Study Guide

Crime and Punishment

by Fyodor Dostoevsky

Crime and Punishment Themes


The most profound theme in Crime and Punishment involves the reasons for performing immoral acts and the resulting effects of both the acts and the reasoning. While Dostoevsky's later novels often employ the murder mystery plot device, there is no mystery here. This is a psychological novel whose chief focus is on a murderer, his family (of whom he is very fond, through all of his tribulations), and his associates. Some of the most interesting scenes in the text are those in which the examining magistrate Porfiry Petrovich and Raskolnikov spar with each other: Raskolnikov becomes more and more uneasy, and one can perceive early on that Porfiry knows that the young man is guilty. And, when Raskolnikov's loyal friend Razumikhin attempts to explain away the crime—"Nothing is admitted . . . I'm not wrong! I can show you their books [those of the socialists who claim that crime is simply the protest against "bad and abnormal social conditions"]: they reduce everything to one common cause—environment."—Porfiry says that he is quite wrong and soon recalls an article written not long before by Raskolnikov.

In the essay, published in a local journal, Raskolnikov (who claims not even to know that it was published) deals with "the psychology of a criminal during the whole course of the crime." Porfiry uses this text in his subtle and indeed annoying penetration of the mind of the murderer. While Raskolnikov at first denies the extreme claim of the article, that the "extraordinary" persons (unlike the "ordinary" ones, who "must lead a life of strict obedience and have no right to transgress the law") "have a perfect right to commit all sorts of enormities and crimes and . . . they are, as it were, above the law," he soon defends the assertion by stating that the "extraordinary" man "has a right— not an officially sanctioned right, of course—to permit his conscience to step over certain obstacles." Raskolnikov proceeds to offer historical examples, the most notable one being Napoleon, although he also names Lycurgus, Solon, and Mahomet—all of whom would be viewed as criminals by legal standards (and societal ones, too).

Even up to near the end of the book, Raskolnikov asserts (to himself, chiefly) that he did not really commit a "crime." Within eight pages of the end of the text, he still (after having already spent some time in prison) can say to himself that he would have been happy "if he really could have regarded himself as guilty of a crime!" A page later, he sets forth his essential reasoning about "guilt": "How . . . was my idea more stupid than any other ideas or theories that have swarmed and clashed in the world since the world existed? . . . Why does my action strike them as so hideous?. . . Is it...

(The entire section is 1120 words.)

Crime and Punishment Themes

On the surface, Crime and Punishment belongs to the popular genre known as the crime novel. A young man (Raskolnikov) commits a murder and then tries to conceal his guilt and evade arrest. In the end he confesses, is arrested, and is sent to prison, where he begins a process of spiritual regeneration. The novel's suspense arises not only from the question "what will happen next?", but from Dostoyevsky's close and relentless examination of the murderer's psyche. Dostoyevsky is more interested in important philosophical questions than in the technical police procedures of bringing a criminal to justice. He is also interested in the criminal's motives, which are ambiguous. The title indicates Dostoyevsky's interest in opposites and in the duality of human nature. The nature of guilt and innocence, the role of atonement and forgiveness, and the opposition of good and evil (and God and the Devil) all play an important thematic role in the book. While Dostoyevsky also examines social and political problems in the Russia of his day, his concerns are universal.

Guilt and Innocence
In large part, Crime and Punishment is an examination of the guilty conscience. For Dostoyevsky, punishment is not a physical action or condition. Rather (much as in Milton's epic poem Paradise Lost), punishment inherently results from an awareness of guilt. Guilt is the knowledge that one has done wrong and has become estranged from society and from God. From the very beginning of the novel, Raskolnikov (whose name derives from the Russian word for "schism") suffers from this estrangement. In murdering the pawnbroker, he seeks to prove that he is above the law. But his crime only reinforces his sense that he is not a part of society.

Although she is a prostitute, Sonya is the embodiment of innocence. Her motive in becoming a prostitute was not one of lust. Indeed, in all of the novel, there is no indication that Sonya has any lustful or sexual inclination. On the contrary, she is embarrassed by, and ashamed of, her profession. In Dostoyevsky's eyes, she is not guilty of any transgression. She does what she does out of sheer necessity, not out of any base instincts or any hope for personal gain.

In contrast with Sonya's sense of shame over the life she leads, Pyotr Luzhin is shameless in the way he manipulates Raskolnikov's sister and mother (Dunya and Pulkheria Aleksandrovna). He is guilty of emotional blackmail as well as of fraud. Arkady Svidrigailov is an even more "guilty" character. Luzhin's crimes are calculated, whereas Svidrigailov's crimes result from his complete surrender to his evil nature. Rather than facing up to his guilt and its consequences, as Raskolnikov does, Svidrigailov partially acknowledges his guilt but evades the consequences by committing suicide. Although Raskolnikov is the central figure of Crime and Punishment, Dostoyevsky suggests that Raskolnikov may not quite be the book's most guilty criminal. Svidrigailov and Luzhin are also guilty of criminal misdeeds, and they are less open than Raskolnikov to the possibility of redemption.

Atonement and Forgiveness
The theme of atonement and forgiveness is closely related to that of guilt and innocence. As Dostoyevsky's title suggests, punishment is the only logical and necessary outcome of crime. Punishment, however, does not mean merely a legal finding and a sentence of imprisonment. In Dostoyevsky's view, the criminal's true punishment is not a sentence of imprisonment. Nor is legal punishment the definitive answer to crime. The criminal's punishment results from his own conscience, his awareness of his guilt. However, he must not only acknowledge his guilt. The criminal must atone for it and must seek forgiveness.

Raskolnikov at first tries to rationalize his crime by offering various explanations to himself. Foremost among these is his "superman" theory. By definition, the superman theory denies any possibility of atonement. The superman does not need to atone, because he is permitted to commit any crime in order to further his own ends. Raskolnikov also rationalizes his crime by arguing that the old pawnbroker is of no use to anyone; in killing her, he is ridding the world of an unpleasant person. Driven by poverty, he also claims that he wants to use her money to better his position in life. In the course of the book, he comes to realize that none of these excuses justifies his crime.

Raskolnikov's reasons for fearing arrest are equally complex. It is clear, however, that without the example and the urging of Sonya, he would not be able to seek forgiveness. He finds it remarkable that when he confesses his crime to her, Sonya immediately forgives him. She urges him to bow down before God and make a public confession. This act of contrition, she believes, will enable him to begin to cleanse his soul.

Svidrigailov is aware of his own guilt, but he does not seek forgiveness. Unlike Raskolnikov, he does not believe in the possibility of forgiveness. In giving money to Sonya and others, he attempts a partial atonement for his sins. However, even these gestures are motivated partly by base self-interest. Because he is spiritually dead, he feels that the only atonement he can make is to commit suicide.

Ubermensch ("Superman")
Part of the motive for Raskolnikov's crime comes from a theory that he has developed. In an essay that he publishes, Raskolnikov argues that humankind is divided into two categories: ordinary people, and geniuses or supermen. Ordinary people must obey the law, but "supermen" — of whom there are very few in any generation — are entitled to break existing laws and make their own laws. Raskolnikov cites the French emperor Napoleon as the epitome of the superman type. He argues that Napoleon rose to power by overstepping the laws that govern ordinary people. Napoleon made his own laws and achieved his goals by killing tens of thousands of people in wars. Because Napoleon was a genius, Raskolnikov reasons, he was not regarded as a criminal. On the contrary, he was hailed as a hero. Early in Crime and Punishment, Raskolnikov has become obsessed with the notion that he himself is a "superman." Therefore, he thinks, he is not subject to the laws that govern ordinary people. (In the original Russian text, Dostoyevsky frequently uses a word that means "overstepping" or "stepping over"—that is, transgressing. This word is closely related to the Russian word for "crime" (prestuplenie). Raskolnikov decides to murder the pawnbroker Alyona Ivanovna partly to prove that he is a superman. However, his indecision and confusion throughout the novel indicate that he is not a superman. Moreover, in the course of the novel, Dostoyevsky seeks to prove that there is no such thing as a superman. Dostoyevsky believes that every human life is precious, and no one is entitled to kill.

Dostoyevsky's formulation of the superman theory (through Raskolnikov) clearly anticipates the ideas developed by the German philosopher Friedrich Nietzsche in the 1880s. For Nietzsche, the superman and his "will to power" were supreme ideals. Christianity stood in the way of the superman, and Nietzsche scorned...

(The entire section is 2947 words.)