Crime and Punishment (pre-reform Russian: Преступленіе и наказаніе; post-reform Russian: Преступление и наказание, romanized: Prestupleniye i nakazaniye, IPA: [prʲɪstʊˈplʲenʲɪje‿ɪ‿nəkɐˈzanʲɪje]) is a novel by the Russian author Fyodor Dostoevsky. It was first published in the literary journal The Russian Messenger in twelve monthly installments during 1866. It was later published in a single volume. It is the second of Dostoevsky’s full-length novels following his return from ten years of exile in Siberia. Crime and Punishment is considered the first great novel of his mature period of writing and is often cited as one of the greatest works of world literature.
Crime 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 flat. He theorises that with the money he could liberate himself from poverty and go on to perform great deeds, and seeks to convince himself that certain crimes are justifiable if they are committed in order to remove obstacles to the higher goals of “extraordinary” men. Once the deed is done, however, he finds himself wracked with confusion, paranoia, and disgust. His theoretical justifications lose all their power as he struggles with guilt and horror and is confronted with both internal and external consequences of his deed.
Background
At the time Dostoevsky owed large sums of money to creditors and was trying to help the family of his brother Mikhail, who had died in early 1864. After appeals elsewhere failed, Dostoevsky turned as a last resort to the publisher Mikhail Katkov and sought an advance on a proposed contribution. He offered his story or novella (at the time, he was not thinking of a novel) for publication in Katkov’s monthly journal 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 1860s, had never published anything in its pages before. In a letter to Katkov written in September 1865, Dostoevsky explained to him that the work was to be about a young man who yields to “certain strange, ‘unfinished’ ideas, yet floating in the air”. He planned to explore the moral and psychological dangers of the ideology of “radicalism”, and felt that the project would appeal to the conservative Katkov. In letters written in November 1865, an important conceptual change occurred: the “story” had become a “novel”. From then on, Crime and Punishment is referred to as a novel.
In the complete edition of Dostoevsky’s writings published in the Soviet Union, the editors reassembled the writer’s notebooks for Crime and Punishment in a sequence roughly corresponding to the various stages of composition. As a result, there exists a fragmentary working draft of the novella, as initially conceived, as well as two other versions of the text. These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the final plan, involving the shift from a first-person narrator to Dostoevsky’s innovative use of third-person narrative to achieve first-person narrative perspectives.
Dostoevsky initially considered four first-person plans: a memoir written by Raskolnikov, his confession recorded eight days after the murder, his diary begun five days after the murder, and a mixed form in which the first half was in the form of a memoir, and the second half in the form of a diary. The Wiesbaden edition concentrates entirely on the moral and psychological reactions of the narrator after the murder. It coincides roughly with the story that Dostoevsky described in his letter to Katkov and, written in the form of a diary or journal, corresponds to what eventually became part 2 of the finished work.
Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, “one possibility is that his protagonist began to develop beyond the boundaries in which he had first been conceived”. The notebooks indicate that Dostoevsky became aware of the emergence of new aspects of Raskolnikov’s character as the plot developed, and he structured the novel in conformity with this “metamorphosis”.
The final version of Crime and Punishment came into being only when, in November 1865, Dostoevsky decided to recast his novel in the third person. This shift was the culmination of a long struggle, present through all the early stages of composition. Once having decided, Dostoevsky began to rewrite from scratch and was able to easily 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.
Dostoevsky was under great pressure to finish Crime and Punishment on time, as he was simultaneously contracted to finish The Gambler for the prominent Russian publisher Fyodor Stellovsky, who had imposed extremely harsh conditions. Anna Snitkina, a stenographer who later became Dostoevsky’s wife, was of great help to him during this difficult task. The first part of Crime and Punishment appeared in the January 1866 issue of The Russian Messenger, and the last one was published in December 1866.
Plot
Part 1
Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny rented room in Saint Petersburg. Isolated and antisocial, he has abandoned all attempts to support himself and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawnbroker. On the pretext of pawning a watch, he visits her apartment, but he remains unable to commit himself. Later in a tavern, he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family’s little wealth. Marmeladov tells him about his teenage daughter, Sonya, who has become a prostitute in order to support the family.
The next day, Raskolnikov receives a letter from his mother in which she describes the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer, Svidrigailov. To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya’s situation. Raskolnikov is enraged at his sister’s sacrifice, feeling it is the same as what Sonya felt compelled to do. Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it.
In a state of extreme nervous tension, Raskolnikov steals an axe and makes his way once more to the old woman’s apartment. He gains access by pretending he has something to pawn, and then attacks her with the axe, killing her. He also kills her half-sister, Lizaveta, who happens to stumble upon the scene of the crime. Shaken by his actions, he steals only a handful of items and a small purse, leaving much of the pawnbroker’s wealth untouched. Due to sheer good fortune, he manages to escape the building and return to his room undetected.
Part 2
In a feverish and semi-delirious state Raskolnikov conceals the stolen items and falls asleep exhausted. He is greatly alarmed the next morning when he gets summoned to the police station, but it turns out to be in relation to a debt notice from his landlady. When the officers at the bureau begin talking about the murder, Raskolnikov faints. He quickly recovers, but he can see from their faces that he has aroused suspicion. Fearing a search, he hides the stolen items under a large rock in an empty yard, noticing in humiliation that he has not even checked how much money is in the purse. Without knowing why, he visits his old university friend Razumikhin, who observes that Raskolnikov seems to be seriously ill. Finally he returns to his room where he succumbs to his illness and falls into a prolonged delirium.
When he emerges several days later he finds that Razumikhin has tracked him down and has been nursing him. Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor about the status of the police investigation into the murders: a muzhik called Mikolka, who was working in a neighbouring flat at the time, has been detained, and the old woman’s clients are being interviewed. They are interrupted by the arrival of Luzhin, Dunya’s fiancé, who wishes to introduce himself, but Raskolnikov deliberately insults him and kicks him out.
He angrily tells the others to leave as well, and then sneaks out himself. He looks for news about the murder, and seems almost to want to draw attention to his own part in it. He encounters the police official Zamyotov, who was present when he fainted in the bureau, and openly mocks the young man’s unspoken suspicions. He returns to the scene of the crime and re-lives the sensations he experienced at the time. He angers the workmen and caretakers by asking casual questions about the murder, even suggesting that they accompany him to the police station to discuss it. As he contemplates whether or not to confess, he sees Marmeladov, who has been struck mortally by a carriage. He rushes to help and succeeds in conveying the stricken man back to his family’s apartment. Calling out for Sonya to forgive him, Marmeladov dies in his daughter’s arms. Raskolnikov gives his last twenty five roubles (from money sent to him by his mother) to Marmeladov’s consumptive widow, Katerina Ivanovna, saying it is the repayment of a debt to his friend.
Feeling renewed, Raskolnikov calls on Razumikhin, and they go back together to Raskolnikov’s building. Upon entering his room Raskolnikov
