From this viewpoint, some readers see his "conversion" in the novel's "Epilogue" as somewhat contrived. Sonia, who he eventually loves as she has long loved him, undeniably plays a pivotal role in his redemption, a central theme of the novel. Throughout the narrative, she represents virtue and forgiveness. Sonia loves Raskolnikov because she sees a potential for goodness in him, a potential only recognized by his family and the devoted Razumikhin. Despite her efforts, she initially has minimal impact on Raskolnikov.

In a clever plot twist, Dostoevsky has the other prisoners—who previously disliked Raskolnikov for his perceived arrogance and atheism—grow fond of Sonia: "You're good and kind to us, Miss! You're like a little mother to us!" Following this, Raskolnikov has a frightening dream about the world's impending end, where "Only a few people could save themselves in the whole world: these were the pure and chosen ones, destined to start a new race of men and a new life, to renew and purify the earth . . . ." This dream signifies a shift in Raskolnikov's character. Along with his fear when Sonia becomes ill, it sets the stage for the final scene where their "resurrection to a new life" begins. The "love of a good woman" plays a significant role in reintegrating the convicted murderer back into humanity: "And he had come back to life, and he knew it, and felt it with every fibre of his renewed being." As a concrete sign of his transformation, he picks up a copy of the New Testament and begins to consider whether he can now accept the beliefs Sonia has endeavored to instill—the implication is clear that he is already starting to do so. Thus, the novel concludes with what Dostoevsky calls "the beginning of a new story, the story of the gradual rebirth of a man, the story of his gradual regeneration." Initially, this kind of religious influence has little effect.

In a brilliant twist, Dostoevsky shifts the narrative, causing the other prisoners—who once scorned Raskolnikov for his arrogance and atheism—to develop a deep affection for Sonia. They express their admiration, saying, "You're good and kind to us, Miss! You're like a little mother to us!" Eventually, Raskolnikov is haunted by a nightmare of the world's imminent destruction, where "Only a few people could save themselves in the whole world: these were the pure and chosen ones, destined to start a new race of men and a new life, to renew and purify the earth . . . ." This dream represents the transformation happening within Raskolnikov and, along with his fear when Sonia falls ill, sets the stage for the final scene. Here, the "resurrection to a new life" begins for both of them. The "love of a good woman" is crucial in reintegrating the convicted murderer back into society: "And he had come back to life, and he knew it, and felt it with every fibre of his renewed being." As a concrete sign of his change, Raskolnikov picks up a copy of the New Testament and starts to ponder whether he can now embrace the beliefs Sonia has passionately shared with him. It is evident he is already beginning to do so. Thus, the novel concludes with what Dostoevsky calls "the beginning of a new story, the story of the gradual rebirth of a man, the story of his gradual regeneration."