raskolnikov’s published essay proposes a two pronged morality: rules for the masses and no rules for the great people: the leaders, the influencers, the figures of history, the unconquerable men. Raskolnikov, needless to say, suspects that he is one of these great men, and it’s that suspicion that convinces him to commit a murder.

The motive for murder is a simple one: Raskolnikov needs money and he has convinced himself that the grizzled old pawnbroker deserves a violent end. It hardly matters what happens to her – one of the ordinary – because with the money Raskolnikov will start his extraordinary future, one with activities and results that will absolve a multitude of sins. There’s just one problem: the reality of murder is far different than Raskolnikov could have ever suspected, and when things start to go wrong, he is forced to confront both his theories and who he is as a person.

Image by Markus Spiske from Pixabay

Crime and Punishment is a convoluted and surprisingly fast pace devolution into madness and murder. Dostoevsky, in the vein of the Russian novelists who came before him, concentrates on the big questions of morality and social justice but not in an abstract way. The story starts in the action, Raskolnikov working out the finer details of committing a grisly axe murder in broad daylight. Walking the slums, his disjointed conscience is already cringing, but he remains determined to become a great man. The only way to do that is to break the rules. To be worth more than a penurious old woman. To start his journey he needs money; to get money, he needs to kill.

Meanwhile, Raskolnikov’s mother and sister are encountering their own difficulties, escaping a vicious rumor and then falling into the hands of a scheming suitor. Their sad story will bring them all way to St. Petersburg where an ailing Raskolnikov is trying to overcome the hideousness of his crime and escape a clever police detective. It would be a comedy of errors, except there is more terror than comedy, more sickness than hilarity, and a long spiral downward that will take all of the characters to the brink of what they can bear.

Crime and Punishment has a surprisingly contemporary feel because of the immediacy of the action and the escalating cat and mouse game between Raskolnikov and Petrovich, the lead investigator. There is a continual sense of paranoia, an almost thriller-like tension that is complimented by a great cast of villainous characters who play the devils on Raskolnikov’s shoulders.

Image by Stefan Keller from Pixabay

There are also a few (very few) good characters, namely the sex worker Sonya, who through selfless dedication to her distraught family holds on to her faith and goodness despite her situation and social ostracism. It’s inevitable that she will play Raskolnikov’s angel and try to lure back a man who put all his hope in ideology only to come out the other side. Raskolnikov’s dedication to his “rightness” despite the mental and physical calamities that are overtaking him and a conscious that is not quite dead add a level of poignant realism, and, as with most (if not all) classic Russian novels, the ending is not happily ever after. It’s not, however, entirely bleak either.

Crime and Punishment makes its points, but it’s also just a good story that puts readers in the moment and makes hundreds of years ago seem like yesterday. The characters are vibrant and sordid, hopeful and hopeless, and the inhumanity of the individual is played out to the utmost degree without ever entirely divorcing us from the dark souls who populate this story. Other than the usual and expected difficulty with the names (every character in a classical Russian novel has several names, nick-names, pseudo-names, etc.) the story is easy to follow and dynamic. A must read for anyone who likes a good story with a gut-punch and a moral.

– Frances Carden

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Reviewed by on August 19, 2013

Crime and Punishment by Fyodor Dostoyevsky

• Publication Date: December 31, 2002
• Paperback: 718 pages
• Publisher: Penguin Classics
• ISBN-10: 0140449132
• ISBN-13: 9780140449136

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Historical Context

Crime and punishment, by fyodor dostoevsky.

Fyodor Dostoevsky's iconic novel, “Crime and Punishment”, emerged during Russia's literary golden age, a time of intense ideological debates and intellectual fervor that inspired profound and thought-provoking works of literature.

Historical Period

“Crime and Punishment” is set in the mid-1860s, a period of profound transformation and tumult in Russian society.

Importance of the historical period

The mid-1860s are crucial to the book because they reflect Russia's social state during the aftermath of some notable happenings like the Emancipation of the Serfs, rapid urbanization, and intense intellectual debates. These details intensify the novel's exploration of poverty, morality, and radical ideas, mirroring Raskolnikov's existential struggles and societal conflicts.

Cultural Background

The cultural background is marked by the dominance of Orthodox Christianity, which influences the novel’s themes of sin, redemption, and morality. Some informations on the rigid class system and the emerging middle class, highlighting societal tensions were also revealed. Intellectual movements like nihilism challenge traditional values, reflecting the protagonist's inner turmoil and the broader cultural conflicts of the time.

Period Influence

The social uproar and poverty following the Emancipation of the Serfs are embodied in Raskolnikov's destitution and his desperate theories about morality and power. The era's intellectual debates on nihilism and utilitarianism drive his justification for murder, while the rapid urbanization of St. Petersburg creates a surrounding for isolation, magnifying his psychological torment.

Continue down for the complete historical context to Crime and Punishment

Article written by Israel Njoku

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

Fyodor Dostoevsky’s book introspectively reflects his passionate response to the infiltration of ideas he deemed dangerous from Western Europe into Russia. Although he went to prison for being part of a radical intellectual group in Russia, the prison experience deeply affected his outlook on life and he located genuine progress this time with traditional Slavic values of brotherhood, rather than Western individualism and subsequent nihilism.

The idea for “ Crime and Punishment ” first came to Dostoevsky in a raw and vague form when he was in prison in Siberia. It was written and published in 1866, during a period of significant social, political, and economic changes in Russia. It happened that Tsar Alexander II had initiated a series of reforms, including the Emancipation of the Serfs in 1861, which aimed to modernize the country and reduce the feudal system’s hold on society — and St. Petersburg, being the novel’s setting, was rapidly urbanizing, leading to stark contrasts between wealth and poverty.The influx of people into cities created overcrowded and overwhelming living conditions, leading to unemployment, and widespread poverty.

The mid-19th century was a time of intense intellectual activity and debate in Russia. Nihilism and radical socialist ideas were gaining popularity among the youth and intellectuals. These breed a certain nature of ideas that questioned traditional values, religion, and the autocratic political system, influencing characters like Raskolnikov, who embodies some of these radical ideas. The Russian legal system was undergoing reforms, with changes in how crimes were prosecuted and punished.

Author’s Background

Fyodor Dostoevsky, popularly known as one of The Russian Great in literature was born 1821 in Moscow. His life was encased in sheathe of personal struggles and hardship; orphaned at a young age and plagued by epilepsy, Dostoevsky’s worldview was shaped by his tumultuous life.

These experiences, including his arrest and near-execution for participating in a utopian socialist group, and sentence to a Siberian labor camp imbued his writing with a raw, existential urgency, capturing the human condition’s complexities with unparalleled depth.

Before the publishing of “ Crime and Punishment ,” Dostoevsky authored several notable works, including “Poor Folk” and “Notes from Underground.” “Poor Folk,” his debut novel, was a critical success that established him as a prominent literary figure. “Notes from Underground” delved into the psyche of an isolated, bitter man, laying the groundwork for his later exploration of existential themes. These early works not only cemented his reputation but also set the stage for his masterpieces which would leave an indelible mark on world literature with their profound insights into human nature and societal issues.

Cultural Context

This book vividly paints a picture of the dominance of Orthodox Christianity in 19th-century Russia, by portraying the themes of sin, guilt, and redemption. Through the main character, the Dostoevsky reveals the era’s struggles with poverty, honor, and the quest for moral righteousness. The novel also highlights the rigid class structures and the burgeoning middle class, reflecting societal tensions.

It exposes the harsh realities of urban poverty, the alienation of individuals in a sprawling metropolis, and the moral ambiguities faced by people in desperate circumstances. By peeping through Raskolnikov’s psyche and his radical ideas about morality and power, the book questions the moral foundations of society and critiques the emerging utilitarian and nihilistic ideologies that were gaining traction among the youth and intellectuals of the time.

The novel is heavily influenced by the cultural movements and intellectual trends of the mid-19th century, particularly nihilism and existentialism. These movements questioned traditional values, religion, and the nature of existence, which are central to Raskolnikov’s internal conflict and his justification for murder.

Literary Context

“ Crime and Punishment ” is a cornerstone of the psychological novel genre, which analysis and unravels inner lives and deepest thoughts of its characters. The novel employs a realist approach, vividly depicting the gritty, oppressive environment of St. Petersburg, and uses internal monologues and detailed character studies to explore themes of guilt, redemption, and the human psyche.

The novel draws its breath of life from the Russian Realism, with its focus on everyday life, social issues. It is also worth to mention existentialism, with its exploration of individual existence, freedom, and choice, profoundly shapes the novel’s thematic core.

Dostoevsky’s work stands alongside other great works of psychological fiction, such as Leo Tolstoy’s “Anna Karenina” and Gustave Flaubert’s “Madame Bovary.” While Tolstoy’s and Flaubert’s novels also delve into the inner lives and moral conflicts of their characters, Dostoevsky’s work is distinct in its intense focus on the psychological consequences of crime and the concept of moral law. Unlike Tolstoy’s expansive social panoramas or Flaubert’s detailed character studies, Dostoevsky zeroes in on the claustrophobic world of his protagonist’s mind, creating a harrowing exploration of guilt and redemption that has influenced countless writers and remains a touchstone in psychological literature.

Critical Reception

Upon its publication in 1866, “Crime and Punishment ” was greeted with significant acclaim and interest. Critics and readers alike were captivated by its deep psychological insight and philosophical depth. Some contemporary critics, however, were unsettled by its dark themes and the moral ambiguity of its protagonist, Raskolnikov. Despite this, the novel quickly established Dostoevsky as one of Russia’s foremost literary figures.

The themes of this book still hold relevance in today’s world, addressing issues such as economic inequality, justice, and the psychological effects of guilt and isolation. Raskolnikov’s moral struggles resonate with contemporary debates on ethics, mental health, and societal responsibility. The novel’s exploration of human suffering, redemption, and existential searching continues to captivate modern audiences, reflecting the ongoing societal and ideological conflicts. Its numerous adaptations across film, theater, and television underscore its timeless relevance, offering fresh interpretations that engage new generations with Dostoevsky’s profound insights into the human condition.

Many scholars have examined its psychological, philosophical, and theological dimensions, as well as its social and political commentary. The novel’s complex narrative structure, deep character studies, and existential themes have been analyzed from various critical perspectives, including psychoanalytic, existentialist, and feminist approaches.

“Crime and Punishment ” remains one of the most widely known Russian novel to this day. It has captured the attention of a large and intrigued readership since the time of its appearance and has continued to form part of the curriculum of numerous college and university courses not only as part of education on Russian literature, but also as regards Russian history and culture and that of Europe as a whole.

The novel is an enduring classic of not just literature but psychology and sociology, with Dostoevsky’s piercing insight into the human psyche and the poverty within Russia’s lower classes forming a valuable contribution to contemporary psychology and sociology. The novel was among the pioneers of literary realism in an era where romanticism was a mainstay in literature. 

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About Israel Njoku

Israel loves to delve into rigorous analysis of themes with broader implications. As a passionate book lover and reviewer, Israel aims to contribute meaningful insights into broader discussions.

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