Crime and Punishment is a psychological novel by Russian author Fyodor Dostoevsky, first published in 1866. The story is set in St. Petersburg, Russia, and follows the mental and moral dilemmas of Rodion Raskolnikov, a young, impoverished student who commits murder and struggles with guilt, remorse, and justification. As one of Dostoevsky’s major works, the novel delves deeply into themes of morality, free will, and the psychological complexity of the human condition.
Plot Summary
On a sweltering July evening in St. Petersburg, Rodion Raskolnikov, a former student, slips out of his cramped garret with an anxious heart. His mind is consumed by dark thoughts, and he avoids his landlady, from whom he owes rent, as if even a simple encounter might derail his growing obsession. Rodion is planning something terrible—something that has taken root in the depths of his soul, festering for weeks: murder. He believes that certain exceptional people, like Napoleon, can transcend the laws of morality for the greater good, and he imagines himself one of them.
His target is Alyona Ivanovna, an old pawnbroker who has accumulated wealth by exploiting the desperate. Rodion convinces himself that ridding the world of such a parasitic woman would be justifiable, even noble. With every step, he questions his own resolve. He is tormented by uncertainty, yet drawn toward an inevitable confrontation. When he arrives at her apartment, time seems to slow as he carries out the deed, striking her with a heavy axe. But as he fumbles in her drawers for valuables, Alyona’s meek half-sister, Lizaveta, unexpectedly enters. In a moment of panic, Rodion kills her too, fleeing the scene in horror.
In the days following, Rodion is gripped by feverish delirium. He sinks into paranoia, convinced that every glance or question from a stranger is a sign that they know his secret. He isolates himself further from his few remaining ties—his mother, Pulcheria, and his devoted sister, Dunya, who arrive in the city soon after. Pulcheria and Dunya are worried for Rodion, unaware of the storm brewing inside him. Dunya herself faces her own trials, as she is pursued by two very different men: the calculating and self-serving Pyotr Petrovich Luzhin, whom she reluctantly considers marrying to help her family, and the morally ambiguous Svidrigailov, who once tried to seduce her.
Despite his attempts to hide, Rodion is drawn to a police station, where a chance conversation with the shrewd Inspector Porfiry Petrovich unnerves him. Porfiry suspects Rodion but uses psychological tactics instead of direct accusations, hoping to corner him into a confession. The tension between them escalates in each encounter, with Porfiry’s casual probing and Rodion’s increasing paranoia creating a suffocating game of cat and mouse.
Amid this chaos, Rodion forms an unlikely bond with Sonia Marmeladov, a young woman forced into prostitution to support her destitute family. Sonia’s father, Marmeladov, is a hopeless alcoholic who dies in a tragic accident, further burdening her. Yet, Sonia remains pure-hearted, living in quiet sacrifice for the people she loves. She becomes a mirror to Rodion’s guilt, embodying a kind of suffering he cannot comprehend—one rooted in love and faith rather than pride and intellect. Rodion is both repelled by and drawn to her unwavering goodness. In moments of torment, he confides in her, and it is to her that he ultimately reveals the truth of his crime.
Rodion’s internal struggle intensifies. He is caught between his desire to be above ordinary moral laws and the crushing weight of guilt that slowly eats away at him. Sonia, though devastated by his confession, implores him to repent and surrender. She believes in redemption and clings to the hope that Rodion can find peace if he seeks atonement. But Rodion resists, still clinging to the idea that his crime was justified, that he is somehow different, special—until he realizes that his isolation and suffering are of his own making.
Meanwhile, Svidrigailov, who harbors his own dark past and unrequited desire for Dunya, becomes a figure of growing unease in Rodion’s life. He is the embodiment of unchecked amorality, a man who, like Rodion, has committed terrible acts but without the same torment. Svidrigailov’s ability to live with his sins and his ultimate decision to take his own life after a failed attempt to win Dunya’s love serves as a stark warning to Rodion. In Svidrigailov’s self-destruction, Rodion sees a possible end to his own path—complete moral collapse and death.
As time wears on, Rodion finds himself increasingly cornered, both by Porfiry’s relentless pressure and by his own guilt. Porfiry eventually confronts Rodion, revealing that he has known for some time that Rodion is the murderer. But Porfiry, rather than arresting him, urges him to confess voluntarily, believing that only through confession and punishment can Rodion find true redemption.
It is Sonia’s faith and love that finally tip the scales. Unable to bear the torment any longer, Rodion goes to the police station and confesses. The weight of his crime, which had isolated him from everyone, is lifted in that moment. He is sentenced to a Siberian penal colony, where Sonia follows him, embodying the novel’s central theme of selfless love and redemption through suffering. Though still struggling with his sense of guilt, Rodion begins to soften. The seeds of change are planted in his heart, and the possibility of spiritual rebirth flickers on the horizon.
Rodion’s journey from arrogance and isolation to humility and redemption mirrors Dostoevsky’s exploration of existential suffering and the search for meaning in a world plagued by moral ambiguity. The novel ends not with a final judgment, but with a sense of ongoing transformation, as Rodion contemplates the long road ahead—a path that Sonia, with her quiet strength, will help him walk.
Main Characters
Rodion Romanovich Raskolnikov: The protagonist, Raskolnikov is a former student living in poverty. He believes himself to be above the moral laws that govern ordinary people, which leads him to commit murder. Throughout the novel, he grapples with guilt, isolation, and existential questions, fluctuating between justification for his actions and remorse.
Sofya Semyonovna Marmeladov (Sonia): Sonia is the daughter of a destitute government clerk, and she turns to prostitution to support her family. Despite her circumstances, she remains deeply religious and becomes a moral compass and source of redemption for Raskolnikov, showing unconditional love and forgiveness.
Porfiry Petrovich: The intelligent and somewhat manipulative police inspector investigating the murders. He is keenly interested in psychological games and suspects Raskolnikov early on but uses a patient and psychological approach to coax out a confession.
Dunya (Avdotya Romanovna Raskolnikov): Raskolnikov’s strong-willed and virtuous sister, who is willing to sacrifice herself for her family’s well-being. Her difficult engagement to the pompous Luzhin serves as a foil to Raskolnikov’s ideas about morality and sacrifice.
Arkady Ivanovich Svidrigailov: A morally ambiguous character and former employer of Dunya, he has a dark past involving his own wife’s suspicious death. Svidrigailov represents the darker side of human nature, yet also serves as a counterpoint to Raskolnikov’s struggle with guilt and redemption.
Katerina Ivanovna Marmeladov: Sonia’s stepmother, a proud woman suffering from tuberculosis. Despite her abusive behavior, she embodies the theme of sacrifice and suffering, trying to maintain her dignity and care for her children in desperate circumstances.
Theme
Guilt and Redemption: The novel focuses intensely on Raskolnikov’s guilt after committing murder and his psychological struggle to seek redemption. This theme is explored through his internal conflict and eventual realization that he cannot live with the weight of his crime.
Morality and Justice: Dostoevsky explores the nature of morality—what is right and wrong, and who gets to decide. Raskolnikov’s belief in a “superior man” theory, where exceptional individuals can transcend societal laws, is challenged throughout the narrative as he realizes the implications of his actions.
Poverty and Desperation: The novel portrays the dire conditions of 19th-century St. Petersburg, with poverty-stricken characters like Sonia and the Marmeladov family who endure immense suffering. Poverty is linked to moral degradation and social criticism, showing how desperation can drive people to extreme actions.
Alienation and Isolation: Raskolnikov’s isolation, both self-imposed and societal, plays a central role in the novel. He distances himself from family and society, believing in his intellectual superiority, only to experience profound loneliness and alienation after his crime.
Sacrifice and Suffering: Many characters in Crime and Punishment endure personal suffering and sacrifice for the sake of others. Sonia sacrifices her dignity for her family, while Dunya considers sacrificing her happiness in marriage. These acts contrast with Raskolnikov’s selfish crime and highlight different responses to suffering.
Writing Style and Tone
Dostoevsky’s writing in Crime and Punishment is deeply psychological, often delving into the inner workings of the characters’ minds. The third-person omniscient narrator allows readers to experience Raskolnikov’s fragmented thoughts, heightening the tension as he wavers between madness, guilt, and justification. This introspective narrative technique immerses the reader in the protagonist’s emotional turmoil, creating a raw and unsettling experience.
The tone of the novel is generally dark and oppressive, reflecting the grim realities of life in St. Petersburg and the weight of Raskolnikov’s crime. The mood is often tense, as Raskolnikov’s paranoia and guilt escalate throughout the novel. However, moments of warmth and redemption appear through characters like Sonia, whose compassion offers hope in contrast to the novel’s pervasive bleakness. Dostoevsky uses vivid, detailed descriptions to depict the squalor of the city and the intense emotional states of the characters, enhancing the novel’s existential and moral themes.
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