Worksheet 1 Double Entry Reading Journal Crime and Punishment

1866 Russian-language novel by Dostoyevsky

Crime and Punishment

1956 Random House printing of Offense and Penalization, translated by Constance Garnett
Author	Fyodor Dostoevsky
Original championship	Преступление и наказание
Linguistic communication	Russian
Genre	Philosophical novel Psychological fiction Crime fiction
Publisher	The Russian Messenger (serial)
Publication engagement	1866; separate edition 1867
OCLC	26399697
Dewey Decimal	891.73/3 20
LC Class	PG3326 .P7 1993
Text	Criminal offense and Punishment at Wikisource

Crime and Punishment (pre-reform Russian: Преступленіе и наказаніе ; post-reform Russian: Преступление и наказание , tr. Prestupléniye i nakazániye , IPA: [prʲɪstʊˈplʲenʲɪje ɪ nəkɐˈzanʲɪje]) is a novel past the Russian author Fyodor Dostoevsky. It was first published in the literary periodical The Russian Messenger in twelve monthly installments during 1866.^[i] It was later published in a single volume. It is the second of Dostoevsky'southward full-length novels post-obit his return from 10 years of exile in Siberia. Criminal offence and Punishment is considered the kickoff great novel of his "mature" catamenia of writing.^[two] The novel is often cited equally one of the supreme achievements in earth literature.^{[three] [four] [5] [vi]}

Criminal offence and Punishment follows the mental anguish and moral dilemmas of Rodion Raskolnikov, an impoverished ex-student in Saint Petersburg who plans to kill an unscrupulous pawnbroker, an old woman who stores money and valuable objects in her apartment. He theorises that with the money he could liberate himself from poverty and go on to perform bang-up deeds, and seeks to convince himself that certain crimes are justifiable if they are committed in society to remove obstacles to the college goals of 'boggling' men. Once the human action is done, even so, he finds himself racked with confusion, paranoia, and disgust. His theoretical justifications lose all their power as he struggles with guilt and horror and confronts both the internal and external consequences of his deed.

Background [edit]

Dostoevsky conceived the thought of Criminal offense and Penalization in the summer of 1865. He had been working on another project at the time entitled The Drunkards, which was to bargain with "the nowadays question of drunkenness ... [in] all its ramifications, especially the moving-picture show of a family and the bringing up of children in these circumstances, etc., etc." This theme, centering on the story of the Marmeladov family, became ancillary to the story of Raskolnikov and his offense.^[7]

At the time Dostoevsky owed large sums of money to creditors and was trying to assist the family of his blood brother Mikhail, who had died in early 1864. After appeals elsewhere failed, Dostoevsky turned as a concluding resort to the publisher Mikhail Katkov and sought an advance on a proposed contribution.^[8] He offered his story or novella (at the time he was not thinking of a novel^[ix]) for publication in Katkov'south monthly periodical The Russian Messenger—a prestigious publication of its kind, and the outlet for both Ivan Turgenev and Leo Tolstoy. Dostoevsky, having been engaged in polemical debates with Katkov in the early on 1860s, had never published anything in its pages earlier. In a letter to Katkov written in September 1865, Dostoevsky explained to him that the piece of work was to exist about a swain who yields to "certain strange, 'unfinished' ideas, still floating in the air".^[10] He planned to explore the moral and psychological dangers of the ideology of "radicalism", and felt that the project would entreatment to the conservative Katkov.^[11] In letters written in November 1865 an important conceptual change occurred: the "story" had go a "novel". From and then on, Crime and Punishment is referred to every bit a novel.^[12]

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

— Dostoevsky's letter of the alphabet to his friend Alexander Wrangel in February 1866^[13]

In the consummate edition of Dostoevsky'southward writings published in the Soviet Marriage, the editors reassembled the writer'southward notebooks for Criminal offense and Punishment in a sequence roughly corresponding to the various stages of composition.^{[ citation needed ]} As a consequence, there exists a fragmentary working typhoon of the novella, as initially conceived, as well as two other versions of the text. These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the concluding plan, involving the shift from a beginning-person narrator to Dostoevsky's innovative use of third-person narrative to reach first-person narrative perspectives.^[14] Dostoevsky initially considered four showtime-person plans: a memoir written past Raskolnikov, his confession recorded 8 days after the murder, his diary begun five days afterward the murder, and a mixed grade in which the first half was in the form of a memoir, and the 2d one-half in the form of a diary.^[15] The Wiesbaden edition concentrates entirely on the moral and psychological reactions of the narrator after the murder. It coincides roughly with the story that Dostoevsky described in his letter to Katkov and, written in the form of a diary or journal, corresponds to what somewhen became role 2 of the finished work.^[16]

I wrote [this chapter] with genuine inspiration, just perhaps it is no good; only for them[,] the question is not its literary worth, they are worried about its morality. Hither I was in the right—nothing was against morality, and even quite the contrary, simply they saw otherwise and, what's more, saw traces of nihilism ... I took information technology back, and this revision of a large affiliate cost me at least three new capacity of work, judging by the endeavor and the weariness; but I corrected it and gave it back.

— Dostoevsky's alphabetic character to A.P. Milyukov^[17]

Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, "i possibility is that his protagonist began to develop beyond the boundaries in which he had start been conceived".^[18] The notebooks indicate that Dostoevsky became aware of the emergence of new aspects of Raskolnikov's character as the plot developed, and he structured the novel in conformity with this "metamorphosis".^[19] The final version of Crime and Punishment came into beingness only when, in Nov 1865, Dostoevsky decided to recast his novel in the third person. This shift was the culmination of a long struggle, present through all the early stages of composition.^[20] Once having decided, Dostoevsky began to rewrite from scratch and was able to easily integrate sections of the early manuscript into the final text. Frank says that he did not, as he told Wrangel, burn everything he had written earlier.^[21]

Dostoevsky was nether great pressure to finish Offense and Punishment on time, every bit he was simultaneously contracted to finish The Gambler for Stellovsky, who had imposed extremely harsh conditions. Anna Snitkina, a stenographer who later became Dostoevsky's wife, was of nifty help to him during this hard task.^[22] The first part of Crime and Punishment appeared in the January 1866 result of The Russian Messenger, and the final one was published in December 1866.^[23]

Plot [edit]

Part 1 [edit]

Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny, rented room in Petrograd. Isolated and antisocial, he has abandoned all attempts to support himself, and is heart-searching obsessively on a scheme he has devised to murder and rob an elderly pawn-broker. On the pretext of pawning a sentry, he visits her apartment, but remains unable to commit himself. After in a tavern he makes the acquaintance of Semyon Zakharovich Marmeladov, a boozer who recently squandered his family'due south petty wealth. Marmeladov tells him about his teenage daughter, Sonya, who has go a prostitute in order to support the family. The next day Raskolnikov receives a letter from his mother in which she describes the problems of his sis Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov. To escape her vulnerable position, and with hopes of helping her blood brother, Dunya has called to marry a wealthy suitor, Luzhin, whom they are coming to encounter in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to have advantage of Dunya's state of affairs. Raskolnikov is enraged at his sister'due south sacrifice, feeling it is the same equally what Sonya felt compelled to do. Painfully aware of his ain poverty and impotence, his thoughts return to his thought. A farther series of internal and external events seem to conspire to compel him toward the resolution to enact information technology.

In a land of farthermost nervous tension, Raskolnikov steals an axe and makes his fashion once more than to the quondam woman's apartment. He gains access by pretending he has something to pawn, and then attacks her with the axe, killing her. He also kills her half-sis, Lizaveta, who happens to stumble upon the scene of the crime. Shaken past his actions, he steals merely a scattering of items and a small pocketbook, leaving much of the pawn-banker's wealth untouched. Due to sheer good fortune, he manages to escape the building and return to his room undetected.

Part 2 [edit]

In a feverish, semi-delirious state Raskolnikov conceals the stolen items and falls asleep exhausted. He is greatly alarmed the adjacent morning when he gets a summons to the police station, but it turns out to be in relation to a debt notice from his landlady. When the officers at the bureau begin talking about the murder, Raskolnikov faints. He speedily recovers, merely he can encounter from their faces that he has aroused suspicion. Fearing a search, he hides the stolen items under a large rock in an empty yard, noticing in humiliation that he hasn't fifty-fifty checked how much money is in the purse. Without knowing why, he visits his erstwhile university friend Razumikhin, who observes that Raskolnikov seems to be seriously sick. Finally he returns to his room where he succumbs to his illness and falls into a prolonged delirium.

When he emerges several days subsequently he finds that Razumikhin has tracked him down and has been nursing him. Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor nearly the status of the law investigation into the murders: a muzhik chosen Mikolka, who was working in a neighbouring apartment at the time, has been detained, and the quondam woman's clients are being interviewed. They are interrupted by the inflow of Luzhin, Dunya'south fiancé, who wishes to introduce himself, but Raskolnikov deliberately insults him and kicks him out. He angrily tells the others to get out equally well, and and then sneaks out himself. He looks for news about the murder, and seems almost to want to draw attention to his own part in it. He encounters the police official Zamyotov, who was present when he fainted in the bureau, and openly mocks the immature man's unspoken suspicions. He returns to the scene of the crime and re-lives the sensations he experienced at the time. He angers the workmen and caretakers by request casual questions near the murder, even suggesting that they accompany him to the police station to discuss information technology. As he contemplates whether or non to confess, he sees Marmeladov, who has been struck mortally by a carriage. He rushes to aid and succeeds in conveying the stricken man back to his family's apartment. Calling out for Sonya to forgive him, Marmeladov dies in his daughter's arms. Raskolnikov gives his last twenty five roubles (from money sent to him past his mother) to Marmeladov's consumptive widow, Katerina Ivanovna, maxim information technology is the repayment of a debt to his friend.

Feeling renewed, Raskolnikov calls on Razumikhin, and they go dorsum together to Raskolnikov's building. Upon entering his room Raskolnikov is deeply shocked to meet his mother and sister sitting on the sofa. They have simply arrived in Petersburg and are ecstatic to run into him, but Raskolnikov is unable to speak, and collapses in a faint.

Office 3 [edit]

Razumikhin tends to Raskolnikov, and manages to convince the distressed mother and sister to return to their apartment. He goes with them, despite being drunk and rather overwhelmed by Dunya's beauty. When they return the adjacent morning Raskolnikov has improved physically, but it becomes apparent that he is notwithstanding mentally distracted and merely forcing himself to endure the meeting. He demands that Dunya break with Luzhin, but Dunya fiercely defends her motives for the marriage. Mrs Raskolnikova has received a note from Luzhin demanding that her son not be present at any future meetings betwixt them. He as well informs her that he witnessed her son give the 25 rubles to "an unmarried adult female of immoral behavior" (Sonya). Dunya has decided that a meeting, at which both Luzhin and her blood brother are present, must take place, and Raskolnikov agrees to attend that evening along with Razumikhin. To Raskolnikov's surprise, Sonya suddenly appears at his door. Timidly, she explains that he left his accost with them last night, and that she has come to invite him to attend her father'southward funeral. As she leaves, Raskolnikov asks for her accost and tells her that he will visit her soon.

At Raskolnikov's behest, Razumikhin takes him to come across the detective Porfiry Petrovich, who is investigating the murders. Raskolnikov immediately senses that Porfiry knows that he is the murderer. Porfiry, who has simply been discussing the case with Zamyotov, adopts an ironic tone during the chat. He expresses extreme curiosity about an commodity that Raskolnikov wrote some months ago called 'On Criminal offense', in which he suggests that certain rare individuals—the benefactors and geniuses of mankind—have a right to 'footstep across' legal or moral boundaries if those boundaries are an obstruction to the success of their thought. Raskolnikov defends himself skillfully, only he is alarmed and angered by Porfiry's insinuating tone. An appointment is made for an interview the post-obit morning at the police bureau.

Leaving Razumikhin with his mother and sister, Raskolnikov returns to his own building. He is surprised to find an sometime artisan, whom he doesn't know, making inquiries about him. Raskolnikov tries to notice out what he wants, simply the artisan says only 1 word – "murderer", and walks off. Petrified, Raskolnikov returns to his room and falls into thought and then slumber. He wakes to notice some other complete stranger present, this time a man of aloof appearance. The man politely introduces himself as Arkady Ivanovich Svidrigailov.

Function four [edit]

Svidrigailov indulges in an affable simply disjointed monologue, punctuated by Raskolnikov'southward terse interjections. He claims to no longer accept any romantic involvement in Dunya, but wants to stop her from marrying Luzhin, and offer her ten thousand roubles. Raskolnikov refuses the money on her behalf and refuses to facilitate a meeting. Svidrigailov too mentions that his wife, who defended Dunya at the fourth dimension of the unpleasantness but died shortly afterwards, has left her 3000 rubles in her will.

The meeting with Luzhin that evening begins with talk of Svidrigailov—his depraved grapheme, his presence in Petersburg, the unexpected death of his wife and the 3000 rubles left to Dunya. Luzhin takes offence when Dunya insists on resolving the issue with her blood brother, and when Raskolnikov draws attending to the slander in his letter of the alphabet, Luzhin becomes reckless, exposing his true character. Dunya tells him to leave and never come back. Now costless and with significant capital, they excitedly brainstorm to discuss plans for the future, merely Raskolnikov suddenly gets upward and leaves, telling them, to their corking consternation, that it might exist the last fourth dimension he sees them. He instructs the baffled Razumikhin to remain and e'er treat them.

Raskolnikov proceeds to Sonya's identify. She is gratified that he is visiting her, just as well frightened of his strange manner. He asks a series of merciless questions most her terrible situation and that of Katerina Ivanovna and the children. Raskolnikov begins to realize that Sonya is sustained just by her faith in God. She reveals that she was a friend of the murdered Lizaveta. In fact, Lizaveta gave her a cross and a copy of the Gospels. She passionately reads to him the story of the raising of Lazarus from the Gospel of John. His fascination with her, which had begun at the time when her father spoke of her, increases and he decides that they must face the future together. Every bit he leaves he tells her that he volition come back tomorrow and tell her who killed her friend Lizaveta.

When Raskolnikov presents himself for his interview, Porfiry resumes and intensifies his insinuating, provocative, ironic chatter, without always making a straight accusation. With Raskolnikov's acrimony reaching fever pitch, Porfiry hints that he has a "trivial surprise" for him behind the sectionalisation in his office, but at that moment in that location is a commotion outside the door and a immature man (Mikolka the painter) bursts in, followed past some policemen. To both Porfiry and Raskolnikov's astonishment, Mikolka proceeds to loudly confess to the murders. Porfiry doesn't believe the confession, but he is forced to let Raskolnikov go. Back at his room Raskolnikov is horrified when the old artisan suddenly appears at his door. But the human being bows and asks for forgiveness: he had been Porfiry's "little surprise", and had heard Mikolka confess. He had been ane of those present when Raskolnikov returned to the scene of the murders, and had reported his behavior to Porfiry.

Part 5 [edit]

Raskolnikov attends the Marmeladovs' post-funeral banquet at Katerina Ivanovna'southward flat. The atmosphere deteriorates every bit guests become boozer and the one-half-mad Katerina Ivanovna engages in a verbal attack on her High german landlady. With anarchy descending, everyone is surprised by the sudden and portentous appearance of Luzhin. He sternly announces that a 100-ruble banknote disappeared from his apartment at the precise time that he was being visited by Sonya, whom he had invited in society to make a pocket-sized donation. Sonya appallingly denies stealing the money, merely Luzhin persists in his accusation and demands that someone search her. Outraged, Katerina Ivanovna abuses Luzhin and sets about elimination Sonya's pockets to prove her innocence, but a folded 100-ruble note does indeed fly out of ane of the pockets. The mood in the room turns against Sonya, Luzhin chastises her, and the landlady orders the family out. But Luzhin's roommate Lebezyatnikov angrily asserts that he saw Luzhin surreptitiously slip the coin into Sonya's pocket equally she left, although he had idea at the time that information technology was a noble act of anonymous clemency. Raskolnikov backs Lebezyatnikov by confidently identifying Luzhin's motive: a desire to avenge himself on Raskolnikov by defaming Sonya, in hopes of causing a rift with his family. Luzhin is discredited, but Sonya is traumatized, and she runs out of the apartment. Raskolnikov follows her.

Back at her room, Raskolnikov draws Sonya's attention to the ease with which Luzhin could have ruined her, and consequently the children too. Only it is only a prelude to his confession that he is the murderer of the old adult female and Lizaveta. Painfully, he tries to explain his abstract motives for the offense to the uncomprehending Sonya. She is horrified, not only at the offense, but at his ain self-torture, and tells him that he must paw himself in to the police. Lebezyatnikov appears and tells them that the landlady has kicked Katerina Ivanovna out of the flat and that she has gone mad. They find Katerina Ivanovna surrounded by people in the street, completely insane, trying to force the terrified children to perform for money, and near death from her illness. They manage to get her dorsum to Sonya's room, where, distraught and raving, she dies. To Raskolnikov'southward surprise, Svidrigailov suddenly appears and informs him that he will be using the ten thousand rubles intended for Dunya to make the funeral arrangements and to place the children in proficient orphanages. When Raskolnikov asks him what his motives are, he laughingly replies with straight quotations of Raskolnikov'southward own words, spoken when he was trying to explain his justifications for the murder to Sonya. Svidrigailov has been residing next door to Sonya, and overheard every discussion of the murder confession.

Function vi [edit]

Razumikhin tells Raskolnikov that Dunya has get troubled and afar after receiving a letter of the alphabet from someone. He also mentions, to Raskolnikov's astonishment, that Porfiry no longer suspects him of the murders. As Raskolnikov is about to gear up off in search of Svidrigailov, Porfiry himself appears and politely requests a brief chat. He sincerely apologises for his previous behavior and seeks to explain the reasons behind it. Strangely, Raskolnikov begins to feel alarmed at the thought that Porfiry might remember he is innocent. Just Porfiry'due south changed attitude is motivated by genuine respect for Raskolnikov, non by any idea of his innocence, and he concludes by expressing his accented certainty that Raskolnikov is indeed the murderer. He claims that he will exist arresting him shortly, but urges him to confess to go far easier on himself. Raskolnikov chooses to continue the struggle.

Raskolnikov finds Svidrigailov at an inn and warns him against approaching Dunya. Svidrigailov, who has in fact arranged to meet Dunya, threatens to become to the police, but Raskolnikov is unconcerned and follows when he leaves. When Raskolnikov finally turns home, Dunya, who has been watching them, approaches Svidrigailov and demands to know what he meant in his letter most her brother'south "undercover". She reluctantly accompanies him to his rooms, where he reveals what he overheard and attempts to use it to make her yield to his desire. Dunya, even so, has a gun and she fires at him, narrowly missing: Svidrigailov gently encourages her to reload and endeavour again. Eventually she throws the gun aside, but Svidrigailov, crushed by her hatred for him, tells her to leave. Later that evening he goes to Sonya to talk over the arrangements for Katerina Ivanovna's children. He gives her 3000 rubles, telling her she will need it if she wishes to follow Raskolnikov to Siberia. He spends the night in a miserable hotel and the following morn commits suicide in a public place.

Raskolnikov says a painful goodbye to his mother, without telling her the truth. Dunya is waiting for him at his room, and he tells her that he volition be going to the police to confess to the murders. He stops at Sonya's identify on the way and she gives him a crucifix. At the bureau he learns of Svidrigailov's suicide, and most changes his listen, even leaving the building. But he sees Sonya, who has followed him, looking at him in despair, and he returns to make a full and frank confession of the murders.

Epilogue [edit]

Due to the fullness of his confession at a time when another human had already confessed Raskolnikov is sentenced to simply eight years of penal servitude. Dunya and Razumikhin marry and plan to movement to Siberia, but Raskolnikov'due south mother falls ill and dies. Sonya follows Raskolnikov to Siberia, but he is initially hostile towards her as he is nevertheless struggling to acknowledge moral culpability for his crime, feeling himself to be guilty simply of weakness. It is only after some time in prison that his redemption and moral regeneration begin nether Sonya's loving influence.

Characters [edit]

Graphic symbol names

Russian and romanization
Start name, nickname	Patronymic	Family name
Родиóн Rodión	Ромáнович Románovich	Раскóльников Raskól'nikov
Авдо́тья Avdótya	Рома́новна Románovna	Раско́льникова Raskól'nikova
Пульхери́я Pulkhería	Алексáндровна Aleksándrovna
Семён Semyón	Заха́рович Zakhárovich	Мармела́дов Marmeládov
Со́фья, Со́ня, Со́нечка Sófya, Sónya, Sónechka	Семёновна Semyónovna	Мармела́дова Marmeládova
Катери́на Katerína	Ива́новна Ivánovna
Дми́трий Dmítriy	Проко́фьич Prokófyich	Вразуми́хин, Разуми́хин Vrazumíkhin, Razumíkhin
Праско́вья Praskóv'ya	Па́вловна Pávlovna	Зарницына Zarnitsyna
Арка́дий Arkádiy	Ива́нович Ivánovich	Свидрига́йлов Svidrigáilov
Ма́рфа Márfa	Петро́вна Petróvna	Свидрига́йлова Svidrigáilova
Пётр Pyótr	Петро́вич Petróvich	Лужин Lúzhyn
Андре́й Andréy	Семёнович Semyónovich	Лебезя́тников Lebezyátnikov
Порфи́рий Porfíriy	Петро́вич Petróvich
Лизаве́та Lizavéta	Ива́новна Ivánovna
Алёна Alyóna
An acute accent marks the stressed syllable.

In Crime and Penalisation, Dostoevsky fuses the personality of his chief character, Rodion Romanovich Raskolnikov, with his new anti-radical ideological themes. The main plot involves a murder as the result of "ideological intoxication," and depicts all the disastrous moral and psychological consequences that upshot from the murder. Raskolnikov's psychology is placed at the center, and carefully interwoven with the ideas behind his transgression; every other feature of the novel illuminates the agonizing dilemma in which Raskolnikov is caught.^[24] From another bespeak of view, the novel's plot is some other variation of a conventional nineteenth-century theme: an innocent immature provincial comes to seek his fortune in the capital, where he succumbs to abuse, and loses all traces of his former freshness and purity. However, as Gary Rosenshield points out, "Raskolnikov succumbs not to the temptations of high gild equally Honoré de Balzac's Rastignac or Stendhal'due south Julien Sorel, just to those of rationalistic Petersburg".^[25]

Major characters [edit]

Raskolnikov (Rodion Romanovitch) is the protagonist, and the novel focuses primarily on his perspective. A 23-twelvemonth-old man and former student, now destitute, Raskolnikov is described in the novel equally "exceptionally handsome, above the average in tiptop, slim, well congenital, with cute nighttime optics and dark brown pilus." Perhaps the most striking characteristic of Raskolnikov, however, is his dual personality. On the i mitt, he is cold, apathetic, and antisocial; on the other, he can be surprisingly warm and compassionate. He commits murder as well as acts of impulsive charity. His chaotic interaction with the external world and his nihilistic worldview might be seen as causes of his social breach or consequences of information technology.

Despite its title, the novel does non so much deal with the crime and its formal penalization as with Raskolnikov'southward internal struggle – the torments of his own conscience, rather than the legal consequences of committing the crime. Believing social club would be ameliorate for it, Raskolnikov commits murder with the idea that he possesses enough intellectual and emotional fortitude to deal with the ramifications, just his sense of guilt soon overwhelms him to the point of psychological and somatic disease. It is simply in the epilogue that he realizes his formal punishment, having decided to confess and terminate his alienation from social club.

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

Razumíkhin (Dmitry Prokofyich) is Raskolnikov's loyal friend and also a former law student. The character is intended to represent something of a reconciliation between religion and reason (razum, "sense", "intelligence"). He jokes that his name is actually 'Vrazumíkhin' – a name suggesting "to bring someone to their senses".^[26] He is upright, potent, resourceful and intelligent, merely besides somewhat naïve – qualities that are of great importance to Raskolnikov in his desperate state of affairs. He admires Raskolnikov's intelligence and grapheme, refuses to requite whatsoever credence to others' suspicions, and supports him at all times. He looks after Raskolnikov's family when they come to Petersburg, and falls in beloved with Dunya.

Dunya (Avdotya Romanovna Raskolnikova) – Raskolnikov's cute and stiff-willed sister who works as a governess. She initially plans to marry the wealthy simply unsavory lawyer Luzhin, thinking it will enable her to ease her family's desperate fiscal situation and escape her sometime employer Svidrigailov. Her situation is a factor in Raskolnikov's decision to commit the murder. In St. Petersburg, she is eventually able to escape the clutches of both Luzhin and Svidrigailov, and later marries Razumikhin.

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

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

Porfiry Petrovich – The head of the Investigation Department in accuse of solving the murders of Lizaveta and Alyona Ivanovna, who, forth with Sonya, moves Raskolnikov towards confession. Unlike Sonya, nevertheless, Porfiry does this through psychological ways, seeking to confuse and provoke the volatile Raskolnikov into a voluntary or involuntary confession. He later drops these methods and sincerely urges Raskolnikov to confess for his own proficient.

Other characters [edit]

• Pulkheria Alexandrovna Raskolnikova – Raskolnikov'due south naïve, hopeful and loving mother. Following Raskolnikov's sentence, she falls ill (mentally and physically) and eventually dies. She hints in her dying stages that she is slightly more enlightened of her son's fate, which was hidden from her by Dunya and Razumikhin.
• Semyon Zakharovich Marmeladov – Hopeless drunk who Raskolnikov meets while however because the murder scheme. Raskolnikov is deeply moved past his passionate, nearly ecstatic confession of how his abject alcoholism led to the devastation of his life, the destitution of his wife and children, and ultimately to his daughter Sonya being forced into prostitution.
• Katerina Ivanovna Marmeladova – Semyon Marmeladov's consumptive and ill-tempered second wife, stepmother to Sonya. She drives Sonya into prostitution in a fit of rage, but subsequently regrets information technology. She beats her children, but works ferociously to improve their standard of living. She is obsessed with demonstrating that slum life is far below her station. Post-obit Marmeladov'southward expiry, she uses the coin Raskolnikov gives her to agree a funeral. She eventually succumbs to her disease.
• Andrey Semyonovich Lebezyatnikov – Luzhin's utopian socialist roommate who witnesses his attempt to frame Sonya and afterward exposes him. He is proven correct past Raskolnikov, the only one knowing of Luzhin'south motives.
• Alyona Ivanovna – Suspicious old pawnbroker who hoards money and is merciless to her patrons. She is Raskolnikov's intended target, and he kills her in the beginning of the book.
• Lizaveta Ivanovna – Alyona'due south handicapped, innocent and submissive sister. Raskolnikov murders her when she walks in immediately after Raskolnikov had killed Alyona. Lizaveta was a friend of Sonya.
• Zosimov (Зосимов) – A friend of Razumikhin and a medico with a item interest in 'psychological' illnesses. He ministers to Raskolnikov during his delirium and its backwash.
• Nastasya Petrovna (Настасья Петровна) – Raskolnikov's landlady'southward cheerful and talkative servant who is very caring towards Raskolnikov and often brings him food and drink.
• Nikodim Fomich (Никодим Фомич) – The amiable chief of police.
• Ilya Petrovich (Илья Петрович) – A police official and Nikodim Fomich's banana, nicknamed "Gunpowder" for his very bad temper. He is the starting time to have suspicions about Raskolnikov in relation to the murder, and Raskolnikov ultimately makes his official confession to Gunpowder.
• Alexander Grigorievich Zamyotov (Александр Григорьевич Заметов) – Head clerk at the police station and friend to Razumikhin.
• Praskovya Pavlovna Zarnitsyna – Raskolnikov's landlady (chosen Pashenka). Shy and retiring, Praskovya Pavlovna does not figure prominently in the course of events. Raskolnikov had been engaged to her girl, a sickly girl who had died, and Praskovya Pavlovna had granted him extensive credit on the basis of this engagement and a promissory note for 115 roubles. She had so handed this note to a court councillor named Chebarov, who had claimed the note, causing Raskolnikov to be summoned to the police station the twenty-four hour period after his criminal offense.
• Marfa Petrovna Svidrigaïlova – Svidrigaïlov'due south deceased wife, whom he is suspected of having murdered, and who he claims has visited him as a ghost. In Pulkheria Alexandrovna'southward letter to her son, Marfa Petrovna is said to have vigorously defended Dunya against Svidrigailov, and introduced her to Luzhin. She leaves Dunya 3000 rubles in her volition.
• Nikolai Dementiev (Николай Дементьев), also known as Mikolka – A house painter who happens to be nearby at the time of the murder and is initially suspected of the crime. Driven past memories of the teachings of his Onetime Believer sect, which holds it to be supremely virtuous to endure for another person'southward offense, he falsely confesses to the murders.
• Polina Mikhailovna Marmeladova (Полина Михайловна Мармеладова) – Ten-twelvemonth-onetime adopted daughter of Semyon Zakharovich Marmeladov and younger stepsister to Sonya, sometimes known as Polechka and Polya.

Name	Discussion	Meaning in Russian
Raskolnikov	raskol	a schism, or separate; "raskolnik" is "one who splits" or "dissenter"; the verb raskalyvat' means "to cleave", "to chop","to crack","to split up" or "to break". The erstwhile translations analyze the literal pregnant of the word. The figurative pregnant of the word is "to bring to light", "to make to confess or admit the truth", etc. The word Raskol is meant to evoke the ideas of the splitting of the Russian Orthodox Church nether Patriarch Nikon.
Luzhin	luzha	a puddle
Razumikhin	razum	rationality, mind, intelligence
Zamyotov	zametit	to notice, to realize
Lebezyatnikov	lebezit	to fawn on somebody, to cringe
Marmeladov	marmelad	marmalade/jam
Svidrigaïlov	Svidrigailo	a Lithuanian duke of the fifteenth century (the proper noun given to a character rather by audio, than by significant)
Porfiry	Porphyry	(perhaps) named after the Neoplatonic philosopher or afterwards the Russian "порфира" ("porphyra") meaning "purple, purple mantle"
Sonya	Sofya	from the Greek pregnant "wisdom"

Themes [edit]

Nihilism, rationalism and utilitarianism [edit]

Dostoevsky'southward letter of the alphabet to Katkov reveals his firsthand inspiration, to which he remained true-blue even after his original plan evolved into a much more than ambitious creation: a want to counteract what he regarded every bit nefarious consequences arising from the doctrines of Russian nihilism.^[27] In the novel, Dostoevsky pinpointed the dangers of both utilitarianism and rationalism, the main ideas of which inspired the radicals, continuing a fierce criticism he had already started with his Notes from Secret.^[28] Dostoevsky utilized the characters, dialogue and narrative in Crime and Penalty to articulate an statement against Westernizing ideas. He thus attacked a peculiar Russian blend of French utopian socialism and Benthamite utilitarianism, which had developed under revolutionary thinkers such as Nikolai Chernyshevsky and became known as rational egoism. The radicals refused to recognize themselves in the novel's pages, since Dostoevsky pursued nihilistic ideas to their most extreme consequences. Dimitri Pisarev ridiculed the notion that Raskolnikov'south ideas could be identified with those of the radicals of the fourth dimension. The radicals' aims were altruistic and humanitarian, but they were to be accomplished by relying on reason and suppressing the spontaneous outflow of Christian compassion. Chernyshevsky's utilitarian ethic proposed that thought and will in Man were subject to the laws of physical scientific discipline.^[29] Dostoevsky believed that such ideas limited human being to a product of physics, chemistry and biology, negating spontaneous emotional responses. In its latest variety, Russian nihilism encouraged the creation of an élite of superior individuals to whom the hopes of the future were to exist entrusted.^[30]

Raskolnikov exemplifies the potentially disastrous hazards contained in such an ideal. Contemporary scholar Joseph Frank writes that "the moral-psychological traits of his graphic symbol incorporate this antinomy between instinctive kindness, sympathy, and pity on the i hand and, on the other, a proud and idealistic egoism that has become perverted into a contemptuous disdain for the submissive herd".^[31] Raskolnikov'southward inner conflict in the opening section of the novel results in a commonsensical-altruistic justification for the proposed crime: why not impale a wretched and "useless" old moneylender to alleviate the human misery? Dostoevsky wants to show that this utilitarian mode of reasoning had become widespread and commonplace; information technology was by no means the solitary invention of Raskolnikov's tormented and disordered mind.^[32] Such radical and utilitarian ideas human action to reinforce the innate egoism of Raskolnikov's graphic symbol, and help justify his contempt for humanity's lower qualities and ideals. He even becomes fascinated with the royal epitome of a Napoleonic personality who, in the interests of a higher social expert, believes that he possesses a moral right to kill. Indeed, his "Napoleon-similar" plan impels him toward a well-calculated murder, the ultimate conclusion of his self-deception with utilitarianism.^[33]

The surround of Saint Petersburg [edit]

Dostoevsky was among the first to recognize the symbolic possibilities of city life and imagery drawn from the metropolis. I. F. I. Evnin regards Crime and Punishment as the first great Russian novel "in which the climactic moments of the action are played out in muddied taverns, on the street, in the sordid back rooms of the poor".^[34]

Dostoevsky's Petersburg is the city of unrelieved poverty; "magnificence has no identify in it, because magnificence is external, formal abstruse, cold". Dostoevsky connects the city's problems to Raskolnikov's thoughts and subsequent actions.^[35] The crowded streets and squares, the shabby houses and taverns, the noise and stench, all are transformed by Dostoevsky into a rich shop of metaphors for states of mind. Donald Fanger asserts that "the real city ... rendered with a hitting concreteness, is also a city of the mind in the manner that its atmosphere answers Raskolnikov's state and near symbolizes it. It is crowded, stifling, and parched."^[36]

In his depiction of Petersburg, Dostoevsky accentuates the squalor and human being wretchedness that pass before Raskolnikov's eyes. He uses Raskolnikov's encounter with Marmeladov to contrast the heartlessness of Raskolnikov's convictions with a Christian approach to poverty and wretchedness.^[32] Dostoevsky believes that the moral "freedom" propounded by Raskolnikov is a dreadful liberty "that is contained by no values, considering information technology is before values". In seeking to assert this "freedom" in himself, Raskolnikov is in perpetual revolt confronting gild, himself, and God.^[37] He thinks that he is self-sufficient and self-contained, but at the end "his boundless self-confidence must disappear in the face of what is greater than himself, and his self-made justification must humble itself before the higher justice of God".^[38] Dostoevsky calls for the regeneration and renewal of "sick" Russian society through the re-discovery of its national identity, its religion, and its roots.^[39]

Construction [edit]

The novel is divided into vi parts, with an epilogue. The notion of "intrinsic duality" in Crime and Punishment has been commented upon, with the proffer that there is a degree of symmetry to the book.^[forty] Edward Wasiolek who has argued that Dostoevsky was a skilled craftsman, highly conscious of the formal design in his art, has likened the structure of Offense and Punishment to a "flattened Ten", saying:

Parts I-Three [of Criminal offense and Penalization] nowadays the predominantly rational and proud Raskolnikov: Parts IV–Half dozen, the emerging "irrational" and apprehensive Raskolnikov. The starting time half of the novel shows the progressive expiry of the kickoff ruling principle of his character; the final half, the progressive birth of the new ruling principle. The signal of change comes in the very middle of the novel.^[41]

This compositional balance is achieved by ways of the symmetrical distribution of certain key episodes throughout the novel'due south six parts. The recurrence of these episodes in the two halves of the novel, as David Bethea has argued, is organized co-ordinate to a mirror-similar principle, whereby the "left" half of the novel reflects the "correct" half.^[40]

The seventh office of the novel, the Epilogue, has attracted much attending and controversy. Some of Dostoevsky'southward critics have criticized the novel'southward final pages as superfluous, anti-climactic, unworthy of the rest of the work,^[42] while others accept defended it, offering various schemes that they claim testify its inevitability and necessity. Steven Cassedy argues that Criminal offense and Punishment "is formally two distinct merely closely related, things, namely a detail type of tragedy in the classical Greek mold and a Christian resurrection tale".^[43] Cassedy concludes that "the logical demands of the tragic model equally such are satisfied without the Epilogue in Law-breaking and Penalization ... At the same fourth dimension, this tragedy contains a Christian component, and the logical demands of this element are met merely by the resurrection promised in the Epilogue".^[44]

Way [edit]

Crime and Punishment is written from a third-person omniscient perspective. It is told primarily from the point of view of Raskolnikov, but does at times switch to the perspective of other characters such equally Svidrigaïlov, Razumikhin, Luzhin, Sonya or Dunya. This narrative technique, which fuses the narrator very closely with the consciousness and signal of view of the central characters, was original for its menses. Frank notes that Dostoevsky'due south use of fourth dimension shifts of memory and manipulation of temporal sequence begins to arroyo the later experiments of Henry James, Joseph Conrad, Virginia Woolf, and James Joyce. A belatedly nineteenth-century reader was, however, accustomed to more than orderly and linear types of expository narration. This led to the persistence of the legend that Dostoevsky was an untidy and negligent craftsman, and to observations like the following by Melchior de Vogüé: "A word ... one does not even notice, a modest fact that takes up just a line, have their reverberations fifty pages afterwards ... [and so that] the continuity becomes unintelligible if one skips a couple of pages".^[45]

Dostoevsky uses different speech mannerisms and sentences of different length for different characters. Those who use artificial linguistic communication—Luzhin, for instance—are identified as unattractive people. Mrs. Marmeladov's disintegrating listen is reflected in her linguistic communication. In the original Russian text, the names of the major characters have something of a double significant, but in translation the subtlety of the Russian language is predominantly lost due to differences in language structure and civilisation. For example, the original Russian title ("Преступление и наказание") is not the direct equivalent to the English "Criminal offense and Penalty". "Преступление" (Prestupléniye) is literally translated as 'a stepping across'. The physical image of crime as crossing over a barrier or a boundary is lost in translation, as is the religious implication of transgression.^[46]

Reception [edit]

The kickoff part of Crime and Penalization published in the January and Feb issues of The Russian Messenger met with public success. In his memoirs, the bourgeois belletrist Nikolay Strakhov recalled that in Russian federation Crime and Punishment was the literary sensation of 1866.^[47] Tolstoy's novel War and Peace was being serialized in The Russian Messenger at the same time equally Criminal offense and Penalization.

The novel soon attracted the criticism of the liberal and radical critics. Chiliad.Z. Yeliseyev sprang to the defense of the Russian student corporations, and wondered, "Has in that location ever been a case of a student committing murder for the sake of robbery?" Pisarev, enlightened of the novel'south artistic value, described Raskolnikov as a production of his environment, and argued that the chief theme of the work was poverty and its results. He measured the novel'southward excellence by the accurateness with which Dostoevsky portrayed the contemporary social reality, and focused on what he regarded as inconsistencies in the novel'due south plot. Strakhov rejected Pisarev's contention that the theme of environmental determinism was essential to the novel, and pointed out that Dostoevsky's attitude towards his hero was sympathetic: "This is not mockery of the younger generation, neither a reproach nor an accusation—it is a lament over it."^[48] Solovyov felt that the pregnant of the novel, despite the common failure to empathize information technology, is clear and uncomplicated: a homo who considers himself entitled to 'step across' discovers that what he thought was an intellectually and even morally justifiable transgression of an arbitrary law turns out to be, for his conscience, "a sin, a violation of inner moral justice... that inward sin of cocky-idolatry can only be redeemed by an inner human activity of self-renunciation."^[49]

The early Symbolist movement that dominated Russian letters in the 1880s was concerned more than with aesthetics than the visceral realism and intellectuality of Crime and Punishment, but a tendency toward mysticism amid the new generation of symbolists in the 1900s led to a reevaluation of the novel as an accost to the dialectic of spirit and thing.^[l] In the grapheme of Sonya (Sofya Semyonovna) they saw an embodiment of both the Orthodox feminine principle of hagia sophia (holy wisdom) –"at one time sexual and innocent, redemptive both in her suffering and her veneration of suffering", and the nigh important feminine deity of Russian sociology mat syra zemlya (moist female parent earth).^[51] Raskolnikov is a "son of Earth" whose egoistic aspirations lead him to ideas and actions that amerce him from the very source of his strength, and he must bow downwards to her before she can relieve him of the terrible burden of his guilt.^{[52] [53]} Philosopher and Orthodox theologian Nikolay Berdyaev shared Solovyov and the symbolists' sense of the novel's spiritual significance, seeing it as an illustration of the modern age's hubristic self-deification, or what he calls "the suicide of man past cocky-affidavit". Raskolnikov answers his question of whether he has the right to impale solely by reference to his own capricious will, but, according to Berdyaev, these are questions that can only be answered by God, and "he who does non bow earlier that college will destroys his neighbor and destroys himself: that is the pregnant of Crime and Punishment".^{[54] [55]}

Crime and Punishment was regarded as an important work in a number of 20th century European cultural movements, notably the Bloomsbury Group, psychoanalysis, and existentialism. Of the writers associated with Bloomsbury, Virginia Woolf, John Middleton Murry and D. H. Lawrence are some of those who have discussed the work. Freud held Dostoevsky's work in high esteem, and many of his followers have attempted psychoanalytical interpretations of Raskolnikov.^[56] Amongst the existentialists, Sartre and Camus in particular take acknowledged Dostoevsky's influence.^[57]

The affinity of Offense and Penalisation with both religious mysticism and psychoanalysis led to suppression of discussion in Soviet Russia: interpretations of Raskolnikov tended to align with Pisarev's idea of reaction to unjust socio-economic weather condition.^[58] An exception was the work of Mikhail Bakhtin, considered by many commentators to be the near original and insightful analyst of Dostoevsky'southward work. In Problems of Dostoevsky's Poetics, Bakhtin argues that attempts to understand Dostoevsky's characters from the vantage point of a pre-existing philosophy, or as individualized 'objects' to exist psychologically analysed, volition always neglect to penetrate the unique "artistic architechtonics" of his works.^[59] In such cases, both the critical approach and the assumed object of investigation are 'monological': everything is perceived as occurring within the framework of a single overarching perspective, whether that of the critic or that of the author. Dostoevsky's fine art, Bakhtin argues, is inherently 'dialogical': events go on on the basis of interaction between cocky-validating subjective voices, often within the consciousness of an individual grapheme, as is the instance with Raskolnikov. Raskolnikov's consciousness is depicted as a battleground for all the conflicting ideas that find expression in the novel: anybody and everything he encounters becomes reflected and refracted in a "dialogized" interior monologue.^[60] He has rejected external relationships and chosen his tormenting internal dialogue; but Sonya is capable of continuing to engage with him despite his cruelty. His openness to dialogue with Sonya is what enables him to cantankerous back over the "threshold into real-life advice (confession and public trial)—not out of guilt, for he avoids acknowledging his guilt, just out of weariness and loneliness, for that reconciling footstep is the just relief possible from the cacophony of unfinalized inner dialogue."^[61]

English translations [edit]

• Frederick Whishaw (1885)
• Constance Garnett (1914)
• David Magarshack (1951)
• Princess Alexandra Kropotkin (1953)
• Jessie Coulson (1953)
• Michael Scammell (1963)
• Sidney Monas (1968)
• Julius Katzer (1985)
• David McDuff (1991)
• Richard Pevear and Larissa Volokhonsky (1992)
• Oliver Ready (2014)
• Nicolas Pasternak Slater (2017)
• Michael R. Katz (2017)

The Garnett translation was the dominant translation for more eighty years afterwards its publication in 1914. Since the 1990s, McDuff and Pevear/Volokhonsky have become its major competitors.^[62]

Adaptations [edit]

At that place have been over 25 motion picture adaptations of Law-breaking and Penalty. They include:

• Raskolnikow (aka Crime and Penalisation, 1923) directed by Robert Wiene
• Crime and Punishment (1935 American picture show) starring Peter Lorre, Edward Arnold and Marian Marsh
• Crime and Penalty (1970 moving-picture show) Soviet pic starring Georgi Taratorkin, Tatyana Bedova, Vladimir Basov, Victoria Fyodorova) dir. Lev Kulidzhanov
• Crime and Punishment (1979 TV moving picture) is a three-part 1979 tv serial produced by the BBC, starring John Hurt every bit Raskolnikov and Timothy W as Porfiry Petrovich.
• Criminal offence and Punishment (1983 motion-picture show) (original title, Rikos ja Rangaistus), the offset moving-picture show by the Finnish managing director Aki Kaurismäki, with Markku Toikka in the lead role. The story has been transplanted to modern-twenty-four hour period Helsinki, Finland.
• Crime and Punishment in Suburbia (2000, an accommodation fix in modern America and "loosely based" on the novel)
• Crime and Punishment (2002 film), starring Crispin Glover and Vanessa Redgrave.
• Criminal offense and Penalisation (2002 TV motion picture) is a 2002 idiot box series produced by the BBC, starring John Simm as Raskolnikov and Ian McDiarmid every bit Porfiry Petrovich.
• Law-breaking and Punishment (2007 Russian TV serial) (ru) was a 2007 tv serial directed by Dmitry Svetozarov starring Vladimir Koshevoy as Raskolnikov.

References [edit]

1. ^ University of Minnesota – Study notes for Crime and Penalization – (retrieved on one May 2006)
2. ^ Frank (1995), p. 96
3. ^ "The 50 About Influential Books of All Time". Open Teaching Database. 26 January 2010.
4. ^ "The Greatest Books". thegreatestbooks.org.
5. ^ Writers, Telegraph (23 July 2021). "The 100 greatest novels of all fourth dimension". The Telegraph. Archived from the original on 11 January 2022.
6. ^ "100 must-read archetype books, as chosen by our readers". Penguin.
7. ^ Yousef, About Crime and Punishment
   * Fanger (2006), pp. 17–eighteen
8. ^ Frank (1994), p. 168
9. ^ Frank, p. 170
   * Peace (2005), p. eight
   * Simmons (2007), p. 131
10. ^ Miller (2007), p. 58
    * Peace (2008), p. 8
11. ^ Frank (1994), p. 179
12. ^ Miller (2007), pp. 58–59
13. ^ Miller (2007), p. 58
14. ^ Essays in Poetics. University of Keele. 1981.
15. ^ Rosenshield (1973), p. 399).
16. ^ Carabine (2000), p. ten
    * Frank (1994), pp. 170–72
    * Frank (1995), p. 80
17. ^ Frank (1994), p. 185
18. ^ Frank (1994), 174
19. ^ Frank (1994), p. 177
20. ^ Frank (1994), pp. 179–eighty, 182
21. ^ Frank (1994), pp. 170, 179–fourscore, 184
    * Frank(1995), p. 93
    * Miller (2007), pp. 58–59
22. ^ Frank (1995), p. 39
    * Peace (2005), p. 8
23. ^ Simmons (2007), p. 131
24. ^ Frank (1995), 97
25. ^ Rosenshield (1978), 76. Run across also Fanger (2006), 21
26. ^ Cox, Gary (1990). Crime and Penalization: A Mind to Murder . Boston: Twayne. p. 136.
27. ^ Frank (1995), p. 100
28. ^ Donald Fanger states that "Crime and Punishment did nada but go on the polemic, incarnating the tragedy of nihilism in Raskolnikov and caricaturing it in Lebezyatnikov and, partially, in Luzhin". (Fanger (2006), p. 21 – see also Frank (1995), p. 60; Ozick (1997), 114; Sergeyef (1998), 26).
29. ^ Frank (1995), pp. 100–01
    * Hudspith (2003), p. 95
30. ^ Pisarev had sketched the outlines of a new proto-Nietzschean hero (Frank (1995), pp. 100–01; Frank (2002), p. 11).
31. ^ Frank (1995), p. 101
32. ^ ^{a b} Frank (1995), p. 104
33. ^ Frank (1995), p. 107
    * Sergeyef (1998), p. 26
34. ^ Fanger (2006), p. 24
35. ^ Lindenmeyr (2006), p. 37
36. ^ Fanger (2006), p. 28
37. ^ Wasiolek (2005), p. 55
38. ^ Vladimir Solovyov quoted past McDuff (2002), pp. thirteen–14
    * Peace (2005), pp. 75–76
39. ^ *McDuff (2002), p. 30: "Information technology is the persistent tracing of this theme of a 'Russian sickness' of spiritual origin and its cure throughout the book that justify the writer's characterization of it as an 'Orthodox novel'."
    * Wasiolek (2005), pp. 56–57
40. ^ ^{a b} Davydov (1982), pp. 162–63
41. ^ "On the Structure of Crime and Punishment, " in: PMLA, March 1959, vol. LXXIV, No. ane, pp. 132–33.
42. ^ Mikhail Bakhtin, for example, regards the Epilogue as a blotch on the book (Wellek (1980), p. 33).
43. ^ Cassedy (1982), p. 171
44. ^ Cassedy (1982), p. 187
45. ^ Frank (1994), p. 184
    * Frank (1995), pp. 92–93
46. ^ Morris (1984), p. 28
    * Peace (2005), p. 86
    * Stanton–Hardy (1999), p. 8
47. ^ McDuff, pp. x–xi
48. ^ Jahn, Dostoevsky's Life and Career
    * McDuff, pp. xi–xii
49. ^ Solovyov commemorative speech (1881), quoted by McDuff (2002), pp. xii–xiii
50. ^ Cox, Gary (1990). pp. xiv–15
51. ^ Cox, Gary (1990). p. 15
52. ^ Ivanov, Viacheslav (1957). Freedom and the Tragic Life. New York: Noonday Press. pp. 77–78.
53. ^ Cox, Gary (1990). pp. 15–xvi
54. ^ Berdyaev, Nicholas (1957). Dostoevsky. New York: Meridian Books. pp. 99–101.
55. ^ Cox, Gary (1990). p. 17
56. ^ In "Raskolnikov's transgression and the confusion betwixt destructiveness and creativity" Richard Rosenthal discusses Raskolnikov's crime in terms of the project of intrapsychic violence: "Raskolnikov believes that frustration and hurting can be evaded past attacking that office of the mental apparatus able to perceive them. Thoughts are treated as unwanted things, fit just for expulsion. Such pathological projective identification results in violent fragmentation and the disintegration of the personality; the evacuated particles are experienced equally having an independent life threatening him from exterior." From Practice I Dare Disturb the Universe (ed. James Grotstein) (1981). Caesura Press. p. 200
57. ^ Cox, Gary (1990). pp. xviii–21
58. ^ Cox, Gary (1990). p. 22
59. ^ Bakhtin, Mikhail (1984). Issues of Dostoevsky's Poetics. p. 9
60. ^ Bakhtin (1984). pp. 74–75
61. ^ Emerson, Caryl (1997). The First Hundred Years of Mikhail Bakhtin. Princeton University Printing. p. 152.
62. ^ Raskolnikov Says the Darndest Things

Text

• Dostoevsky, Fyodor (1866). Crime and Penalisation. Translated in English by Constance Garnett.

Sources

• Bourgeois, Patrick Lyall (1996). "Dostoevsky and Existentialism: An Experiment in Hermeunetics". In Mc Helpmate, William Leon (ed.). Existentialist Background. Taylor & Francis. ISBN0-8153-2492-8.
• Cassedy, Steven (1982). "The Formal Problem of the Epilogue in Criminal offence and Penalisation: The Logic of Tragic and Christian Structures". Dostoevsky Centenary Briefing at the University of Nottingham. Vol. 3. International Dostoevsky Society. Archived from the original on 2 October 2013.
• Church, Margaret (1983). "Dostoevsky's Crime and Punishment and Kafka's The Trial". Structure and Theme – Don Quixote to James Joyce. Ohio State University Press. ISBN0-8142-0348-5.
• Davydov, Sergei (1982). "Dostoevsky and Nabokov: The Morality of Structure in Criminal offense and Punishment and Despair". Dostoevsky Centenary Conference at the University of Nottingham. Vol. three. International Dostoevsky Guild. Archived from the original on xx June 2014.
• Frank, Joseph (1994). "The Making of Crime and Punishment". In Polhemus, Robert G.; Henkle, Roger B. (eds.). Disquisitional Reconstructions: The Relationship of Fiction and Life. Stanford University Press. ISBN0-8047-2243-9.
• Frank, Joseph (1995). Dostoevsky: The Miraculous Years, 1865–1871 . Princeton Academy Press. ISBN0-691-01587-ii. Katkov, Criminal offence and Punishment.
• Frank, Joseph (2002). "Introduction". Dostoevsky: The Mantle of the Prophet, 1871–1881. Princeton University Press. ISBN0-691-11569-ix.
• Gill, Richard (1982). "The Bridges of St. Petesburg: a Motive in Crime and Punishment". Dostoevsky Centenary Conference at the University of Nottingham. Vol. 3. International Dostoevsky Society. Archived from the original on xix September 2008.
• Hardy, James D. Jr.; Stanton, Leonard J. (1999). "Introduction". Crime and Penalisation past Fyodor Dostoyevsky. Signet Archetype. ISBN0-451-52723-2.
• Hudspith, Sarah (2003). "Dostoevsky's Dramatization of Slavophile Themes". Dostoevsky and the Idea of Russianness. Routledge. ISBN0-415-30489-X.
• Jahn, Gary R. "Dostoevsky's Life and Career, 1865–1881". University of Minnesota. Retrieved 24 August 2008.
• McDuff, David (2002). "Introduction". Fyodor M. Dostoevsky's Offense and Punishment. Penguin Classics. ISBN0-14-044913-2.
• Miller, Robin Feuer (2007). "Crime and Penalisation in the Classroom". Dostoevsky's Unfinished Journey. Yale University Press. ISBN978-0-300-12015-8.
• Morris, Virginia B. (1984). "Style". Fyodor One thousand. Dostoevsky's Criminal offence and Punishment. Barron'due south Educational Serial. ISBN0-8120-3409-0.
• Ozick, Cynthia (24 February 1997). "Dostoyevsky's Unabomber". The New Yorker. p. 114. Retrieved 17 August 2008.
• Peace, Richard Arthur (2006). Fyodor Dostoevsky's Crime and Punishment: A Casebook. Oxford University Press. ISBN0-19-517562-X. :
  • Peace, Richard. "Introduction". Peace, i–16.
  • Fanger, Donald. "Apogee: Crime and Penalty". Peace, 17–35.
  • Lindenmeyr, Adele. "Raskolnikov's City and the Napoleonic Programme". Peace, 37–49.
  • Wasiolek, Edward. "Raskolnikov'due south City and the Napoleonic Programme". Peace, 51–74.
  • Peace, Richard. "Motive and Symbol". Peace, 75–101.
• Rosenshield, Gary (Winter 1973). "Outset- Versus Third-Person Narration in Crime and Penalty". The Slavic and E European Periodical. 17 (iv): 399–407. doi:ten.2307/305635. JSTOR 305635.
• Rosenshield, Gary (1978). Criminal offence and Punishment: The Techniques of the Omniscient Writer. Peter de Ridder Printing. ISBN90-316-0104-7.
• Sergeyev, Victor Chiliad. (1998). "Moral Practices and the Police force". The Wild East: Law-breaking and Lawlessness in Post-communist Russia. Chiliad.Eastward. Sharpe. ISBN0-7656-0231-8.
• Simmons, Ernest J. (2007). "In the Author's Laboratory". Dostoevsky – The Making of a Novelist. Read Books. ISBN978-i-4067-6362-1.
• Wellek, René (1980). "Bakhtin's view of Dostoevsky: 'Polyphony' and 'Carnivalesque'". Dostoevsky Studies – Grade and Construction. Vol. 1. International Dostoevsky Society. Archived from the original on ii October 2013.

External links [edit]

Criticisms

• University of Minnesota study guide
• Text and Analysis at Bibliomania
• Text nearly Criminal offence and Penalty by Lev Oborin (in Russian)

Online text

• Crime and Punishment at Standard Ebooks
• Law-breaking and Penalization at Projection Gutenberg
• Law-breaking and Penalisation public domain audiobook at LibriVox
• Full text (in Russian)
• Lit2Go audiobook version of the Constance Garnett translation.
• Total text in old orthography (russian)

Maps

• Mapping St. Petersburg – Criminal offence and Punishment

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Source: https://en.wikipedia.org/wiki/Crime_and_Punishment

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