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Modern Criticism

Professor Aubrey

Rough Draft

Redemption in Crime and Punishment

One of Fyodor Dostoevsky’s greatest accomplishments is creating a book that

masterfully intertwines sociological ideals and an in depth psychological analysis while still

writing a truly great piece of literature. The novel being Crime and Punishment, which explicitly

describes the protagonist Rodin Romanovich Raskolnikov’s fluctuating mental state as he

commits a brutal crime, becomes tortured by guilt, and finally turns himself in. But what makes

Crime and Punishment such an enticing novel? It is the psychological analysis and

transformation of a criminal, the symbols used throughout the story, the sociological and

philosophical voices and terms that underline the whole novel, and most importantly it is the idea

of redemption. I will argue that Dostoevsky uses all these elements to create a captivating novel,

one that follows the journey of the protagonist as he fights within himself throughout the book.

Through the characters and themes in his Crime and Punishment, Dostoevsky argues that a

person can become redeemed by submitting to one’s suffering, especially on another’s behalf.

Dostoevsky in this, offers a path to redemption for the audience.

Crime and Punishment follows a poor impoverished student living in the poor town of St.

Petersburg, who believes himself to be extraordinary and above the people he is subjugated to

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surround himself with. He has a theory that extraordinary people have the right to commit crimes

and even murder people that are below them. This theory carries on throughout most of the book.

Due to this theory Raskolnikov plots to kill and rob the pawnbroker, Alyona Ivanovna. He

succeeds in the murder of the old pawnbroker and her sister but after the murder grows ill from

deliria and paranoia. Due to this paranoia he grapples with whether if he should confess to his

crimes or not, this feeling of what to do carries on throughout the novel. Later, he witnesses the

death of Marmeladov, he then gives Marmeladov’s widow almost all the money he has.

Raskolnikov also meets Sonya, who is the daughter of Marmeladov, he feels for her, since she

has been forced to prostitute herself for money by her step mother. Sonya becomes a symbol for

redemption for Raskolnikov and he promises to tell her who murdered the pawnbroker. Once

Raskolnikov finishes another interview with Porfiry, he is the officer who is investigating the

murder case and also has suspicions that Raskolnikov is the murderer, he decides he will tell

Sonya he is the one who murdered the two women. After he tells her of his crimes she hopes that

he will confess to the murders and seek religious redemption, she even vows to go to Siberia

with him, which is where he would spend his sentence. At first Raskolnikov does not want to

confess but after much deliberation and guilt he goes to the police station and confesses to the

crimes. Raskonikov then goes to Siberia to spend his prison sentence, Sonya follows him there.

In the end of the book Raskolnkov realizes he is in love with Sonya and that once his sentence is

over he will be a better man for her, and in such is reborn.

Dostoyevskys masterful psychoanalysis of the main character Raskolnikov as well as

several other characters is a key part of Crime and Punishment. The major focus of this novel is

a deep exploration in the minds of a criminal and the ones closest to him. The inner world of

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Raskolnikov, with all of its deliria, fear, and despair, is the heart of the story. Many critics agree

with this, one saying:

But Raskolnikov is not the only important character, Dostoyevsky explores the lives of

multiple individuals and uses them as key parts to the structure of the story. Through the

internal monologues, the author does a psychological exploration of the different

characters. This gives a better understanding of the characters and why they do all that

they do. The use of interior monologue also reveals the soul that is divided and a split

personality. (Uwasomba, 7).

Two characters that are opposite in personality to Raskolnikov are Dunya and Razumikhin.

Dunya being Raskolnikovs sister and Razumikhin being his friend. These two characters do not

share Raskolnikovs nihilistic views and instead are symbols of kindness and compassion.

Another extremely important character in the book is Svidrigailov, he is one of the most

enigmatic characters in Crime and Punishment and is known as the true criminal of the novel.

What is so very important of Svidrigailov is that he mirrors Raskolnikovs thoughts and worst

actions, he is also argued to show the most existentialist way of life, not caring about anyone

elses’ freedom but his own. One critic calling him Raskolnikovs “Dostoyevsky double; meaning

a figure deliberately paralleling that of the main character, confronting him with an answering

image of his own mind” (Bloom, 4). Another critic shares that same view saying “Svidrigailov

is the phantom, the Fata Morgana, of what the inadequate Raskolnikov would like to be: a

sinister presence, a will of steel. Svidrigailov-pervert, raper, uxoricide succeeded in passing

beyond good and evil." (Squires, 821). These critics are essentially saying that Svidrigailov is the

true representation of Raskolnikovs theory, of one being extraordinary and being able to commit

crimes freely. Raskolnikov hates Svidrigailov, possibly because he is everything that

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Raskolnikov fails to be. And of course the most important character to many besides

Raskolnikov himself is Sonya. Sonya is known as the character who helps Raskolnikov into his

confession and ultimate redemption. Sonya illustrates important social and political issues that

were of concern to Dostoevsky, such as the treatment of women, the effects of poverty and the

importance of religious faith. She also is an important part of the theme of with suffering one can

be redeemed. Since she was forced to prostitute herself for money, she symbolizes that even the

deepest of transgressions can be redeemed through ones suffering and faith.

Another important psychological element in Crime and Punishment are the dreams had

by Raskolnikov and Svidrigailov. In Raskolnkovs first dream, many believe it is a warning for

what is to come if he commits the crime, one critic agrees with this by saying “represented in the

first dream by the beating of the mare into which, Raskolnikov subconsciously realizes, his life

will develop if he perseveres in his determination to kill the pawnbroker. The dream is the last

attempt by his subconscious to hold out to him a way of life opposite to that to which his reason

and will have committed him” (Gibian, 985). Another critic argues that Raskolnikovs and

Svidrigailokvs dreams intertwine with each other, I believe this just further cements the

statement of Svidrigailovs and Rakolnikovs similarities. In the article Uwamsoba says

“Svidrigâiloff’s hallucination, dreams and suicide comprise one of Crime and Punishment’s most

powerful sequences. Dostoyevsky, in an attempt to show the relationship between Raskolnikov

and Svidrigâiloff, seems to bring the dreams Svidrigâiloff had on his last night into

correspondence, if not wholly exact with those Raskolnikov had had earlier” (Uwamsoba, 147).

Many say that it is the dreams had in the book that show the true meaning of the story. As

according to Freud “dreams occupy a special place in Psychoanalysis, they are indispensable. It

is the dream in part which symbolically directs our attention to the meaning of the story”.

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It is also important to note the underlying themes that run throughout this story. The ideas

of nihilism, Christianity and existentialism are apparent and it is necessary to understand the

importance of these philosophies and ideals. Firstly, it is clear from the start of the book, that the

protagonists’ negative outlook on the world could mirror a nihilistic point of view, one that could

also be compared to Nietches theory of the “superman”. What does this mean exactly? Nihilism

rejected family and societal bonds as well as emotional and aesthetic concerns in favor of a strict

materialism, to think in a purely rational manner is to think only with logic. Morals, emotions,

and feelings do not coexist with the purely rational thought associated with nihilism. Most agree

with this statement, one critic saying:

Raskolnikov is carved in the image of the Nietzchean metaphysical rebel who has pushed

things too far to a nihilistic end. To Nietzche, the superman commits crime or does

anything for self-gratification, and not for humanity. Raskolnikov is confronted by a

world without mercy, faith, hope, charity, justice, or purpose (Uwasomba, 145).

It is clear that Raskolnikov a nihilist; unsentimental for most of the novel, he cares nothing

about the emotions of others. However, at the end of the novel, as Raskolnikov discovers love he

sheds his nihilistic view. Through this action, the novel condemns nihilism as empty and instead

shows a different path for the protagonist, one that is not devoid of love and emotion. it can be

shown that Dostoevsky attempts to stop nihilism from becoming a part of Russian culture by

showing contradictory emotions and actions within such rational thinkers as Svidrigailov and

Raskolnikov. In the end, Dostoevsky shows that human emotions cannot be ignored and

irrationalism is necessary.

After throwing away his nihilistic theories, Raskolnikov begins to turn to Christianity,

Sonia is a big influence on his Christian redemption. A very important symbol that shows

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Raskolnikovs transformation, is the cross that Sonya gives to him before he goes to the police

station to confess. The cross symbolizes Jesus’ sacrifice for the sins of his people. It shows not

that he has been redeemed but that he has begun to recognize his sins. Many other critics agree

with the importance of traditional symbolism in Crime and Punishment. In a passage by George

Gibian, he states the importance of the symbolism and compares many different elements such as

saying “water is to Dostoevsky a symbol of rebirth and regeneration”. In this passage it shows

Gibians ideas on the apparemce of traditional symbolism:

Traditional symbolism, that is, symbolism which draws on images established by the

Christian tradition and on those common in Russian non-Christian, possibly pre-Christian

and pagan, folk thought and expression, is an important element in the structure of Crime

and Punishment. The outstanding strands of symbolic imagery in the novel are those of

water, vegetation, sun and air, the resurrection of Lazarus and Christ, and the earth

(Gibian, 982).

Furthermore, Sonya being the one who gives him the cross has significance “take it ... it's mine! I

tell you it's mine!" she reassured him. "We will suffer together. Together we will bear the cross!"

(Dostoyevsky, 402). When she says this she gives of herself to bring him back to humanity, and

her love and concern for him will ultimately save and renew him. An article by John Bartlette

confirms this argument when he says “In Crime and Punishment, Dostoevsky uses the character

of Sonia Marmalade, whose first name means wisdom, not solely to illustrate God's mercy

toward a fallen woman but to have her redeem both herself and Raskolnikov through God's

mercy” (Barthelette).

After understanding the philosophy and Psychology behind Crime and Punishment we

can now discuss the meaning and purpose behind the novel. While Crime and Punishment can be

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interpreted in many different ways, I will argue that the main purpose is to show that through

ones suffering one can be redeemed, and that Raskolnikov himself ultimately does redeem

himself with the help from Sonia specifically, as shown in previous paragraphs. I believe that

Raskolnikovs own personal mental torture is his punishment throughout the book, it shows he is

not past redemption and still does have a conscience, it is his schizophrenic nature that makes

him suffer from paranoia and delusion, making it hard for him to choose the right or wrong path,

but it does not make him irredeemable and in the end he fails in his previous theory of the

“superman”, one article agrees with this by saying:

the man who, obsessed with his own deification, engaged in a daring experiment which

he deemed emblematic of "freedom and power, but above all power finds himself unable

to make good his claim and pass his test. Trapped in what he calls his cowardice,

unnerved by the humiliating realization of the failure of his project, his pride

disintegrating, Prisonlike submits to Sonia's Christly mediation and gives himself up to

the police (Rudicina, 3).

In this passage the critic is reinforcing my statement by saying that Raskolnikov fails in his

previous thesis of being able to kill without remorse or consequence and instead after much

paranoia and deliria he submits to Sonias idea of restitution and confesses to his sins.

There are, of course, many other ideas on the meaning behind Crime and

Punishment and it is important to hear other writers’ theories regarding the book. In A socio-

psychological exploration of Fyodor Dostoyevsky’s crime and punishment the critic, Chijioke

Uwasomba, states that in Crime and Punishment “The writer appears to be saying that the world

is meaningless as it is full of injustice, exploitation and other forms of inequities” (Uwamsoba,

147). While I do agree with this statement I believe that the critic is missing a vital part of the

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meaning behind Crime and Punishment, I do think that Dostoyevsky is trying to highlight the

injustice in the world around us, consequently saying that often life can seem meaningless. But I

only think this is half of the meaning. While Dostoyevsky may be trying to highlight many issues

and inequities in Russia at that time, he is also saying that suffering may be inevitable but

through ones’ suffering can be a path to regeneration and a new more meaningful life, as seen

with Raskolnikovs trials and tribulations throughout the story. Paul Squires also argues that

“Raskolnikov's confession is one of the world's psychological masterpieces. He confessed in

order to rid himself of a burden; not because he repented, however. Prison finally meant to be "in

freedom" (Squires, 821). I partially do agree with Squires, prison definitely did mean freedom,

by freedom Squires is saying that Raskolnikov has finally freed his mind from all of the

delusions and paranoia he is plagued with throughout the novel because of the crime he

committed. Subsequently of course he does feel freedom from finally confessing his sins. But I

do not agree with Squires in regards to saying that he did not repent, while after the confession

Raskolnikov may go back and forth with right and wrong, it is in the epilogue where you will

really see the change in him and why I believe he is ultimately redeemed.

In my opinion the epilogue of Crime and Punishment is the reason that truly shows

Raskolnikov wanting to redeem and now can start a new life and journey, it states

That is the beginning of a new story, though; the story of a man's gradual renewal and

rebirth, of his gradual transition from one world to another, of his acquaintance with a

new reality of which he had previously been completely ignorant. That would make the

subject of a new story; our present story is ended. (Dostoyevsky, 522)

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I believe that this shows that Raskolnikov has finally found redemption, the reason he decides on

this new path is when he finally realizes his true love for Sonia, it is her that truly makes him a

better man.

The epilogue is a very controversial topic upon critics, many defend it by saying it is

necessary to show Raskolnikovs true turning point and redemption while others disagree. There

are really two issues at hand when concerning the Epilogue: firstly, whether the epilogue is

actually necessary at all, and secondly, if it is necessary, whether Raskolnikovs confession and

ultimate redemption is a genuine one. Konstantin Mochulsky is one critic who does not believe

the protagonists redemption to be a true one and goes on to say that Raskolnikovs promised

regeneration a "pious lie"(Mochulsky, 312). Philip Rahv agrees with Mochulsky, maintaining

that Sonja's faith offers no solution to Raskolnikov, Rahv also attacks the Epilogue as

implausible. Supporters of the Epilogue are virtually unanimous in their belief in the sincerity of

Raskolnikov's conversion. Their arguments tend to concentrate on the Christian elements, as I

have spoken of previously, in the Epilogue as completing trends and patterns established earlier

in the novel. Two critics that agree with this statement would be Maurice Beebe, who states that

"the ending is artistically and psychologically inevitable because the basic motive of

regeneration is the same as the underlying motive for the crime" (Beebe, 158). George Gibian

also deems it necessary by saying the Epilogue is “necessary in order to complete religious

symbolism developed earlier in the novel” (Gibian, 536).

Dostoevsky does an excellent job of manipulating the reader into caring for the main

characters of the book and even identifying with them. In spite of Raskolnikovs mental

instability and the dreadful nature of his crime, the reader is still able to relate on some level

even with all his mental issues. Crime and Punishment is a book that intertwines many themes

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and concepts while not being too convoluted and keeping a strong story line. But it is not just a

story of a murder and the punishment that ensues, it is the inner working of the mind of a

confused man and the philosophies that run throughout the book being that of Freudian, Marxian,

Christian, and existentialist voice. By using all of these elements Dostoyevsky creates a

compelling and enticing novel that shows a clear path to redemption through the life of

Raskolnikov and the other main characters.

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Bibliography

Beebe, Maurice. “The Three Motives of Raskolnikov: A Reinterpretation of Crime and

Punishment.” College English, vol. 17, no. 3, 1955, pp. 151–158.,

www.jstor.org/stable/495737.

Bloom, Harold, ed. Crime and Punishment: Christianity and Existentialism New York: Chelsea

House Publishers, 1988. Print.

Barthelette , John. "The Redeemed Prostitute In Dostoevsky's Crime and Punishment And Other

Works." N.p., n.d. Web. 26 Apr. 2017.

Dostoevsky, Fyodor. Crime and Punishment. N.p.: n.p., 1866. Print.

"Dostoevsky in Crime and Punishment, " in the Norton Critical Edition of Crime and

Punishment, ed. George Gibian (New York: Norton, 1975), pp. 244-258.

Gibian, George. “Traditional Symbolism in Crime and Punishment.” PMLA, vol. 70, no. 5, 1955,

pp. 979–996., www.jstor.org/stable/459881.

Mochulsky, Dostoevsky: His Life and Works, trans. Michael Minihan (Princeton: Princeton

University Press, 1967), p. 312.

Rudicina, Alexandra F. "Crime and Myth: The Archetypal Pattern of Rebirth in Three Novels of

Dostoevsky." PMLA: Publications of the Modern Language Association of America, vol.

87, no. 5, 1972, pp. 1065-74. MLA International Bibliography,

Squires, Paul C. "Dostoevsky's Doctrine of Criminal Responsibility." Journal of Criminal Law

and Criminology 5th ser. 27.6 (1937): 820-23. Web.

Uwasomba, Chijioke. "A socio-psychological exploration of Fyodor Dostoyevsky’s crime and

punishment ." Educational Research and Review 4 (2009): 1-7. Web.

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