At this crucial moment, Lebezyatnikov rushes into the room.

Analysis

The idea of "suffering" becomes uppermost at this point. It is as if Sonya has not suffered enough, Raskolnikov deliberately increases her suffering first by pointing out that Katerina and the children are now homeless. Then after he has seen the very depth of her suffering, he then prepares her for his confession of the murder.

By way of preparation for his confession, or more important, his assuaging his own guilt or complicity, he asks Sonya the hypothetical question of whether Luzhin or Katerina should live. Sonya bases her refusal to answer upon her reliance on Divine Providence: "How can I know the will of God?" Hence, she simply will not entertain such an idea.

After many attempts and thoughts of confession (at least ten times) Raskolnikov almost makes an open confession, but he cannot yet formulate his crime into words. He can only hint and then say "Take a good look." Now and all through this chapter, Sonya is aware that Raskolnikov is suffering tremendously and his suffering increases hers. She is aware that the suffering is a path to expiation and redemption.

After the confession, Sonya promises that she will follow him to Siberia. This is not just an idle promise; she takes part of Raskolnikov's suffering upon herself. As soon as Sonya mentions Siberia, Raskolnikov again attempts to explain, rationalize, or justify the murders. He rejects each attempt as soon as he offers it. As pointed out earlier, he was forced by circumstances to commit the murder before his theory was completely formulated. Now as he attempts to explain it, he realizes how incomplete it really was. This realization is seen in the fact that as soon as he offers a reason, he then rejects it with the words: "No, No, that wasn't it." This is repeated so often that it functions as a thematic motif throughout the scene.

His reasons for the murder include: it was merely for plunder, he wanted to be a type of Napoleon, he needed money to keep himself in school without being a burden to his mother, he killed only a louse, he was being vain and mad, and he wanted to see if he had the daring to do it.

Sonya's advice to Raskolnikov is to suffer and expiate his sin, "to go at once, this very minute, stand at the cross-roads" and confess. Raskolnikov rejects this because he fears the laughter of men who would call him a coward and a fool — a coward because he couldn't live by his ideas, and a fool because he would follow the advice of a prostitute. Sonya also wants him to wear the wooden cross, but he rejects it until a later date because he was not quite prepared to acknowledge completely his crime.

A mystery in this chapter is where and when did Sonya get Lizaveta's cypress cross?

Summary and Analysis Part 5: Chapter 5

Summary

Lebezyatnikov has come with the information that Katerina has been evicted from her apartment, has gone mad, and is now wandering madly around the town with the children dressed in outlandish and absurd costumes. She is forcing them to sing and beg from strangers. Her speech is virtually incoherent, and her behavior is incomprehensible. Sonya rushes to her but suddenly, Rodya feels repulsed by Sonya and questions himself why he had come to her.

Raskolnikov returns to his room where he finds Dunya waiting for him. She explains that she better understands his situation because Razumihkin explained how Raskolnikov is troubled by the police and their false suspicions. She offers him her complete loyalty and love and will come to him any time that he needs her. Raskolnikov longs to tell Dunya the truth but cannot.

As Raskolnikov wanders aimlessly about the city, he comes upon Katerina. She has attracted a large crowd who have gathered to watch and laugh at her crazy antics. She is forcing the children to beg and, is arguing with strangers on the streets, and is trying to force her way into strange houses. Then as she runs through the streets, she stumbles, falls, and cuts herself. She is carried to Sonya's room nearby. A doctor is sent for, but Katerina is dying. She maintains that she needs no priest or doctor, and as she dies, Svidrigailov, who lives in the room, enters and volunteers to undertake all of the arrangements. He tells Raskolnikov that he will use the money that he was going to give to Dunya to apply it to the care the children and will settle a large sum upon Sonya also.

By using the exact phrasing and terms that Raskolnikov used in making his confession to Sonya, he thus subtly reveals to Raskolnikov that he overheard the entire conversation between him and Sonya, and he reminds Raskolnikov that "I told you that we should come together again — I foretold it."

Analysis

The dual aspect of Raskolnikov's personality is exemplified again when Raskolnikov is drawn to Sonya enough to make his confession, but after having done so, he is suddenly repulsed by her. Part of his repulsion is due to the fact that he dislikes her ideas about suffering and more importantly that he needs to go to prison.

In addition to confessing to Sonya, he also wants to confess his crime to his sister. The idea of confession has been constantly with Raskolnikov since moments after the murder.

The death of Katerina leaves Sonya responsible for the children. Rodya had foretold this to Sonya and now it is true. Consequently, Svidrigailov shows up, and the money he had once intended for Dunya will now go to Sonya and the children, which will free Sonya financially to follow Raskolnikov to Siberia.

Summary and Analysis Part 6: Chapter 1

Summary

It was a strange time for Raskolnikov: Katerina Ivanovna is dead; Dunya has visited him; Svidrigailov, who had overheard his conversation with Sonya, worries him the most. Now Razumihkin comes to accuse him of being a scoundrel for ignoring his family. He informs Rodya that his mother, Pulcheria Alexandrovna, had come to see him thinking he was sick but eventually decided he had forgotten his mother.

Razumihkin is disgusted with Rodya until he hears about Dunya's visit and that Rodya wants him to look after both Dunya and her mother: "Whatever happens to me, wherever I go, you will stay and look after them. I entrust them to you." Razumihkin also tells Rodya that Dunya received a strange letter that upset her greatly. Just before Razumihkin leaves, he tells Rodya that Porfiry, using very complicated psychological terms, explained how the painter confessed to the murder, and again Raskolnikov wonders if Porfiry is again playing the "cat and mouse" game. At this moment, Porfiry knocks at the door.

Analysis

Here the fresh air motif reappears. The need for fresh air is one of the supposed reasons for Raskolnikov's illness.

With the appearance of Razumihkin, Raskolnikov makes a further dispensation for the care of his family; that is, Razumihkin will look after them, which leaves Rodya free for the actions he is about to take. The money that Marfa Petrovna left to Dunya will free them; the money that Svidrigailov is going to invest for the children and the money he is leaving Sonya frees her first of the children and sets her free to follow Rodya.

The mention of the mysterious letter that Dunya received will be clarified later as being from Svidrigailov. From thoughts of Svidrigailov, Raskolnikov is immediately confronted with Porfiry. Whereas in earlier meetings with Porfiry, Raskolnikov had been frightened and intimidated by him, now "he was scarcely afraid of him." The point is that Raskolnikov has now made contact with humanity again through his confession to Sonya, and therefore is no longer of afraid of being trapped in the "cat and mouse" game.

Summary and Analysis Part 6: Chapter 2

Summary

Porfiry begins rattling on about these poisoned cigarettes, and Raskolnikov wonders if Porfiry is going to play the same old game again. He throws Raskolnikov off guard by apologizing for their last meeting — "it was such a strange scene" — and perhaps he acted unfairly. He wants to convince Raskolnikov that he is sincerely attracted to him, and he believes that Raskolnikov is "a most honorable man with elements of greatness in him." Furthermore, he possesses a noble soul and elements of magnanimity.

Porfiry also wants to explain all the various circumstances that led him to think Raskolnikov is the murderer — the pledges, the theory, the illness, the return to the scene of the crime, and other matters. He then explains why Nikolay the painter confessed to the murder. The painter happens to belong to an old religious order, which believes that man should suffer and to suffer at the hands of authorities is the best type of suffering, but above all "simply suffering is necessary."

At the end of his narration, Porfiry then explains how Nikolay could not have committed the murder. Instead, after describing the events surrounding the murder, he announces, "you Rodion Romanovitch, you are the murderer." After making this accusation, Porfiry tells him that he will not arrest him for several days because he wants Raskolnikov to come of his own volition and openly make the confession. To arrest him "is not to my interest."

Porfiry then tells Raskolnikov why he likes him and advises Raskolnikov to learn to love life, not to scorn the possibility of a mitigation of sentence. Likewise, he advises Raskolnikov to suffer "because suffering is a great thing." Before he leaves, Porfiry announces that he has no fear Raskolnikov might be tempted to run away; therefore, he is quite safe in letting him remain free until he confesses.

Analysis

First, even though Porfiry is able to explain so much, the reader must step back and acknowledge that the information that Rodion Romanovitch is the murderer is still only circumstantial evidence and in modern courts would be insufficient to bring about a conviction.

Porfiry's explanation of the crime and his refusal to arrest Raskolnikov show that he does sincerely like Raskolnikov, but more importantly he also believes in Raskolnikov's greatness. Porfiry's true purpose and mission becomes clear in this chapter. First, one must understand that Porfiry, like Dostoevsky, was a dedicated Slavophil, one who believes that the Slavic people are a type of "chosen people." In other words, Porfiry believed so strongly in the greatness of Russia that he is constantly searching and helping those who he thinks will be the future leaders of Russia or who will be able to contribute to Russia's greatness in other ways. Therefore, he views Raskolnikov as a man of noble character, one of the young intellects of Russia who could be of great service to the state if he learns to reject his radical ideas. Porfiry attempts to force Raskolnikov to acknowledge that his theory is wrong, and from this confession to go on and face life and become one of the most important minds of Russia. If Porfiry were to arrest Raskolnikov immediately, it would ruin Raskolnikov's intellectual redemption through self-realization. But if Porfiry gives Raskolnikov enough time to confess on his own (and thus realize and acknowledge to himself his own error), then Raskolnikov will achieve a greatness in his own right. Therefore, it would be no advantage to arrest Raskolnikov unless it is for simple punishment, and Porfiry has greater things in mind for Raskolnikov than punishment; he wants redemption and greatness from Rodya.

Raskolnikov's confession earlier to Sonya represents one aspect of his character and Sonya is trying to redeem Raskolnikov by asking him to take up his cross and suffer. As a parallel, Porfiry also emphasizes the importance of suffering, which accounts for Nikolay's confession, but Porfiry emphasizes the importance of suffering as a means of expiation, "for suffering, Rodion Romanovitch, is a great thing."

Summary and Analysis Part 6: Chapter 3

Summary

After Porfiry's pronouncement, Raskolnikov hurries to Svidrigailov's. He feels that the man has some power over him, a feeling he cannot understand. At the same time he feels some repulsion toward Sonya and thinks that he must go his own way or hers.

As he walks towards Svidrigailov's room, he wonders if the man has talked to Porfiry and decides that he hasn't. He suddenly sees Svidrigailov in a restaurant. Svidrigailov appears as though he was anxious not to be seen or as if he was trying to avoid him, but he finally calls to Raskolnikov to join him.

Raskolnikov immediately warns Svidrigailov to stop all attempts to see Dunya and threatens to kill him if he tries again. Due to the overheard conversation between Sonya and him, Svidrigailov should know that Raskolnikov is capable of murder and will certainly carry out his threat. Svidrigailov pretends to be interested only in becoming better acquainted with Raskolnikov and in learning from him about the new ideas and new ways of enjoying oneself. Suddenly Raskolnikov feels oppressed by Svidrigailov's talk of debauchery and sensuality, and he begins to leave.

Analysis

Soon after his confession to Sonya, Raskolnikov is drawn to Svidrigailov without realizing that Svidrigailov represents one aspect of his character. Svidrigailov, since their first meeting, has frequently asserted that there was something in common between them. These thoughts cause him to be somewhat repulsed by the thought of Sonya. "He was afraid of Sonya. . .he must go his own way or hers." But Raskolnikov is also convinced that his and Svidrigailov's "evil-doings could not be of the same kind."

Summary and Analysis Part 6: Chapter 4

Summary

Svidrigailov persuades Raskolnikov to remain a while longer and he tells how his wife Marfa rescued him from debtor's prison, and knowing that he had a wandering eye, made him agree to a verbal contract where she was to be informed of his various "wandering eyes." He did often flirt with the hired help until Dunya reprimanded him. When Dunya grew sorry for him, he knew he had a chance with her because she was the type of woman who could enjoy being martyred. As he tells the story of his seduction of a faithful wife, Raskolnikov becomes more and more disgusted, especially when he speaks of how "Dunya's eyes can flash fire." When he tells of all the intimate details of his 15-year-old fiancée who would often cuddle in his lap and then confesses that in his own debauchery he likes "my sewers to be filthy," Raskolnikov's repulsion is too much. He departs this "vile, nasty, depraved, sensual man."

Analysis

Svidrigailov is a consummate artist in the ways of seduction, and he horrifies Raskolnikov with his descriptions. The modern reader must realize that in the latter part of the nineteenth century all of Europe had a period of great prudery and restraint. For a person to talk as Svidrigailov did, even though today it seems harmless, was a horrible shocking matter. To discuss Dunya in sexual terms to the brother is an indescribable violation of decency. For Svidrigailov to regale himself in these vividly realized scenes characterizes him as an exceptionally vulgar person. And yet, in the final analysis, how can a murderer find a horrible fault in a sensualist?

Even though Raskolnikov cannot yet see what draws him to Svidrigailov, he is finally able to see what it is in Svidrigailov that disgusts him and sets him apart — it is his vile sensuality that makes him so vulgar and depraved.

Summary and Analysis Part 6: Chapter 5

Summary

Raskolnikov fears that Svidrigailov still has evil designs on his sister and is determined to follow him. Svidrigailov is disgusted and annoyed because the designated time to meet Dunya has almost elapsed. Therefore, he begins to bring up the subject of the murder and to make caustic remarks to Raskolnikov calling him a romantic (Schillerresque Romantic) who objects to people listening at doors but it's alright to murder an old louse. Finally, Raskolnikov is disgusted with being around Svidrigailov and he leaves.

As he walks away he passes Dunya but does not see her. At the same time Dunya sees Svidrigailov waiting for her and she hurriedly goes to meet him. Svidrigailov tricks Dunya into his room by hinting about strange things Raskolnikov has done and also by assuring her that all the neighbors, including Sonya, will be present.

In his room he reveals to her all that he has heard about Raskolnikov's confession. He explains how Raskolnikov committed the crime to support some theories of his. As he explains the theories, Dunya is able to believe him because she has carefully read the article that Raskolnikov published about his theories of crime and the criminal. Svidrigailov then suggests that Raskolnikov get a ticket to some place far away, maybe America, because Raskolnikov "may yet be a great man." After he convinces her of her brother's guilt, he then reveals that only she can save her brother by submitting to his seduction.

Dunya quickly rushes to the door and finds it locked. Svidrigailov reveals that the other tenants, including Sonya, are away and will not return until late at night. Svidrigailov implores Dunya to submit to the seduction even though he points out how easily it would be for him to overpower her; she is at his mercy. She would not be able to complain to the authorities without implicating and finally condemning her own brother.

At this time, Dunya pulls out a gun that Svidrigailov recognizes as belonging to him; she had taken it long ago when she was the governess. Svidrigailov begins to threateningly approach Dunya. She shoots once and misses. She shoots once more and the bullet grazes his hair. Svidrigailov does not rush Dunya; instead, he gives her all the time she needs in order to reload the pistol. He is willing to let Dunya kill him. After she has reloaded the pistol, he approaches her again saying that this time at three paces, she can hardly miss, but she can't fire and she drops the pistol. Svidrigailov feels that this is a good sign. He takes her in his arms and asks her if she can love him. To her response of "Never," he then gives her the key and tells her to take it but make haste and leave. Svidrigailov remains a few minutes longer, and then takes his hat and leaves.

Analysis

At the beginning of the chapter, Raskolnikov is suspicious that Svidrigailov still has plans to seduce Dunya and resolves to follow him. Ironically, he is completely right. Svidrigailov knows this, but he is also shrewd enough to know that Raskolnikov can't stomach his vulgar talk. True to form, Raskolnikov suddenly is repulsed and disgusted with the man's depravity and cannot stand to be in his presence any longer.

The scene with Dunya is the most crucial in Svidrigailov's life. Prior to this scene, Svidrigailov had functioned as a man completely self-sufficient, needing no one. Like Raskolnikov, he thought that his aims and desires were above those of the ordinary man. Likewise, in the past, whenever Svidrigailov wanted something, he simply took it and defied all consequences. He lived with the idea that he needed no one and that he could withstand all things. Now he finds that he not only wants Dunya, but also, and more importantly, he wants Dunya to want him. Here then, is the total failure of the Ubermensch — that is, the total impossibility of man's being able to exist completely alone.

If it were only the sensual pleasure derived from seducing Dunya, Svidrigailov could have easily raped her. If it were a matter of simply asserting his self-will and power, he could have easily done that. ly, Svidrigailov had dared to face life alone — that is, to measure his will against all things. In doing this he has been utterly alone — in complete solitude as Raskolnikov was. He has committed evil so that he might know whether some power beyond him could punish him, and he has not been punished. So there is nothing for his unconquerable will to will any more. His is a loneliness that is more than he can bear. He then turns to Dunya knowing that she dislikes him, yet hoping there may be a spark of love behind all the loathing that would show him he is not alone. Twice she fires at him. He remains and allows her to fire so as to see if he can be punished. But before she fires a third time, she drops the pistol. The one last hope for himself is aroused. "A weight seemed to have rolled from his heart. . .it was the deliverance from another feeling, darker and more bitter, which he could not himself define." This feeling is the hope that Dunya's dropping of the gun means that she can give freely of herself to him; he asks if she loves him or can ever love him. Never. That hope is destroyed, and he is again completely alone. He has crossed the bounds of all human experience in his desire to find whether the burden of life rests on his will alone or whether there is something beyond, and he has found nothing. Death then is the only thing that he has left untried — the only thing he has not yet willed. It is for him to finally will his own death.

Summary and Analysis Part 6: Chapter 6

Summary

After Dunya's departure, Svidrigailov indulges his low, vulgar taste in entertainment places on his way to Sonya's room, door to his. He tells her that Katerina's three children are very well taken care of. He then gives her 3,000 rubles for her own use. When she tries to refuse, he tells her of Raskolnikov's two alternatives — either a bullet through the head or prison in Siberia. There is only one qualification for accepting the money; she is to tell absolutely no one where it came from. Also she should take it tomorrow or as soon as possible and deposit it with Razumihkin.

Svidrigailov continues on his way to see his 15-year-old fiancée and leaves her a note for 15,000 rubles. Returning now to his room, he dreams of finding a young five-year-old girl whom he picks up and takes to his room. In his dream, this girl suddenly grows older and assumes the role of a depraved French prostitute. Svidrigailov then gets up and wanders to the park where he takes out his revolver and puts a bullet through his head.

Analysis

After Dunya's declaration that she could never love him, Svidrigailov realized that he needed more than sensual pleasure; he also needed human warmth and affection. His entire life was based on the theory that he was completely self-sufficient and self-contained, that he needed no one, that whatever he wanted he would simply take and ignore any consequences, and that his will was stronger than anything else.

Suddenly with his realization that he needed but could not will the human warmth Dunya could supply, he saw the failure and sham of his existence. With this insight, he simply cannot return to his mode of existence, which he realized to be false. Likewise, he cannot change. The only thing he has not willed so far is his own death. Immediately after these realizations, he has the dream about the little girl he picked up and who, under his touch, turns into a shameless whore. Thus, these realizations lead him to his suicide. Svidrigailov feels there is no other choice for him except to will his own death.

Svidrigailov's suicide is part of Dostoevsky's thesis that no man can set himself apart from humanity. There can be no superman, no Ubermensch, who is allowed to transgress the law. Sooner or later, every person needs human warmth and companionship.

Summary and Analysis Part 6: Chapter 7

Summary

On that same day that Svidrigailov commits suicide, Rodya is on way to pay his last visit to this mother. She is alone. She refuses to question him about his whereabouts and maintains that she has read his article three times and feels that he is destined for greatness. She states that she will not interfere. He tells her "I came to assure you that I have always loved you, and now I am glad that we are alone." Again and again, he assures her of his abiding love for her, but also tells her that he has to go away for a long time. However, before he leaves, he asks his mother "to kneel down and pray to God for me. Your prayers perhaps will reach Him." She makes the cross over him and blesses him, and he leaves promising that someday he will return to her.

When he returns to his room, he finds Dunya waiting for him. She has been all day with Sonya waiting for him. Dunya now knows of the crime and agrees that it was wrong but is proud that he "is ready to face suffering." She, like Sonya and Porfiry, also believes that he expiates his crime "by facing his suffering." Still Raskolnikov cannot bring himself to admit the crime as evil: "Crime? What crime?. . .Killing a foul, noxious louse, that old moneylender, no good to anybody, who sucked the life-blood of the poor, so vile that killing her ought to bring absolution for forty sins."

He only admits that it was his own baseness, his incompetence, and clumsiness that were at fault. But he assures Dunya that he is ready to take his suffering even though he can see no value to it. He also promises that he shall be honorable and manly and that some day, she will hear him spoken of favorably. As he leaves, he asks himself why is he going to Sonya's house now. He feels he has already made her suffer too much, but all the same he goes.

Analysis

The scene between mother and son shows a new side of Rodya. Since they are alone, a very important fact to him, he is able to freely express his love for his mother — a thing that he has earlier found tedious, confining, and a violation of his theory of the superior man. In this highly charged emotional scene, he is able to not only express his love to his mother, but he is also able to ask her to pray for him. This change is a sign that he is beginning his redemption.

In his last talk with Dunya, she also emphasizes the saving quality of suffering. But again, Raskolnikov revolts against this basic idea. He still has an intellectual belief in the idea that provoked the crime. His only regret is that he has disgraced the nobility of the idea because he, as a person, is cowardly and contemptible.

Summary and Analysis Part 6: Chapter 8

Summary

Dunya and Sonya had been waiting all day for Rodya, fearing that he might have taken his life. Dunya gives up and goes to Rodya's room to wait for him. When he arrives at Sonya's, she is overjoyed to see him. He immediately tells her "I have come for your crosses — it was you who sent me to the cross-roads." As she goes for the crosses, he decides that he will not go to Porfiry because he is sick of him.

Sonya returns with the crosses, makes the sign of the cross over him, and hangs the little cypress-wood cross on his breast. He then tells Sonya, "This then is a symbol that I am taking up my cross." At Sonya's fervent request, he makes the "sign of the cross several times" and Sonya gets her shawl to accompany him, but he tells her he has to go alone. She follows discreetly but remains at a distance in the shadows.

As he goes to confess, he does not understand Sonya's grief since he is doing what she had asked. But he remembers her advice to go to the cross-roads and as he kneels and kisses the ground, a roar of laughter erupts from all who were around him. Some thought he was drunk; others thought him mad. He is about to abandon the entire idea and then he sees Sonya in the shadows at a distance. "In that moment Raskolnikov knew in his heart, once and for all, that Sonya would be with him for always, and would follow him to the ends of the earth."

He enters the police station and asks for Zametov, who is not there and he has to listen to some ravings from Ilya Petrovitch. Suddenly Raskolnikov overhears that Svidrigailov has shot himself. Without making his confession, he turns to go out and once on the steps he sees Sonya standing in the distance. He turns and goes back and tells the official: "It was I who killed the old pawnbroker woman and her sister Lizaveta with an axe and robbed them."

Analysis

Raskolnikov's last visit to Sonya shows his intentions to "take up his cross" and begin his re-entry into humanity. When he has taken on the cypress-wood cross, he makes the sign of the cross for Sonya's sake, which is a step toward redemption. It is the wooden cross and not the copper one, saving the latter for another day.

In his suffering, he also sees that Sonya suffers. As he goes to make his confession, he remembers her words to "Bow down to the people, kiss the earth, and say aloud, I am a murderer." As he begins to do these, he immediately provokes laughter; earlier his pride prevented him from becoming an object of ridicule of the people and still he has his fear of being laughed at because he still has a strong belief in the validity of his theory.

At the police station, he hates to confess to the supercilious Ilya Petrovitch, but with Zametov gone, and Ilya prattling on in a silly fashion, the news that Svidrigailov has shot himself causes him to leave the station without making a confession. As he leaves the station, the sight of Sonya, the symbol of suffering humanity, causes him to return. And with the confession, the novel comes to a thematic close. The confession is a culmination of the many attempts at confession that he has contemplated since his murder of the pawnbroker and her sister.

Date: 2015-01-11; view: 1142