Fyodor Dostoyevsky's Crime and Punishment

by John D. Simons, Monarch Notes

Book by Simons, John D.

Genres: Classics, Fiction, Russia, Philosophy, Russian Literature, Literature, Novels

97 pages, Paperback

First published January 1, 1988

Reviews

[Katie · Rating 5 out of 5]

I read this while a teenage ballet dancer, trying to figure out what the hell I wanted to be when I grew up (Answer: Not a ballet dancer). The main character's grapplings with right & wrong, good & evil, led me to a.) think a little harder about what I did or did not owe to the world, & b.) realize there are people out there with real problems. I started reading Dostoevsky because I was dancing a lot of Russian ballets at the time; I thought it might help me understand the culture better. It did — oh, how it did — but I got way more out of it than I bargained for.

It was an incredibly dense read, which required of me a slower, more thoughtful approach to reading (I was never much of a skimmer to begin with, but this book was hella demanding). It changed the way I read. And it changed the way I thought. And it changed me. Thank you, Fyodor. [NB: For some reason, when I first added this book to Goodreads, I gave it three stars. It seems petty & mean to rank it, at all, but if I'm going to rank a book that changed me this much, five stars it is.]

[Bhavani · Rating 5 out of 5]

Crime and punishment is easily the best book i have ever read. Number one. I first read it in my early twenties and have read it twice again since. I have found newer questions and points of views and beauty in the writing. I am a lesser mortal, to comment on the master's writing skills. I know i will go back to this book every few years and it will grow with me.

[Monica · Rating 5 out of 5]

One of my favorite books of all time and one of my favorite reads for Easter season. Raskolnikov is one of the most complex and interesting characters in all Western literature. A murderer, rebel and sociopath who finds redemption through unconditional -Christ like- love.

[Trevor · Rating 4 out of 5]

Dostoyevsky writes a wonderful book that deals with the relationships, punishments, and psychological states of a criminal. It was very intense and I enjoyed reading it even though it did not really have any action or adventure. It was very depressing and was emotionally hard for me to read because of the horrible lives of the characters in the book, but I still really liked the book.

[Tim Newcomb · Rating 5 out of 5]

This is a continuation from Part I here: https://www.goodreads.com/review/show...

--

We know from letters to friends that Dostoevsky's analysis of history pits him against the influence of the Pagan Greek philosophers in the whole of Western Christianity (particularly the former Platonist Augustine). He viewed Western Christianity as fundamentally tainted with pagan logic, particularly subjective individualism resulting in Fatalistic re-interpretations of the Pauline Epistles. This Theological Fatalism, which developed in Catholicism and was fully developed in Protestantism, directly transferred into Material Determinism. His long diatribes against Catholicism in both The Idiot and Demons put this on display. Subsequently, he sees Protestantism as not a reform, but further development of Catholicism. That is, Protestantism is not Reformed Christianity, but Reformed Catholicism. Zwinglianism, Calvinism, Lutheranism, Anglicanism, and their subsequent de-evolutions are the unwitting product of medieval legalism (via Anselm) stemming from Platonic individualism (via Augustine) and not substantively different than Papal logic; only some of the format changed. This Rationalist Platonic logic leads directly to Protestantism's proclivity to transmute into Atheism, as seen in history throughout Western Europe: Calvin's France and Luther's Germany were the first Atheistic countries that began outsourcing their new secular religions to a once deeply Orthodox Russia throughout the 19th century.

The manner in which Western Europe secularized was completely different from how Russia was forcibly secularized. Western Europe secularized from the inside out as the society itself changed; Catholics became Protestants, and Protestants became Atheists one-by-one until the whole nation had no God. It was the newly minted secularist Socio-political ideologies of this new Atheist Faith that was superimposed onto the religious North. Russia was forcibly secularized by a tiny, powerful elite that eliminated Faith with the military, executing thousands and formally outlawing any religion save the state-sponsored Atheism.

Nihilistic Utilitarianism, in Dostoevsky's mind, is exclusively the creation of Western Christianity via Protestantism, which created the secularist religion dominating the post-religious world. The source of the militant Soviet Atheism and disregard for human life for the sake of Progress that Dostoevsky prophesied comes from this Christ-less and Rationalistic Christianity, where logic triumphs over relationship and imputation of righteousness renders repentance unnecessary, secondary or absurd. Nihilism, specifically, is a logical progression of the neo-Nestorianism of Iconoclasm. This historical analysis explains his multi-page diatribes against Catholicism as "worse than atheism." Catholicism, as he defines it, is the Roman Church and all types of Protestantism that descended from it.

Politically, Only those who are truly Utilitarian and enlightened must be kept in power over the unsavory masses. In the Russian Nihilistic Utilitarian model, these "educated elite' should run the government; in the democratic Utilitarianism of Bentham and Mill in the English-speaking West, these 'true believers' must control society by controlling the universities and media. Dostoevsky attacks the philosophic foundation of Utilitarianism; whether it is framed within authoritarianism or democracy, it makes no difference to him. Marx and Engles were systemizing the "progressive ideals" of the upper-class at the same time Dost was prophesizing the conclusions of these patterns of thought and governance in the Jingoism of Soviet and modern Russia.

Dostoevsky, the prophet, was vindicated by history. Enabled by the Authoritarian centralized party under Lenin and the Bolsheviks, a small contingent of atheistic, nihilistic 'enlightened and progressive' individuals infused with the new post-Protestant western ideals took power over the religious masses in Russia (who had no such inclinations towards these ideologies in their Orthodox Faith, nor would have been able to come to them directly given the theology of Orthodoxy is absent of pagan Rationalism). By the time Stalin took power, the stage was set to enforce these ideals en masse on the uneducated and vulnerable. Tens of millions lost their lives through the genocide of Holodomor at Stalin's command at the end of Agriculture, based exclusively on the logic of Utilitarianism, the logic of Raskolnikov. By the time the Soviets entered WWII, 28 Russian Orthodox bishops and over 1,200 priests were formally executed by the government for refusal to convert to the Atheist religion, and out of over 54,000 church buildings, fewer than 500 still stood across the entire USSR, and those only stood as converted meeting places. The conflict between Nazi Utilitarianism of Social Darwinism and the Soviet Utilitarianism of Nihilism resulted in the most bloody and intense theater of war ever seen in human history, leaving 30 million dead on the literal bloodbath of the Eastern Front alone.

Raskolnikov's last vision is a window into the following century:

"He dreamed that the whole world was doomed to fall victim to some terrible, as yet unknown and unseen pestilence spreading to Europe... those who received them [the foreign ideologies] into themselves immediately became possessed and mad. But never, never, have people considered themselves so intelligent and unshakeable in the truths as did these infected ones. Never had they thought their judgments, their scientific conclusions, their moral convictions, and their beliefs more unshakeable. Entire settlements, entire cities, and nations would be infected and go mad... they gathered into whole armies against each other, but, already on the march, the armies would suddenly begin destroying themselves, the ranks would break up, the soldiers would fall on one another, stabbing and cutting, biting and eating one another. Agriculture ceased."

If Orthodoxy has ever had a prophet in its ranks, Fyodor Dostoevsky should be counted among them.

A subset of this broader ideological conflict is Christian Charity vs. Rational Utilitarianism perfectly elucidated by Pyotr Petrovich (Luzhin): "If up to now, for example, I have been told to 'love my neighbor,' and I did love him, what came of it? What came of it was that I tore my caftan in two, share it with my neighbor, and we were both left half-naked, in accordance with the Russian proverb which says; If you chase several hares at once, you won't overtake any one of them. But science says: love yourself before all because everything in the world is based on self- interest. If you love only yourself, you will set your affairs up properly, and your caftan will also remain in one piece, And economic truth adds that the more properly arranged personal affairs and, so to speak, while caftans there are in society, the firmer its foundations are and the better arranged its common cause. It follows that by acquiring for everyone, as it were, and working so that my neighbor will have something more than a torn caftan, not from private, isolated generosities now, but as a result of universal prosperity. A simple thought, which unfortunately has been too long in coming, overshadowed by rapturousness and dreaminess, though it seems it would not take much wit to realize..."

This Altruistic-Utilitarianism was an idea Dostoevsky bitterly argued against. In his eyes, it necessarily suppresses charity and direct compassion, thereby destroying the foundation it stands upon. Luzhin is ultimately exposed towards the end of the novel as a textbook example of Rational Egotism, inferring that this form of Socialist Utilitarianism is not the higher form of love and compassion that it claims to be, but a mask hatred of common people and a desire for control. This Enlighted, progressive Socialist ideal is a faux nobility; for it is a system that requires no personal sacrifice and not the consideration of the well-being of others. The implications of leaving the feeding and clothing of the poor to passionless, disconnected societal welfare robs humanity of the very foundation of goodwill. Collectivized moral separation creates synergistic reciprocity that kills individual moral responsibility, new necrosis which makes its way up the vine to the collective level and is exposed only in crises, not everyday life. In the novel, this negative synergy, simultaneously spiritual and physiological, reverberates into the internal dialogue of others.

Historically this cumulated in The Law of Spikelets and others, which made direct, spontaneous Christian charity a federal crime; hundreds of thousands were punished under such laws. Outsourced compassion is thinly veiled narcissism leading to a society that is compassionate in the public space, and brutal behind closed doors. And many needy individuals died because of this progressive form of charity. It's no surprise that the discussion of Crime & Punishment was suppressed during the Soviet experiment.

Not all of Dostoevsky's stories end well, and despite all the Apocalyptic warnings found in C&P, our Protagonist finds the beginnings of redemption. The story of Raskolnikov is the journey of overcoming the "cynicism of perdition." His self-made worldview corrupted his ability to engage the world with meaningful connection: "Though Raskolnikov was looking at Sonya when he had said this, he was no longer concerned with whether she understood or not. The fever had him wholly in its grip. He was in some sort of gloomy ecstasy. Sonya understood that this gloomy catechism had become his Faith and law."

Raskolnikov is a Judas archetype up to a point, but he is able to throw the 30 pieces back at the foreign ideologies corrupting his soul; as he is finally cornered by the ramifications of his actions, he is suddenly disgusted by the utilitarian newspaper article he wrote and threw it on the ground. This step, this small detail, begins his path to self-renunciation and the Therapia/ θεραπεία of his soul. His return to humanity is simultaneously ideological and spiritual.

Sonya has parallels to the Theotokos, Porfiry has elements of the Church. Sonya points him back to salvation again and again, and in the end, she does this quite literally when directing him back to the police station. Sonya's humility and ability to suffer well is a redemptive influence to Rask: "They were resurrected by love; the heart of each held infinite sources of life for the heart of the other." The soteriological synergistic orthodox belief that "love covers a multitude of sins" is displayed here openly.

The perspicacious Porfiry tells him, "I know belief doesn't come easily- but don't be too clever about it, just give yourself directly to life, without reasoning, don't worry- it will carry you straight to shore and set you on your feet." Here he represents justice and the redemptive grace of the life of the Church.

What he did to Lizaveta he would redeem in Sonya; the interaction of his chaos with the simplicity of Sonya's humility ultimately led him to accept his culpability, and thus, his humanity. The scenes where Sonya and Rask are alone carrying soteriological weight in the narrative. There is a moment when Rask demands Sonya to read the story of Lazarus, where there is a quiet realization of the paths now set before him. This is Myshkin sitting is silence with Rogozhin and his slain bride; this is a scene where Rask and Sonya dwell in the of the solemnity of their broken humanity:

"The candle-end had long been burning out in the bent candlestick, casting a dim light in this destitute room upon the murderer and the harlot strangely come together over the reading of the eternal book."

And when he picks up the 'eternal book' again in his solitude, he begins down the path Sonya had hoped for them both:

"But here begins a new account, the account of a man's gradual renewal, the account of his gradual regeneration, his gradual transition from one world to another, his acquaintance with a new, hitherto completely unknown reality."


Discussion questions:
1. Before we see Rask committing a brutal double homicide, we see a righteous moral reaction to the thought of his sister marrying a narcissist because the family needed the money. Later we see spontaneous charity, compassion towards Sonya, and defense of the weak. His chaotic ethical actions are outwardly contradictory. The text is clear about how his beliefs influence his actions, but how do his actions influence his beliefs/ internal monologue?
2. The lynchpin of the Novel is Rask's internal strife with himself. Is this conflict ever resolved; is he ideologically homogeneous at any point?
3. Is Rask redeemed in the Judeo-Christian conceptualization at the end? Dostoevsky has a dynamic, moment-by-moment concept of redemption/ therapia. Why do we not see clear repentance that remains unfaltering with Rask? Why is his healing/ restoration to humanity/ salvation a life-long pursuit?
4. Would Rask have renounced himself without the impetuous of Porfiry's psychological discovery of his crime? Would Sonya's guidance have been enough?

-Dostoevsky Notes-
The Adolescent (1875):
https://www.goodreads.com/review/show...
Notes from a Dead House (1860):
https://www.goodreads.com/review/show...
Notes from Underground (1864):
https://www.goodreads.com/review/show...
Dæmons (1871):
https://www.goodreads.com/review/show...
Crime & Punishment (1866):
https://www.goodreads.com/review/show...
The Brothers Karamazov (1880):
https://www.goodreads.com/review/show...
The Idiot (1868):
https://www.goodreads.com/review/show...
Poor Folks (1844):
https://www.goodreads.com/review/show...
The Gambler (1887):
https://www.goodreads.com/review/show...
White Nights (1848):
https://www.goodreads.com/review/show...
The Landlady (1847):
https://www.goodreads.com/review/show...
Mr. Prokharchin (1846):
https://www.goodreads.com/review/show...

[Michael Easter · Rating 5 out of 5]

There are a dozen or so books that I think are essential for a solid education and this is one. There's just not enough room to say what's required. The psychology is often overblown and imprecise but where it's lacking in realism, it's incredibly effective in literary interest. Even with translation, the language is just beautiful and the writing evokes the deepest thoughts. Above all, the subject matter stirs the imagination to compassion. Dostoevsky does what seems nothing to disguise the irredeemable qualities of whom is inexplicably a perfect protagonist in Roskalnikov but yet we find ourselves hoping beyond hope for this loveable (how so????) villain of a main character. Simply put, this is what literature is about. Were I half the genius Dostoevsky was, I would would sit on my knees and tie my hands behind my back to make it fair for any other writer.

[Abby · Rating 2 out of 5]

This book took me a whole year to read because every time I would read I would get depressed. It is very well written though, and the ending is very good, overall a good book, but prepare yourself for the long haul.

[Dawn · Rating 5 out of 5]

One of my all time favorite books!

[Mada Dalian · Rating 5 out of 5]

Deeply revealing of the turmoil that goes on in most people's psyche. If you are interested in Psychology and human condition I recommend reading all of his novel.

[Kane S. · Rating 5 out of 5]

You don't know how lucky you are, boy.

Some older works have seemed incomprehensible to me, so I was amazed with how relatable this Penguin translation was for a book written in Russia in 1865.

Crime and Punishment concerns a student in Petersburg, Rodion Romanovitch Raskolnikov, who has dropped out of his studies and lives in severe poverty. He avoids the land lady to whom he owes rent for a closet that he occupies as an apartment. One imagines the luxury of a walk-in closet, but a closet nonetheless, small enough that he can reach the door handle from the dilapidated sofa, this sofa being where he sleeps and spends a great deal of his time languishing when he is not walking the streets in delirium. The peeling yellow wall paper is one of the details etched vividly into my mind.

Keeping the Russian names of the many characters straight can be challenging for an imperialist pig such as myself. One thing that helped for me to immediately differentiate the main character by name from, say, his student friend, Razumikhin, is when I came to think of the protagonist affectionately as "Raskolnikov, the rascal of Petersburg." He barely eats and is thin and pale and sickly, feverish and depressed and tormented. As is said of many if not all of Dostoevsky's main characters, Raskolnikov is "mad," in the classic sense, and the author shows a grasp of psychology and the subconscious in his writing, including with a number of dreams that take place in the book.

Raskolnikov pawns various small heirlooms to a lady pawn broker. Alyona Ivanovna is well known with no great affection among many impoverished residents of Petersburg, one character referring to her repeatedly as "the old witch." Raskolnikov has a notion that, despite the moral code of society, he ought to murder Ivanovna and steal her considerable wealth to do good works and launch a career for himself. This general line of thought is later revealed to be aligned with the subject of an article he wrote that saw publication, which becomes one factor in possibly implicating him in Ivanovna's murder. In Raskolnikov's article, he examines how someone like Napoleon, for example, could violate the niceties of society, particularly as regard taking human life, and be regarded as a hero. Of course if Raskolnikov takes such a notion upon himself he is to be vilified as a monster.

Another particularly vivid scene for me regards something I had contemplated as a metaphor for some of my own writing before I ever read Crime and Punishment. I seemed to recall a painting from the 1800s of a horribly abused whipped and beaten work horse pulling a cart. I was not able to find the painting by searching online, but was later astonished upon reading this book at a scene in which Raskolnikov dreams of the horrific, deliberate, and viscous drunken beating death of a pony pulling an overloaded cart. This is carried out by a mob of peasants in Raskolnikov's dream. He sees this disturbing dream as symbolic of his own ideas about murdering and robbing the pawn broker.

When the feverish and delusional Raskolnikov overhears a discussion in a tavern of how someone ought to bump off the nasty Alyona Ivanovna and use her morally tainted wealth for good causes, he takes it as a sign that he is destined to do that very thing, and so he does, with an ax. Unfortunately, a truly innocent bystander, Ivanovna's abused and timid half-sister, Lizaveta, witnesses the event and he kills her as well.

In something that might remind one of Hitchcock, the rest of the book centers on whether Raskolnikov can live with his secret. He steals some money and pawned baubles during the crime, but hides them under a rock and never dares to use any of the stolen wealth. Then Raskolnikov is visited by his stunning and beloved sister, Dunya, (With whom his friend, Razumikhin, falls head over heels.), as well as his mother, Pulkheria Alexandrovna. This visit to Petersburg is brought about as Dunya is to marry a scheming and shallow and much older man, Pyotr Petrovich Luzhin. Despite his mother acting as though the marriage is all a grand affair, Luzhin is strongly believed to be a cad, and Raskolnikov is outraged that his sister is sacrificing herself to bring money to the family. After Luzhin is run off, another older wealthy man, Dunya's former employer, Arkady Ivanovich Svidrigailov, is determined to have her for himself.

Throughout the story there is the fear of Raskolnikov being caught for his crime and the sense that his life is essentially over in any case, this despite the fact that he shows many sound moral impulses in other respects. He tries to rescue a drunken young girl from sexual predation in addition to the fact that he offers financial assistance to other down on their luck people even though he is not using any of the money he stole and really does not have it to throw around.

The end of the story was pretty unexpected and powerful as regards the villainous Arkady Ivanovich Svidrigaïlov. There is a general notion of redemption and love, which the tortured Raskolnikov finds in the form of a young impoverished prostitute named Sonya.

This story is something like 220,000 words, quite a bit beyond the average contemporary novel length of 80,000 words. Overall a very good book. One of the most important aspects of it I think is the extent to which it shows the timeless quality of human nature and the problems of poverty and injustice. I expect that I will seek out more of Dostoevsky's work in the future, preferably something in the area of 500,000 or perhaps a million words in length.

[Ryan Tuleja Sr. · Rating 5 out of 5]

I avoided reading this book for over 20 years, fearing that I would not be up to the task. To my suprise and delight, the book was easy enough to read and and the story was compelling enough that I, on several occasions, stayed up too late with it.

There is a lot of deeper meaning and subtle provacation to ask hard questions, and I undoubtedly missed much or probably mostnof that, but I don't feel like I enjoyed it any less.

[Rania · Rating 5 out of 5]

i reached page 130 something and i love it

[Claire · Rating 3 out of 5]

It was painful to read because the Raskolnikov is a frustrating character to identify with, but I kept at it because I really did want to know what happened to him. And in the end, it was very satisfying.

[Andrea melgar · Rating 5 out of 5]

This boook was amazing! now i understand why it is considered a classic. I dont want to kill, but somehow raskolnikov thinking was impressing and sincere. So I was a jigza puzzle during this book. I sincere recommend it!

[Barbara · Rating 5 out of 5]

This may be my favorite book of all time.I remember reading it for the first time as fast as I could because I needed to know. I immediately re-read it to savor the compelling characters.

[Minerva]

about 30% done - also on the treadmill with speach to text on he kindle. Pretty good- can't wait to read the ending

[Minerva · Rating 5 out of 5]

Great book.

[Ryan Smedberg · Rating 4 out of 5]

While Ayn Rand's Atlas Shrugged is an attempt at justifying Capitalism with pretentious platitudes, Crime and Punishment is a social-enriched literary masterpiece. Dostoyevsky holds the victory.

[Linda · Rating 4 out of 5]

Excellent book even though it is depressing as all get out.

[Sarah · Rating 5 out of 5]

One of the greatest books I've ever read.

[Katerina Mall · Rating 5 out of 5]

A Profound Journey into the Depths of the Human Soul

Fyodor Dostoyevsky's Crime and Punishment is an extraordinary masterpiece that delves deeply into the complexities of morality, guilt, and redemption. This novel is not merely a story about crime—it is a philosophical exploration of human nature and the intricate web of thoughts and emotions that bind us all.

At its core is Rodion Raskolnikov, a tormented and brilliant young man whose act of murder leads to a harrowing psychological and moral reckoning. Dostoyevsky's portrayal of Raskolnikov is both empathetic and unflinching, allowing readers to grapple with the character's inner turmoil as if it were their own. The tension between his justifications for the crime and the weight of his guilt is masterfully depicted, making this a story that lingers long after the final page.

What sets Crime and Punishment apart is Dostoyevsky’s unparalleled ability to weave philosophical inquiry into the narrative without detracting from its emotional power. The dialogues and interactions, especially between Raskolnikov and characters like Sonia and Porfiry, are rich with intellectual and moral debates that challenge the reader's perspectives on justice, suffering, and humanity.

Dostoyevsky’s depiction of St. Petersburg further immerses the reader, with its grim streets and oppressive atmosphere serving as a mirror to Raskolnikov's internal struggles. The city feels alive, a character in its own right, encapsulating the despair and hope that permeate the novel.

Despite its heavy themes, Crime and Punishment is ultimately a story of redemption and the possibility of spiritual renewal. The final chapters offer a poignant and hopeful resolution that feels both earned and deeply moving.

For anyone who appreciates profound character studies, philosophical depth, and a narrative that challenges the intellect while stirring the heart, Crime and Punishment is an essential read. Dostoyevsky’s genius shines through every page, making this novel not only a cornerstone of Russian literature but also a timeless exploration of what it means to be human.

[Arnab Maji · Rating 5 out of 5]

Crime and Punishment is intense, thought provoking, and completely gripping. Following Raskolnikov as he struggles with guilt, morality, and his own beliefs about right and wrong makes the story feel both psychological and deeply human.

What I loved most is how every character adds depth to the story from Sonia’s quiet strength to Porfiry’s subtle intelligence. The moral dilemmas, suspense, and emotional weight make it impossible to put down. It’s heavy at times, but absolutely worth it.

[Nina Maxim · Rating 5 out of 5]

Russian-written books are not too easy to understand, unless you have the background to back you up. I was lucky. Dostoevsky (any of his books, really) is not just about a novel, it's a deep jungle dive into human psyche, into the very nature of what we do and why we do. And, regardless of when it was written, remains as actual as it gets.

[Carol Dunn · Rating 5 out of 5]

I learned most from Dostoyevsky. The philosophy of life, the psychology of his characters, about religion, spirituality, relationships between lovers, friends, siblings, neighbours ... his is an alchemist of written world, an alchemist of turning reality into literature, turning thought to philosophy If I have to pick one book to proclaim 'the best and the wisest' book ever it would be Dostoyevsky's Crime and Punishment. The details, the tenacity of his descriptions, the depth of his thought and feeling is unparalleled.
I have read this book in intervals of 5-7 years, so far three times.
An absolute must if one wants to develop a philosophical thought and approach to life.

[Thomas Dobrochodow · Rating 5 out of 5]

A great book. Nothing has ever so well encapsulated the constant feeling of fear of being caught like this book did. Porfiry perfectly anthropomorphised this fear and paranoia I think we all feel sometimes - the idea that someone will one day just say "I know it was you". And he does.

The whole Svigdrailov thing I thought was a bit meh. I did believe him though, he tricked me.

[Greg Hernandez · Rating 5 out of 5]

intense fantastic must read !

[Teo · Rating 5 out of 5]

Po meni nije njegovo najbolje djelo, ali ipak fenomenalno.

[MALIKA · Rating 4 out of 5]

still trying to analyze the point...

[Andrea Hoan Dinh · Rating 5 out of 5]

I love Xonia Marmeladov

[Anders · Rating 5 out of 5]

Just as intense as I had hoped for.