Illustration of a person's lower extremeties wearing a pair of bloody socks

Crime and Punishment

by Fyodor Dostoevsky

Start Free Trial

Crime and Punishment Analysis

  • Nihilism is a philosophy that rejects all of society's moral principles as meaningless. Raskolnikov commits murder to test if he can break society's rules with impunity. In the end, the novel rejects nihilism, and Raskolnikov is punished.
  • Crime and Punishment is a study of the psychological effects of crime on the perpetrator. Raskolnikov discovers that justice is not the same thing as punishment, which can be enacted independently of the law. Raskolnikov's greatest punishment is guilt, which torments him.
  • The novel employs Christian symbolism in its discussion of morality. The crucifix is interpreted variously as a symbol of suffering and redemption.

Crime and Punishment Study Tools

Take a quiz Ask a question Start an essay

Analysis

Download PDF PDF Page Citation Cite Share Link Share

Crime and Punishment is, in many respects, a conventional nineteenth-century novel. The narrative begins with the protagonist's intentions being clearly outlined. Subsequently, background information is provided to help the reader understand the current circumstances. The primary distinction between this approach and that of numerous Victorian novels is that the latter typically present the background information first. Nevertheless, the effect remains the same, with the plot threads clearly laid out, including the Dunya/Luzhin/Svidrigaylov subplot, which is integrated smoothly and believably. Additionally, the use of the "Epilogue" to bring the story to a clear and morally satisfying conclusion is a common literary device, reminiscent of the final chapters in many Dickens novels.

The setting is depicted in a clear and traditional manner, though there is a pronounced focus on darkness, fog, and nocturnal activities. Dostoevsky often employs urban settings, and his portrayal of St. Petersburg is both accurate and realistic, featuring the relevant streets, the Neva River, and the bridges. Indoor scenes are typically characterized by disorder and gloom, and sometimes horror, as seen in Svidrigaylov's hotel room, where the image of a mouse running over him in the dismal chamber is particularly repulsive. This creates a fittingly negative atmosphere for the novel.

The true innovation lies in the point of view. Many critics have observed that both Joyce and Proust, among others, owe a debt to Dostoevsky for his introduction of a near stream-of-consciousness perspective. Although the thoughts of other characters are occasionally revealed, the primary focus is on Raskolnikov's thoughts and emotions. These internal reflections are the main methods of characterization. His actions reveal little about his true nature, whereas his thoughts and feelings disclose a great deal.

One of the main conflicts in the novel occurs within Raskolnikov himself. He is constantly debating with himself, doubting his decisions, and changing his mind. On the second page, he is already in the grip of uncertainty: '"Good Lord!' he thought to himself [this phrase appears repeatedly], with a strange smile, 'here I am thinking of doing such a thing [the murder] and at the same time I am in a jitter over such a trivial matter.'" This internal monologue continues for a lengthy paragraph and foreshadows a series of similar internal analyses.

Another facet of Raskolnikov's character, his insecurity, is evident in his habit of asking himself rhetorical questions whenever he is under stress. Near the end of Part Four, following a tense interview with Porfiry, Raskolnikov begins by questioning himself, "How far, however, was he in danger?" For most of the rest of the page, he poses fourteen questions to himself, all of which illustrate his uncertainty about his situation and even his own character. Through this technique, Dostoevsky can be said to have steered the novel in a significant new direction: inward.

Places Discussed

Download PDF PDF Page Citation Cite Share Link Share

*St. Petersburg

*St. Petersburg. Capital of Imperial Russia. Deep within the glittering outer facade of St. Petersburg’s state buildings, elegant promenades, and gilded mansions is a central core of filth, stench, poverty, despair, and depravity. The outside order is mere cover for the horror and disorder within. Dostoevski lived in St. Petersburg for twenty-eight years, moving during this period into twenty different apartments. Minute details about places where Dostoevski lived appear in Crime and Punishment to provide descriptive realism along with significant symbolism. On the micro level, the scenes of Dostoevski’s novel unfold in the vicinity of the apartment he was renting at the time. On the macro level, St. Petersburg is symptomatic of the split in the Russian psyche between the cold Western rationalism and capitalistic materialism of the new Russia...

(This entire section contains 910 words.)

Unlock this Study Guide Now

Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.

Get 48 Hours Free Access

and the traditional Muscovite values of the old Russia. Like the city itself, the major character Raskolnikov (whose name means “split” or “schism”) must struggle to discover his identity in a battle between cold rationalism, which leads him to double murder, and his Russian soul, which seeks repentance and resurrection. As a student, Dostoevski himself fell into Western-style radicalism and was sentenced to death in 1849 by the repressive regime of Czar Nicholas I. After being placed before a firing squad in St. Petersburg, Dostoevski was pardoned and his sentence commuted to eight years in Siberia. Back in St. Petersburg, Dostoevski remained aware of a continuing inner struggle. As he says inCrime and Punishment, St. Petersburg has “gloomy and queer influences on the soul of man.”

*Haymarket

*Haymarket. District filled with vendor stalls, peasant stalls, bars, hotels, and brothels that developed in St. Petersburg during the last quarter of the eighteenth century. It was filled with alleys and crammed with all sorts of people from the lower classes. It was bordered by slums (where Raskolnikov, Sonya, and the pawnbroker live), yet it was only one-half mile from St. Petersburg’s fashionable Nevskii Prospect. All types of people pass through the Haymarket; it is here that an accidental encounter with the pawnbroker’s half-sister (Lizaveta) convinces Raskolnikov that the time is right to murder the pawnbroker. Here, too, he bows down to kiss the ground (a sign of connectedness to mother earth and traditional values) and then goes to the police to confess that he is a murderer.

Stolyarny Lane

Stolyarny Lane. Street located near the Haymarket on which the main character, Raskolnikov, lives. The poverty-stricken former university student has a single shabby room with low ceilings, in an almost cavelike dwelling. Here, on a dilapidated couch-bed in his tiny, windowless room, Raskolnikov falls under the influence of the sinister plot to kill the pawnbroker and steal her ill-gotten gains. Although his room is a world unto itself, Raskolnikov always keeps the door unlocked, providing the opportunity for others to enter and for him to exit into the wider, ominous world of St. Petersburg.

*Sadovaya Street

*Sadovaya Street. Street not far from Raskolnikov’s building on which the pawnbroker Alonya Ivanovna and her half-sister, Lizaveta Ivanovna, live in the fourth-floor apartment. Their two rooms are kept clean due to the efforts of Lizaveta, who works as a virtual slave. Raskolnikov visits three times before murdering the pawnbroker and Lizaveta, who unexpectedly walks into the apartment shortly after the pawnbroker’s axe murder. A fortuitous set of circumstances allows Raskolnikov to leave the apartment unnoticed. Later, he returns to the apartment to relive the event.

Sonya’s room

Sonya’s room. Home of the prostitute Sonya Marmeladov, in a three-story house on the Ekaterinsky Canal. The room has many windows that let in light and overlook the canal, although the walls are yellowed, and the room is nearly barren. It is here that Raskolnikov tells Sonya about the murders, unaware that Svidrigaylov, an unscrupulous suitor of his sister, is in an adjoining room, listening to his confession through the door.

*Neva River

*Neva River. Major river of St. Petersburg which also boasts a tributary, the Little Neva. Bridges and water in general play an important symbolic role in Crime and Punishment. The Neva is the courier of rebirth but also of death. It brings discord but also calmness. Thus Raskolnikov thinks of throwing what he has stolen from the pawnbroker into the Neva but chooses instead to bury it under a stone. He throws the last of his money into the Neva as a symbol of his rejection of materialism. It is on Tuchkov Bridge, over the Little Neva, that Raskolnikov enters a mood of tranquillity and decides not to kill the pawnbroker. (The decision changes, however, when he enters Haymarket Square.) For evil characters such as Svidrigaylov, the river brings coldness and depression. After an excursion on Tuchkov Bridge, Svidrigaylov decides to kill himself.

*Siberia

*Siberia. Vast, desolate region of eastern Russia. After confessing his crime, Raskolnikov is sentenced to eight years imprisonment in Siberia. The faithful Sonya follows him into this frozen wasteland. Yet the prison, on the bank of a river, is the place of rebirth and salvation for Raskolnikov, where he discovers love and traditional Russian values. His apartment in St. Petersburg was more a prison than his cell in the wide-open spaces of Siberia. While here, he patiently looks forward to his future life with Sonya. Dostoevsky himself spent eight years in Siberia, four in a prison camp and four in military service, after which his life and beliefs took dramatic new shape.

Historical Context

Download PDF PDF Page Citation Cite Share Link Share

Dostoyevsky's Russia: Social and Political Background

To many contemporary Americans, the Russia of Dostoyevsky's era seems almost unfathomable. Sir Winston Churchill's 1939 remark that Russia "is a riddle wrapped in a mystery inside an enigma" is equally applicable to the Russia of the 1860s, during which Dostoyevsky wrote Crime and Punishment. In simple terms, Russia's historical divergence from the West stems largely from its centuries-long isolation from Western Europe. The transformative periods of the Reformation, the Renaissance, and the Enlightenment, which helped Western European countries evolve from feudal states into modern nations with educated citizens and significant cultural institutions, had little impact on Russia. Furthermore, periodic large-scale invasions, such as those by the Mongols in the 13th and 14th centuries and the Nazi armies in the early 1940s, frequently ravaged the country. Consequently, Russia has historically harbored suspicion toward other nations. Early in its national history, Russia adopted a governance model that centralized immense power in the hands of an emperor—the tsar—and a select few advisors. (The Russian title "tsar" is derived from the Latin word "Caesar.") In the mid-1500s, Tsar Ivan IV (known as Ivan the Terrible) established a pattern for Russian governance that persisted for over four centuries, characterized by alternating brief periods of ineffective reform with severe repression.

Relatively "liberal" rulers such as Tsar Peter the Great (reigned 1682-1725) and Tsarina Catherine the Great (who was actually German; reigned 1762-96) adopted a policy of "westernization," attempting to import modern technology and customs from Western Europe. Nevertheless, they maintained absolute power and ruthlessly suppressed any challenges to the established political order.

During the time when Dostoyevsky was being educated and beginning his literary career—the 1830s through the 1860s—Russia experienced intense intellectual debate. The small class of educated individuals recognized that significant changes were necessary for the vast but backward country to address its social issues and find its place in the world. One approach to change was advocated by a group of intellectuals known as Westernizers. Influenced by German philosophy and social ideas that developed during the Industrial Revolution in Western Europe, as well as contemporary European revolutionary movements, the Westernizers were not unified in their goals or methods. Some supported gradual democratic reforms, while others called for revolution to overthrow the tsarist government and establish a socialist regime. Among the leading Westernizers was Vissarion Belinsky (1811-48), the most prominent Russian literary critic of his time. Belinsky praised Dostoyevsky's first book, Poor Folk (1846), and proclaimed Dostoyevsky as the literary successor of Gogol.

A separate group of intellectuals, known as the Slavophiles, suggested a completely different solution to Russia's issues. Generally, the Slavophiles believed that Western principles of rationalism and modernization were harmful and foreign to Russia. Instead of relying on legislative programs and material advancements, they argued that Russia could only achieve its true potential if Russians embraced their native spiritual values. Although they opposed the Westernizers, the Slavophiles were also critical of the current Russian government. By Western standards, the Slavophiles might seem romantic and reactionary, yet they significantly contributed to the discourse on Russia's future.

In his youth, Dostoyevsky was influenced by the Westernizers. During the mid-1840s, he joined the Petrashevsky Circle, a small group that met weekly to discuss socialist ideas. The group called for political reforms and generally opposed the regime of Tsar Nicholas I. In the spring of 1849, the members were arrested. Twenty-one of them, including Dostoyevsky, were sentenced to death but received last-minute pardons. During his imprisonment in Siberia, Dostoyevsky experienced a profound spiritual and political transformation. He renounced political radicalism and came to believe that Russia's future lay in Slavic idealism. His travels in Western Europe during the 1860s and 1870s deepened his aversion to modern industrial society. In his major novels from his later years, including Crime and Punishment, Dostoyevsky sympathizes with the Slavophiles and criticizes the Westernizers and radicals. The character Raskolnikov embodies the perspective of the radical Nihilists (from the Latin word for "nothing"), who rejected all traditional societal conventions.

By the time Dostoyevsky wrote Crime and Punishment, Tsar Alexander II (who reigned from 1855 to 1881) was implementing significant reforms. In 1861, the Tsar issued a proclamation that freed millions of Russian serfs (peasants who lived and worked under conditions similar to slavery). This was followed by reforms in local government, the judiciary, and the military. (The police inspector Porfiry Petrovich references these reforms.) However, these changes did not solve Russia's major problems and even created new issues. The immense social challenges facing Russia at the time—widespread poverty, ignorance, and social unrest—form the backdrop to Crime and Punishment.

Crime and Punishment in a Literary Context

Historian Nicholas Riasanovsky once said, "Literature constituted the chief glory of Russian culture in the first half of the nineteenth century." Like many educated Russians of his era, Dostoyevsky deeply respected the works of prominent Russian poets Alexander Pushkin (1799-1837) and Mikhail Lermontov (1814-1841). Pushkin's verse novel Eugene Onegin (written 1822-31) illuminated Russian society and its issues. Dostoyevsky was also well-acquainted with the works of novelist Nikolai Gogol (1809-1852), a significant figure in Russian literature before Dostoyevsky’s own rise. Gogol excelled in both realism and the fantastic. His masterpiece Dead Souls (1842) offered a profound psychological exploration of Russian society. Interestingly, elements in Crime and Punishment can also be traced to two non-Russian writers whom Dostoyevsky admired: the French novelist Victor Hugo, author of Les Miserables, and the English novelist Charles Dickens, author of David Copperfield, which Dostoyevsky read while imprisoned. Dostoyevsky often mentioned Dickens in his letters and notebooks. In Crime and Punishment, Dostoyevsky echoes Dickens' concerns with urban life, poverty, crime, and the suffering of children and the innocent.

Among Dostoyevsky's contemporaries, two other major Russian novelists are noteworthy. Ivan Turgenev (1818-83) aligned with the Westernizers and spent much of his life in Western Europe, though his themes remained distinctly Russian. His most famous novel, Fathers and Sons (1862), delves into the relationships between older Russian democratic reformers and the younger, more radical generation, coining the term nihilist. Count Leo Tolstoy (1828-1910) is often considered Dostoyevsky's equal, despite their differences. Tolstoy’s epic novel War and Peace (1863-69) began serialization around the same time as Crime and Punishment. In his later years, Tolstoy developed a unique philosophy of nonviolence, often compared to that of Mohandas K. Gandhi. Although Dostoyevsky and Tolstoy both knew and respected Turgenev, and both disagreed with him, Dostoyevsky and Tolstoy never met.

Ideas for Group Discussions

Download PDF PDF Page Citation Cite Share Link Share

Examining Russia's penal code from the late nineteenth century can shed light on the moral quandaries faced by Raskolnikov. Some readers find the police conduct in Crime and Punishment unusual. For example, it's curious that Porfiry accuses Raskolnikov, jokes with him, and then lets him go, only suggesting he will be arrested in a few days. Raskolnikov isn't taken into custody until he confesses. Porfiry knows Raskolnikov is guilty but lacks the evidence to prove it—and likely never could have without the confession.

Additionally, reading Notes from the Underground may help determine if Dostoevsky's so-called "philosophy of life" (though he denied having one) is consistently present in both works. Furthermore, exploring Dostoevsky's life could reveal autobiographical elements in Crime and Punishment. Special attention should be given to his views on women, particularly regarding his wives and mistress Polina Suslova. Do these views reflect in Raskolnikov's interactions with his family and Sonia?

1. Does Raskolnikov's eight-year sentence seem lenient considering his violent crimes? The trial is only briefly summarized at the novel's end, so the reasons for leniency might appear vague.

2. Is Svidrigaylov, as some suggest, a more "interesting" character than Raskolnikov? How can this claim be supported?

3. Between the two central female characters, Sonia and Dunya, who is more admirable? Do they both respond appropriately to their challenges?

4. What does the Dunya/Luzhin/Svidrigaylov subplot contribute to the novel? Could it have been omitted without affecting the plot or themes?

5. How convincing are Raskolnikov's arguments in defense of his actions? Is there any merit in them? What societal implications do they hold?

6. The novel is often classified as "psychological realism." Do the characters' behaviors follow realistic patterns? Are the unusual actions sufficiently explained within the text?

7. Which scene, whether action-packed or involving verbal confrontation, is the most impactful and well-developed? Is Dostoevsky more skilled at depicting action or crafting effective dialogue?

8. Does Raskolnikov's conversion at the end seem too idealistic? Should Dostoevsky have extended the novel to allow a more gradual transformation? Is it believable that Raskolnikov and Sonia's future will be as hopeful as implied?

9. Are the various settings, particularly the interior ones, described in sufficient detail? Does one get a clear image of each setting? If not, what could have been done to enhance the descriptions?

10. Dostoevsky is renowned for the inherently somber mood and ambiance of his major works. Does this pervasive sense of gloom and despair truly impact the reader? Is it excessive? Does it suit the storyline and themes of the novel?

Social Concerns

Download PDF PDF Page Citation Cite Share Link Share

As the title indicates, the primary social focus in Crime and Punishment revolves around crime, both as a societal issue and a personal act. Additionally, social class plays a significant role, especially regarding the challenges posed by extreme poverty and the abuse of power.

Fyodor Dostoevsky was deeply intrigued by the motivations behind criminal behavior—a fascination that grew during his imprisonment alongside numerous hardened criminals in Siberia. He also explored the emotional and psychological aftermath of committing a crime. The novel's protagonist, Rodion Raskolnikov, has already resolved to murder an old female pawnbroker, whom he deems worthless, at the story's outset. The gruesome murder is carried out with an ax, which he also uses on the pawnbroker's stepsister, who stumbles upon the scene unexpectedly.

The novel delves into what truly constitutes guilt, primarily from the perspective of the murderer himself. Raskolnikov internally debates the reasons (which might be mere justifications) for considering the act justifiable. The most significant rationale is his "Napoleonic" theory: certain individuals, usually men, are above ordinary morals and societal laws and can therefore act in "illegal" ways with valid justification. He reflects on historical "great" men who have performed noble deeds while killing many people—they are celebrated as heroes. He also "reasons" that the world would be better without the avaricious old pawnbroker, who exploits the poor and profits from their misery. Raskolnikov's eventual remorse, which appears late in the story, has little to do with societal good; the primary focus is on the individual. However, a crucial factor leading to his realization at the end is his profound sense of isolation from society.

Social class and poverty are closely linked in Crime and Punishment. Raskolnikov murders the old woman and robs her, claiming his aim is to acquire enough money to support his sister and mother. He also wishes to return to university, where he had been a student for several years (readers are often surprised to learn that this grim and intense character is only twenty-three). The crushing poverty he endures saps his spirit, and he convinces himself that the murder and robbery are justified by his noble intentions to use the money wisely. Ironically, he never actually uses the stolen money, hiding it in an empty lot and never retrieving it.

Raskolnikov views himself as part of the gentleman's class. Even after committing a gruesome murder, he retains disdain for those of a lower status: "He had an aversion, a strong aversion, for being among the common people." When speaking to the humble and kind Sonia Marmeladov, who has turned to prostitution to support her impoverished family, Raskolnikov articulates the contempt she faces: "Well, Sonia . . . . The entire case against you was based on 'your social position and the habits inseparable from it.'" This snobbish attitude highlights Raskolnikov's social awareness, reflecting the Russian obsession with a caste system prevalent in nineteenth-century Asia Minor. In a more tragic light, Sonia's often drunken and dissolute father illustrates the importance of social standing. He frequently claims to be an aristocrat, and his wife maintains this illusion as long as possible. His pitiable death underscores the absurdity of such pretensions.

Poverty is also tied to the misuse of power. Raskolnikov aims to gain control over his circumstances by stealing money. The malevolent Luzhin, who is coercively engaged to Raskolnikov's sister, Dunya, tries to force the Raskolnikov family (Rodion despises him) to accept him immediately. He even seeks revenge on the defenseless Sonia by accusing her of theft—his primary motive is to harm Raskolnikov, as Luzhin has noticed the young former student taking an interest in Sonia (Luzhin is convinced Raskolnikov has spoken ill of him to Dunya). Thus, Luzhin exploits his wealth and status as a landowner to achieve his goals and "punish" his adversaries.

Nonetheless, it is Raskolnikov's perspective on society that encapsulates the novel's social dimension. At the end of Chapter One, Part Two, he crystallizes his views on humanity (and by extension, its institutions): '"Well,' he exclaimed involuntarily, all of a sudden, 'what if I am wrong? What if man isn't really a beast—man in general, I mean, the whole human race, that is; for if he is not, then all the rest is just prejudice, just imagined fears, and there is nothing to stop you from doing anything you like, and that's as it should be!'" This final statement encapsulates the central societal concern driving this intense and probing novel.

Compare and Contrast

Download PDF PDF Page Citation Cite Share Link Share

1860s: Russia operates under a monarchy, with the "tsar" serving as the head of state. By the time Crime and Punishment was published, Tsar Alexander II had already started introducing reforms in the military, judiciary, and local government.

Today: The 1917 Russian Revolution, which ushered in decades of oppressive communist rule, has transitioned into a struggling democracy following the Soviet Union's collapse in 1989. President Boris Yeltsin has implemented economic reforms, but the nation's economy remains unstable.

1860s: Renowned Russian novelists Fyodor Dostoyevsky and Ivan Turgenev spend much of their time traveling abroad. While Dostoyevsky eventually returns to Russia, Turgenev chooses to live as an expatriate.

Today: Russian writer Alexander Solzhenitsyn, exiled in the early 1970s due to his opposition to the communist regime, has returned to his homeland. However, his appeals for spiritual renewal and a return to traditional Russian values have garnered minimal support.

1860s: Dostoyevsky observes that widespread drunkenness is a significant issue in Russian society.

Today: Alcoholism continues to be a grave national problem, reportedly affecting at least half of all Russian households. Government efforts to reduce drinking face considerable resistance from the populace.

Literary Precedents

Download PDF PDF Page Citation Cite Share Link Share

One could argue that Dostoevsky's work was entirely original, yet he was influenced by Gogol and a few other earlier writers. Dostoevsky openly acknowledged this influence, stating that he and his contemporaries emerged from the "folds" of Gogol's story "The Overcoat" (also known as "The Greatcoat"). Despite this, Dostoevsky pioneered so many new ideas that he must be considered an original writer. "While Tolstoy and Turgenev often explored "high life" and rural settings, Dostoevsky concentrated on the impoverished and oppressed in urban environments. Additionally, his focus on crime, particularly murder, bears some resemblance to Dickens's work, although these similarities can hardly be called precedents.

Similar to Dickens, Dostoevsky released his work in installments, a common practice for Dickens's novels. However, unlike Dickens, most readers believe that Dostoevsky did not let this format, nor his significant debts (primarily due to his gambling addiction), hinder him from crafting a more cohesive text than, for example, Dickens's The Life and Adventures of Martin Chuzzlewit (1844), where the author sends Martin to America to boost the lagging sales of the periodical in which it was serialized. While Crime and Punishment is indeed lengthy and intricate, most readers recognize it as a masterpiece, particularly in its genre: the psychological exploration of an anti-social personality. The various subplots and diverse scenes consistently enhance the tone and atmosphere, contributing to the development of compelling characters, with Svidrigaylov being a notable example.

The novel is also significant for its portrayal of a rapidly emerging nineteenth-century idea: the "superior" individual, as conceptualized by Thomas Carlyle in On Heroes, Hero Worship, and the Heroic in History (1841) and the "Superman" concept developed by Friedrich Nietzsche in Beyond Good and Evil (1886). Raskolnikov believed himself to be superior to other people, making him arguably the first fully realized anti-hero in literature.

Adaptations

Download PDF PDF Page Citation Cite Share Link Share

The allure of this story is evident from the numerous and diverse stage and film adaptations it has inspired. Noteworthy among these are a Polish stage rendition by L. Schiller, a 1932 French version by Gaston Baty, and a 1946 British adaptation by R. Ackland and L. Irving, which featured John Gielgud as Raskolnikov and was performed in the United States. Additionally, there is an opera based on the novel by Prokofiev.

There are many film adaptations as well. Two significant English-language versions include the 1935 film, written by S. K. Lauren and Joseph Anthony, directed by Josef von Sternberg, and starring Peter Lorre and Edward Arnold, produced by Columbia. Another notable adaptation was released in 1958 by Allied Artists/Sanders Associates, written by Walter Newman, directed by Denis Sanders, and starring George Hamilton and Mary Murphy. Some critics noted a sense of "aimlessness" in this version.

Media Adaptations

Download PDF PDF Page Citation Cite Share Link Share

The first film adaptation of Crime and Punishment was made in France, released in 1935, and later remade in 1958. Titled Crime et Chatiment in French, this black-and-white film was written by Marcel Ayme, Pierre Chenal, Christian Stengel, and Wladimir Strijewski, based on Dostoyevsky’s novel. Directed by Chenal, it featured performances by Pierre Blanchar, Madeleine Ozeray, Harry Baur, Lucienne Lemarchand, and Marcelle Geniat. This version is available through Facets Multimedia, Inc.

An American adaptation of Crime and Punishment premiered just one week after the French release. The screenplay, adapted by Joseph Anthony and S. K. Lauren, was directed by Josef von Sternberg. The cast included Peter Lorre, Marian Marsh, Edward Arnold, Tala Birell, Elisabeth Risdon, Robert Allen, Douglas Dumbrille, Gene Lockhart, and Mrs. Patrick Campbell. This version can be found through Columbia Tristar Home Video.

In 1948, a Swedish film adaptation of Crime and Punishment was released. Adapted by Bertil Malmsberg and Sven Stolpe, it was directed by Hampe Faustman. The film starred Faustman, Gann Wallgren, Hugo Bjorne, and Sigurd Wallen. It is distributed by Firm Rights.

A Russian-language adaptation of Crime and Punishment was produced in the Soviet Union in 1970. Written and directed by Lev Kulidzhanov, this version featured Georgi Taratorkin, Victoria Fyodorova, and Innokenty Smoktunovsky. It is distributed by Ingram International Films, Discount Video Tapes, Inc., and Horizon Entertainment.

Bibliography and Further Reading

Download PDF PDF Page Citation Cite Share Link Share

Mikhail Bakhtin, Problems of Dostoevsky's Poetics, University of Minnesota Press, 1984.
Bakhtin's examination of language and viewpoint emphasizes how different voices and perspectives converge and blend in Dostoevsky's works.

Fyodor Dostoevsky, Crime and Punishment, edited by George Gibian, Norton, 1989.
This edition includes numerous essays and documents that shed light on various facets of the novel, from its critical reception to its symbolic and literary elements.

"Dostoevsky, Fyodor Mikhailovich," in The Oxford Companion to English Literature, fifth edition, edited by Margaret Drabble, Oxford University Press, 1985, p. 286.
Provides an overview of Dostoyevsky's connections to English literature, including his travels in England, his admiration for Shakespeare and Dickens, and British responses to his works.

Donald Fanger, Dostoevsky and Romantic Realism: A Study of Dostoevsky in Relation to Balzac, Dickens, and Gogol, Harvard University Press, 1965.
Fanger examines Dostoevsky's novels in the context of the literary traditions that preceded them, focusing particularly on the depiction of St. Petersburg.

Joseph Frank, Dostoevsky: The Miraculous Years, 1865-71, Princeton University Press, 1995.
Frank offers an in-depth analysis of the novel's themes, its creation, and its connection to the literary and historical events of its time.

Michael Holquist, Dostoevsky and the Novel, Northwestern University Press, 1977.
This book explores how Dostoevsky's work reflects narrative structures from earlier genres, including detective stories and wisdom literature.

R. L. Jackson, editor, Twentieth Century Interpretations of Crime and Punishment, Prentice Hall, 1974.
This collection features over a dozen essays that delve into the major themes and motifs of the novel.

Malcolm V. Jones, Dostoevsky: The Novel of Discord, Harper & Row, 1976.
Jones discusses the central theme of psychological and emotional turmoil in Crime and Punishment.

Janko Lavrin, Dostoevsky: A Study, Macmillan, 1947.
Lavrin examines Dostoevsky's technique, highlighting his ability to incorporate deep psychological and spiritual insights into his complex narratives.

Konstantin Mochulsky, Dostoevsky: His Life and Work, translated by Michael A. Minihan, Princeton University Press, 1967.
Mochulsky's biography of Dostoevsky emphasizes the writer's spiritual journey.

Richard Peace, Dostoyevsky: An Examination of the Major Novels, Cambridge University Press, 1971.
Peace focuses on the symbolic dichotomy within Raskolnikov's character and how this division is mirrored in the surrounding characters.

Gary Rosenshield, Crime and Punishment: The Techniques of the Omniscient Author, The Peter De Ridder Press, 1978.
This book provides an in-depth analysis of Dostoevsky's use of point of view and narrative perspective in the novel.

George Sterner, Tolstoy or Dostoevsky: An Essay in the Old Criticism, Dutton, 1971.
Sterner situates Crime and Punishment within the broader context of Dostoevsky's oeuvre, emphasizing its moral, dramatic, and psychological aspects.

Edward Wasiolek, Dostoevsky: The Major Fiction, MIT Press, 1964.
Wasiolek's discussion of the novel centers on its exploration of the main characters and their personalities.

Bibliography

Download PDF PDF Page Citation Cite Share Link Share

Jackson, Robert Louis, ed. Twentieth Century Interpretations of “Crime and Punishment.” Englewood Cliffs, N.J.: Prentice-Hall, 1974. Includes an essay by Dostoevski on Crime and Punishment. Offers many theories on Raskolnikov’s personality. Considers the metaphysical point of view in Crime and Punishment.

Johnson, Leslie A. The Experience of Time in “Crime and Punishment.” Columbus, Ohio: Slavica Publishers, 1984. Explains the use of time in the novel as a means for building anxiety and suffering in the characters. Shows how time is manipulated in Crime and Punishment and how the treatment of time in other works by Dostoevski is different.

Jones, Malcolm V. Dostoyevsky: The Novel of Discord. London: Elek Books Limited, 1976. Gives an overview of the complexity and chaos that are to be expected in Dostoevski. Extended selection on Crime and Punishment.

Leatherbarrow, William J. Fedor Dostoevsky. Boston: Twayne, 1981. Includes a biographical sketch of Dostoevski. Commentary on his works, including Crime and Punishment. Bibliography, index.

Miller, Robin Feuer. Critical Essays on Dostoevsky. Boston: G. K. Hall, 1986. Contains an essay by Leo Tolstoy and criticism and commentary on Dostoevski. Indicates how perceptions of Dostoevski have changed over time.

Previous

Characters

Next

Critical Essays

Loading...