CRIME AND PUNISHMENT.

Part one.
 Chapter I.
In this chapter we are introduced to Raskolnikov and the usurer. So it is soon clear what the protagonist's intentions are. Thanks to the descriptions of his
poverty and his strange behavior, added to the confessions made by his mind, we guess that he intends to rob the old woman and does not intend to leave
witnesses. We are immediately shown that he is a little desperate, and he is seen with a certain compassion, and we can even agree with him in wanting to
rob the loan shark, who is shown to be a loan shark, a swindler and a liar.
Dostoyevsky is able to unite his way of being with ours, in such a way that he makes us accomplices of Raskolnikov.
 Chapter II.
In this chapter Marmelandov appears recounting his disastrous and painful life. He tells how he met Catherine Ivanovna and how his vice for alcohol led that
family to ruin, so much so that one of his daughters, Sonia, would be forced to accept the yellow card in order to support herself and her family. Sonia, who
in order to earn money for her family, will become a prostitute for a day. He will be one of the main characters of the novel.
The house in which Marmelandov lives is typical of the slums described by Dostoyevsky. A dark, dirty, small, dilapidated, miserable, disorderly, poor
boarding house... In short, a pension characterized by its poverty and uninhabitability. All the furniture, sparse and damaged, is a vivid reflection of the
family's mood.
Such is the poverty of this family that Raskolnikov decides to leave them a few kopecks; he did not have much more left. With this act we see two things
about Raskolnikov, he is very impulsive and sentimental. This makes us see that, despite being capable of killing (we still don't know if he will do it or not),
his personality is very sensitive. This makes us understand that what he is going to do will be done, far from it, out of conviction and out of great necessity;
and we can even guess that he will regret his actions.
Let's say that this chapter shows us the sentimental and ideological side of the protagonist and his immediate compassion for Sonia (here he begins to fall in
love with her).
 Chapter III.
In this chapter Raskolnikov (and the reader) will learn about the difficult situation experienced by his beloved sister.
Dunia (Raskolnikov's sister) works as a maid in the house of a powerful family. Everything was going well until the owner of the house (who is married) falls
in love with her and begs her on his knees to run away with her, a scene that Marfa Petrovna (the wife of the lover, Svidrigailov) sees and makes a mistake
believing Dunia to be guilty, for which she is fired and shamed by the entire town, which believes what she has said and turns its back on the girl's family. In
short, the rich man shows off his power, which, even if it fails him, is enough to make the one who is the least at fault, and the entire town believes what he
says, without having seen or heard it. Everyone will see later that they were wrong.
New characters appear in the letter that we will meet again later. For now we don't know much about them, but it is significant enough to give us an idea of
their way of being. For example, we will see Svidrigailov as a hypocritical, obsessive, enslaving, cowardly man... In short, a despicable being. While Luchín
(Dunia's fiancé) is shown as a neo-capitalist, with many pretensions but everything remains on paper. He is seen almost as the family's savior, although we
begin to sense his airs of dictatorial grandeur, his visions of a powerful businessman who not only runs a business but an entire family.
This news will completely upset the protagonist, who will immediately decide that his sister will not marry this character. The anger caused by the letter will
turn into more justified reasons to finish off the loan shark and steal everything from her.
 Chapter IV.
In this chapter we see the broken society of those times. The depravity of an individual capable of getting a young girl drunk in order to rape her without any
problems.
Raskolnikov is protective of the girl, attacking the person responsible for her drunkenness, but suddenly changes his mind and decides that it is none of her
business. Here Raskolnikov begins to show us his mental struggle, between his kindness and sentimentality, and his introversion and obsession. He begins
to show his "madness", which is nothing more than the confusion between his rational and emotional parts.
A divided society is shown, broken by poverty. Destroyed by money, this society is the new capitalist society. The poor are extremely poor and the rich do
nothing to help them, among other things because they are rich thanks to that poor majority.
 Chapter V.
The Dream of the Beaten Mare is one of the most shocking episodes written by Dostoyevsky. Perhaps the author put it there so that we can see to what
extent the thought of that murder torments him. He hasn't committed it yet, but he's already regretting it. He reproaches himself, wondering if he would be
capable of such a dehumanizing act. We see again the contrast between the sensitive and rational parts of Raskolnikov's personality.
In the dream (emotional part), he defends the horse as much as he can, even confronting the owner. The hatred he has for the horse's owner is visible; he
would love for it to happen the other way around, for the owner to be beaten.
However, when he wakes up (rational part) doubts begin to arise about his theoretical ability to be a big man, to be able to kill. This can also be seen as the
sentimental part having more power in the protagonist's mind at this moment than the rational part.
This chapter reinforces the idea that Raskolnikov is a sentimental fighter, a true revolutionary, a person deeply saddened by social inequality and the
degradation of the poor. So strong is his hatred for those responsible for this disaster that he would love to finish them off. In my opinion, this is why he killed
the usurer, a reflection of the unscrupulous capitalist businessman who takes everything he can from his workers while paying them as little as possible. The
usurer buys things from the poor for ridiculous amounts, leaving the poor worse off than they were.
Moving away from the novel, this “story” is a true cry against human cruelty, against injustice and social impassivity in the face of such detestable facts.
In this part, Dostoyevsky shows his strong narrative intensity, creating in the reader the same feeling that he produces in Raskolnikov. It equalizes our
feelings in such a way that we perfectly understand the protagonist's subsequent causes and intentions. This identification makes us almost complicit in the
murder. Dostoyevsky already prepares us for the terrible murder, which we will see as an almost justified act on the part of Raskolnikov, and we will share
his suffering and doubts.
 Chapter VI.
In this chapter Raskolnikov recalls the conversation between a student and an officer in which he heard about the usurer.
Thanks to this chapter we complete the portrait of the usurer and her sister Isabel. Women who awaken conflicting feelings in the reader. We have just
defined the usurer as an exploiter. Capable of taking money from even his own sister, we decided that he is a being that deserves to be punished for his
parasitic behavior, for taking advantage of the weakest and for helping the poor in their increasing frustration and despair.
However, her sister is shown as a direct victim of the abuse committed by her sister. Isabel will be the one who makes us see the extent of the usurer's
meanness, equating our hatred with that of the protagonist. Isabel inspires in us a sweet compassion and a rapid revolution for her interests. Isabel will be
the one to pay the price for her sister. Let's say she will be a civilian dead in a war between two sides that she did not know about.
The student's ideas correspond to those of a "nihilist" of the time. His conception of life does not agree with the ideology of the majority of the society in
which he lives. His conception of good and evil is not governed by that dictated by the church, but by his own ethics and morals. This is why his way of being
clashes with that of those around him. The student understands that it is not bad to kill a person if it can save several lives. In this sense the student shows
the good that would be done by committing a minimal evil. For him, it is immoral to kill another person without a very clear and just cause.
The author seems to support the student's ideology, although only in theory, since in practice he does not see himself capable of being the judge of a life.
But thanks to the student Raskolnikov finds new strength to carry out the murder, although he seems to be stunned after what he heard, although I think it is
because he realizes that he is not the only one capable of thinking like that. Raskolnikov is shown to be more mentally handicapped than the student. For the
protagonist, it is true that murder is a just cause, but his sentimental side “prevents” him from doing so, because he is not sure of what he is going to do.
 Chapter VI.
Raskolnikov continues with the preparations for the crime. His sickly state shows the insecurity of his thoughts. The internal confusion between what he
wants to do and what he believes he is capable of doing plunges him into an almost vegetative state. Mental fatigue becomes visible in the days before the
crime, allowing the reader to see the mental crisis that Raskolnikov falls into. We already see the mental self-punishment that the protagonist undergoes for
not being able to commit the act without being influenced by his sentimental side, which has been instilled and put under pressure.
He blames himself for not being able to commit the perfect murder. He is surprised that he was not able to overcome sleep and prepares to try and think
about what was best for the murder. Then he will focus and prepare everything meticulously, without missing the smallest detail.
Morally he was convinced that what he was going to do was good, and yet he clung to any unforeseen event to avoid the act. His doubt is not moral, he is
simply afraid of being caught, that his mistakes will lead the police to him.
Dostoyevsky takes advantage of this panic to create in the reader a strong interest in the care taken by Raskolnikov. Our complicity with the protagonist
makes us think, in the moments of weakness that he shows, that we would act the same. The author takes advantage of this to capture our attention and
guide it as he pleases through Raskolnikov's ramblings, introducing us to his own conflicting feelings.
Dostoyevsky accumulates the coincidences that facilitate Raskolnikov's plan. But such conditions are seen by the protagonist as a help from luck, conditions
that give him new strength to continue with the plan.
 Chapter VII.
In this chapter we witness the execution of the murder. The main chapter, the crux of the novel. That is why we will study several aspects.
The narrative interest. We will divide the story into a plot and a conclusion. Both have things in common: a constant increase in tension; Raskolnikov's
insecurity combined with nervousness and fear of failure; and external factors that increase the protagonist's crisis.
In this section the author achieves the highest climax of the novel. The force of attraction achieves this through immense tension. At every moment, different
sensations arise, caused by different difficulties that hook the reader, dulling their feelings and making them incapable of reacting and reasoning. The reader
experiences the events that occur with the same intensity as the protagonist.
The almost visual description of the environment, with its vile and terrifying appearance, and of the acts committed by the protagonist, make the reader
experience this situation. The reader clearly sees the grim atmosphere, and the harshness and terrifying reality and cruelty of the acts. Thanks to this exact
description, the reader does not waste time imagining, but rather sees the picture directly, giving greater speed to the reading and thus avoiding the reader
having time to think, plunging him directly into feelings of insecurity and fear.
Finally, Dostoyevsky skillfully manages to describe states of mind that border on the delirious. Raskolnikov appears excited, disturbed, alienated, calculating,
cold... This union of moods helps us see the great difficulty of reasoning that the character faces. That initial crisis that was shown from the beginning just
developed during the murder. The mental struggle between the rational and emotional parts reaches its greatest loss of control in this chapter. The emotional
part creates that uncontrollable nervousness and incredible excitement, while the rational part introduces those moments of coldness and fear that
something will go wrong.
Second.
 Summary of the second part.
After the murder Raskolnikov falls ill. He hides the stolen goods under a rock far from his home and forgets about them. During his convalescence he is
assisted by his friend Rasumikhin, who will take care of Raskolnikov until the end.
During this convalescence he meets new characters and experiences new situations that will lead him towards the outcome. His strange visit to the police
station due to an unpaid bill; his presence at the crime scene days after the incident displaying strange behaviour, the visit of his mother and sister... Iran is
taking its toll on the protagonist's personality.
 Chapter I.
Raskolnikov doubts his reason: a strange mixture of lucidity and delirium, it goes beyond the limits of the normal. Later at the police station, the protagonist
oscillates between dissimulation and confession, showing alternatives of discouragement, despair, joy, pride...
As soon as he woke up and remembered what had happened, he thought he was going crazy, but immediately afterward his concern brought him to lucidity;
he was surprised that he had not hidden things. After collecting everything, he falls into a delirium for five minutes, but recovers again thanks to concern,
since he had not hidden everything. At the police station he did not know whether to confess or remain silent, and that struggle would turn into fever and
delirium.
 Chapter II.
Raskolnikov hides the stolen items, but realizes that the motive for the murder was not robbery, since he has not even looked at the stolen items. The truth is
that he didn't even know why he had committed the crime, but he was almost certain that it was not to steal.
That mental crisis we have already talked about hits Raskolnikov hard, causing him to behave strangely. He visits Rasumijín to ask for help, but once there
he turns around and goes back, leaving Rasumijín very surprised and angry. This shows that one part of him wants to do one thing and the other part wants
to do something completely different. This duality is also seen when he arrives at his room and mixes delirium with reality, mixing real characters with
imaginary acts, threatening, violent acts.
 Chapter III.
From now on, Raskolnikov will be taken care of by Rasumikhin. His carefree and helpful character, full of strength and vigor, contrasts with the sick character
of his friend. In contrast to the protagonist's anguish and fear is the security and tranquility of his friend, who shows an active, happy, helpful and satisfied
character.
Rasumijín turns out to be a great communicator, unlike his colleague, who merely listens, albeit attentively. Raskolnikov is terrified when his friend reveals
that he had spoken in a dream, but his immediate concern will be quenched by the information he receives.
 Chapter IV.
The initial part of the conversation between Rasumikhin and the doctor, Zosimof, is “unnecessary,” but it helps to define the secondary characters. Zosimov
is shown to be somewhat arrogant, although helpful, and Rasumikhin is defined more as a very impulsive and irritable person, despite his aforementioned
qualities.
The conversation then turns, as if by chance, to the subject of crime. Several things interest us here:
The elements that appear in a detective novel. By deductively reconstructing the crime, Rasumijín shows himself to be a Sherlock Holmes, a true detective
capable of solving certain enigmas of the case through scant evidence (it must be taken into account that Rasumijín studied this).
The feelings that arise in Raskolnikov as he listens to the conversation and sees how his colleague is getting everything right. The protagonist will turn pale,
anxious, as if returning from torment, amazed by the accuracy of his friend's reconstruction, while looking at the floral drawing on the wallpaper.
 Chapter V.
In this chapter Luchín appears. Characterized by his airs of importance, his haughtiness, his attempt to imitate a powerful, hypocritical, false financial man...
Dressed as such, like an important person and acting falsely like one. But Raskolnikov soon discovers his falsehood and exposes the character's
inconsistency with his ideas. Thanks to the anger that Luchin provokes in Raskolnikov, the latter makes him reprimand the former, making him show his true
personality as a boss, a profiteer and a huge, deceitful hypocrite.
Meanwhile, Rasumijín continues to hit the nail on the head with his deductions regarding the crime.
 Chapter VI.
In this chapter, Raskolnikov, after being left alone, goes out into the street and feels the need to talk to people. In reality, what he wants is to free himself
from the oppression that the secret of the murder is causing him, so what he seeks is either to tell someone, or to start a conversation to forget about the
matter. But the desire to confess is stronger, which reveals his inability to bear the heavy weight of remorse of conscience any longer. He is no longer able to
hide this fact, especially since he knows that there are innocent people arrested for it.
The episode offers us a gallery of humble or marginal types. People who sing in the streets to earn some money, prostitutes, soldiers, drunks, brothels,
exploited waiters... All based on misery, poverty, marginalization, desperation. People do the most horrible jobs to feed themselves.
In a café, the protagonist strikes up a conversation with Zamiatov, the policeman. In this conversation, Raskolnikov's intention to confess, his desire to
ridicule the policeman, and his disbelief come together. All this combined becomes a dangerous game in which Raskolnikov can only win, either because his
confession is believed or because he unloads his anger by mocking the policeman without any negative consequences. It also tests your ability to withstand
extreme situations.
The story of the suicide follows. I think the mission of this story is to make Raskolnikov see that suicide is foolish, an act of cowardice, an act with which we
also destroy the people we love. Raskolnikov immediately put aside the idea of suicide, seen as a cowardly and destructive act, and decided to go to the
police station and confess (he clung to life).
In short, in this chapter Raskolnikov, delirious and in need of peace, desperately searches for something or someone with whom he can vent his tremendous
oppression, caused by the terrible act.
 Chapter VII.
Events continue to pile up. More and more characters appear, introducing new problems. New stories that test the protagonist. And these stories that remain
open, develop in parallel to the story of the protagonist.
This is the case of Marmelandov's accident, in which Raskolnikov shows his most sincere compassion and detachment. The death of the old official arouses
in the protagonist a feeling of true pity and suffering for the affected family.
Dostoyevsky paints a bleak picture of the hard life the woman and her daughters led. This painting is characteristic of the social dimension described by the
author, who wanted to show the degradation that poverty leads to, which turns into alcoholism, prostitution... These landscapes are a harsh criticism of the
society of those times and the upper classes that dominated that society, showing their support and understanding of the oppressed and mistreated class.
In this chapter Sonia appears. The author describes her as a shy girl, dressed in used clothes but in a showy, pretty and helpful way. The feeling it produces
in us is one of compassion and affection. A pretty, unfortunate girl whom we wouldn't mind helping at any time.
Third.
 Summary of the third part.
In this part we begin to know Rasumijín's feelings towards Dunia. The long family conversation centered on the topic of the wedding with Luchin will be one
of the main themes of this part, as well as Raskolnikov's visit to the investigating judge, Porfiry; the encounter with a man who calls him a murderer; and the
meeting with Svidrigailov.
 Chapter I.
This chapter is interesting to define Rasumijín's character, whom we see as a helpful, diligent, competent person, full of good intentions, protective and a bit
of a sycophant.
Rasumikhin's feelings towards Dunia introduce a new element into the novel. This love makes Luchin's problem also its cause, joining with Raskolnikov
against said individual and giving strength to this cause.
 Chapter II.
Doctor Zosimov describes Raskolnikov as a "hypochondriac," that is, he describes him as a nervous, upset, and sad person, worried about his health for no
apparent reason. Rasumijín will talk to the protagonist's mother about him, describing him as proud, unsociable, taciturn, and lately distrustful and
hypochondriac. He refers to himself as good and generous, although he prefers to appear rude and irritable. In the end he ends up believing that he has two
opposing natures that dominate alternately.
 Chapter III.
In the conversation with his sister Raskolnikov expresses in one sentence what happens to him: "if you reach a certain limit that you cannot cross, you will be
unhappy, and if you cross it, you will also be unhappy." This sentence sums up all the strange behavior that Raskolnikov displays both before and after the
murder. He himself admits that he is unhappy for having overstepped the limits of his conscience, but that he did so because he was unhappy before. With
this he may want to tell us that he does not regret his actions.
 Chapter IV.
Let us now look at a phrase from Dunia's mother, in which she describes her two children. He calls them melancholic, difficult, angry, haughty, generous...
The truth is that the mother knows her children perfectly, or at least Raskolnikov, since she shows their most notable characteristics, hitting the nail on the
head. Dunia is also right, although to a lesser degree, because Dunia is neither haughty nor very difficult; but for the rest, it is an exact description.
In this chapter Sonia appears again, but this time it will only serve as a teaser for the next chapter, since someone unknown is following her. This trick is
typical of novels delivered in installments, which try to add a certain amount of intrigue at the end to ensure that the reader buys the next installment.
Chapter V.

All of it is, from the point of view of ideas, fundamental. The judge comments on an article by Raskolnikov in which he expounds his theories about the
“extraordinary” man, the genius, and his right to override the norms. This idea is that men can be divided into "extraordinary" and "ordinary", maintaining that
the former have the right to go beyond laws and moral norms, if this is necessary to carry out their mission; for him these men are above good and evil. This
ideology will be what leads him to commit the crime, since he will want to prove whether he is an “extraordinary” man or not. He decides to be the man
capable of sacrificing a life in order to save many others.
In short, this idea is the basis of the entire novel.
One must also bear in mind this phrase: “Truly great men must, I believe, feel a profound sadness on this earth.” If we add this phrase to the previous idea,
we have, in my opinion, the ideas of a revolutionary. That tremendous sadness that truly great men must feel is what makes them above the laws and morals
when carrying out an act that they see justified because it is necessary for their purposes.
At this moment he realizes that he is a great man, not for having committed that act, but for feeling that deep sadness.
 Chapter VI.
In this chapter a character appears who seems to know who the moneylender's murderer was. The fact that we know nothing about him, not even the
reasons that led him to reveal himself to Raskolnikov but not denounce him, gives us a very bad feeling. We think of an influential person, capable of
blackmailing the murderer throughout his life, further accentuating his agony. This new character creates a certain suspicion in us and makes us go back to
the day of the crime, just like Raskolnikov, to try to discover how he knew about it, and we immediately remember that the protagonist left the door open.
This raises the question: is it possible that he witnessed the murder? Only by answering this question does the author force the reader to continue reading.
In this chapter Raskolnikov's doubts disappear and with them his intention to testify. He is convinced that what he has done is wrong, not because he has
murdered an old woman, but because he has not finished what he started, that is, stealing everything he could and distributing it among the needy.
In the new nightmare we can see that the big concern is that he forgot to close the door. Then we all remember the man who seems to know everything and
guess that Raskolnikov is furious with himself for having made such a tremendous and absurd mistake.
 Chapter VII.
This chapter ends with the unexpected appearance of another character, Svidrigailov. This fact of linking events from one part to another and from one
chapter to another, or the appearance of new characters at the end of chapters, or unexpected situations that continue in subsequent chapters, obey the
typical development of a "serial" novel. Its effects are clear, they keep the reader's attention from beginning to end, thanks to the tension created.
Quarter.
 Summary of the fourth part.
It's a very busy part, and full of surprises. Svidrigailov's visit, making certain proposals and confessions to Raskolnikov. The verbal fight against Luchín ends
in tragedy for the latter, and in the family union broken by this schism. The strange farewell right in the middle of a great moment of happiness. The visit to
Sonia was filled with bitterness, love and depression. The visit to Porfirio, full of violence, agitation and above all surprise.
 Chapter I.
In this chapter Svidrigailov appears in person. A very dark character, about whom we know little, but whom we judge harshly. We see him as a sexual
obsession, a powerful man capable of anything, we even treat him like a murderer. However, in this chapter we see that he is a sincere, sentimental, very
clever and sane person and he even seems to ask for forgiveness for the harm done. We will change our minds again later.
 Chapter II.
The figure of Svidrigailov is becoming more precise thanks to what Luchín says about him. On this occasion, Svidrigailov is presented to us as a vicious and
depraved man; a murderer condemned to Siberia; extremely cruel to his servants. Although these accusations are being discredited by Dunia's statements
and what we already know about the person being criticized, thus defining Luchín's personality even more (we now see him as a true deceiver and liar).
 Chapter III.
In this chapter we have just understood what marriage is for Luchín. It turns out to be a mere business transaction, in which he is the sole owner of Dunia,
therefore, he will be the first in everything and the most loved, above his mother and brother. He will always obey you and will limit himself to that. But when
Dunia discovers this, she gives him the runaround.
Luchin will leave, but not without hope of finding new possibilities based on the ridicule of Raskolnikov, whom he sees as the most guilty. But the reader is
left in suspense, unable to guess what his intentions are.
 Chapter IV.
It is another of the great chapters of the novel.
Raskolnikov's interest in human misery reappears. During his visit to Sonia, Raskolnikov shows his concern for his stepmother and her children, and for the
situation in which the entire family was living.
The questions that Raskolnikov asks Sonia are cruel, perhaps because he is trying to get the girl to react and be able to see the difficult situation they are
going through, so that she does something, so that she thinks of the worst and what she would do in that case, to convince her not to be so good and to live
her own life a little.
If we analyze Sonia's character, we will see that she is the one most punished by injustice and bad luck, and yet she is the one who remains the most whole
and noble. Her personality is so strong that not even the worst events can make her change her line of being a helpful and generous person. He still thinks
about supporting his family. This behavior may be due to a certain guilt complex, which forces her to respond with acts of help and understanding.
Censorship forced the fact that a prostitute is so religious to be changed, so it is reasonable to think that censorship saw this act as almost a sacrilege. So
we clearly see the hypocrisy that reigned in those times, when an unchosen social cause marked the individual for life, and he was predisposed to fixed and
immutable laws that had nothing to do with reality. However, Dostoyevsky resolves this dilemma well, making the prostitute a heterodox believer.
Dostoyevsky agrees with the basic idea of the gospel, but rejects everything that surrounds it.
 Chapter V.
At the police station, Porfirio reveals his game, as if unintentionally and wanting to reassure the protagonist. With this, Porfiry shows that he knows
Raskolnikov's psychology perfectly, and thus manages to exasperate him, thus making him nervous and awaiting a failure. Raskolnikov knows all this trick,
but he is unable to calm himself down and avoid falling into the judge's trap.
And just when it seemed that Raskolnikov had no escape, a new character appears who allows him to escape unscathed. Here the chapter ends, leaving
once again a huge uncertainty in the reader's conscience, who will not hesitate to continue reading.
 Chapter VI.
Raskolnikov is freed thanks to the confession of the painter, Nikola. We know that he is not the murderer, however we do not know the motive for which he
decided to incriminate himself. Let's suppose that he has a strong guilt complex and that after taking the earrings he feels so ashamed that he believes
himself guilty of the murder, although he really doesn't know.
What is known is that this fact will give Raskolnikov great freedom at times, especially when he is visited by the one who accused him, calling him a
murderer, to ask for forgiveness. But he soon realizes that Porfiry knows everything and is convinced of it, but he is unable to prove it with complete
certainty, creating in Raskolnikov the greatest uncertainty of the entire novel. He knows that they know the whole story, but they do not stop him, creating
tremendous uneasiness in the protagonist, who will reach the brink of delirium.
Part Five.
 Summary of the fifth part.
In this part we guess Luchín's intentions, invited to Marmelandov's wake, and what will happen there. The sudden madness that will take hold of Catherine
Ivanovna. Raskolnikov's confession of the murder to Sonia.
 Chapter I.
In this chapter, Luchín's generosity emerges, which surprises us all and we don't believe it, waiting for something to happen. Indeed, we will see that his
purpose in making the donation to Sonia is not precisely in her favor. Besides, the fact that Dostoyevsky shows us the money on the table suggests several
things: one is that he is stingy even in his generosity, since he showed a large wad of bills; another is that he wants something, perhaps to get ahead of the
girl, or try to attract her to him by earning her respect through a large sum of money.
In the character of Lebesiatnicov, Dostoyevsky draws a satirical portrait of a “nihilist.” His ideas regarding the banquet are quite clear; he would love to go
and protest about this in front of the priests, but since none of them are going, he sees no reason to go. He also does not see giving money to the poor as a
good thing, attributing it to an act of negligence, which does not help the poor, it only solves their problem for a day. Everything he says has its ridiculous part
(the radical part) and its interesting part (the basis of what is stated).
 Chapter II.
The episode of the funeral meal has, among other things, an undoubted costumbrista interest, reflecting the funeral customs of those times. As for Catherine
Ivanovna, we must point out the moving mixture of the ridiculous and the tragic produced by unbearable pain and the anguish of future uncertainty. This
scene shows us the most terrible face of misery and desperation capable of making anyone lose their mind. The guests show their cruelest side, which they
will later regret, supporting Catalina in the defense of her stepdaughter, once her innocence has been proven, of course. All this shows us again the tragic
characteristics of the poorest social classes, where they do not even respect each other.
 Chapter III.
In this chapter we finally learn the motive behind Luchin's show, which was intended to discredit Raskolnikov through his affair with Sonia, in order to regain
Dunia's trust and, in the process, finish off the protagonist. But all this goes wrong thanks to Lebesiatnicov, whom we see as a fair, sincere, realistic man, in
line with his ideology. And thanks also to the tremendous lucidity of Raskolnikov, who is the one who gives meaning to the whole fallacy mounted by
Rasumikhin.
 Chapter IV.
Raskolnikov confesses his crime to Sonia. According to his statements, we finally know that he committed the murder with the intention of proving his theory
and checking what kind of man he belonged to. Although he is initially unsure and the question of theft is also brought up, he soon realises that he is fooling
himself.
Sonia is stunned, she doesn't want to believe his theory and convinces herself that it was due to a terrible need. So strong is this feeling of rejection
regarding the theoretical crime that Raskolnikov ends up agreeing with Sonia in order to go along with her. In addition, this will increase the chances that the
sentence will be lessened when he confesses.
 Chapter V.
This chapter concludes the “Marmelandov story”. The madness and death of his widow, surrounded by children, constitutes a heartbreaking passage with all
the excesses imaginable. You might think it is a soap opera, but it is clearly a terrible representation of misery, seen as the worst disease in the world,
capable of taking away anyone's sanity, and even their life.
This harsh representation of misery is a very harsh criticism that I believe Dostoyevsky directs at the reader so that, if until now he has not perceived what
misery is, he will feel this harsh sensation with greater intensity.
 Chapter VI.
The end of this part is, once again, characteristic of Dostoyevsky's storytelling technique. Two things must be noted in Svidrigailov's unexpected intervention:
on the one hand, his generous gesture, which is difficult to reconcile with what we know, although it may be that his need to ask for forgiveness, not wanted
by Dunia, is so great that he decides to give it to the most miserable people known to him. On the other hand, the disturbing words he addresses to
Raskolnikov leave things a bit confusing. Svidrigailov confesses to the protagonist that he knows everything about him because he heard him through the
wall, leaving Raskolnikov pale with surprise.
Part Six.
 Summary of this part.
The final outcome. Raskolnikov becomes convinced that he must testify in order to free himself from his suffering and start a new life with Sonia. Svidrigailov
eventually committed suicide after realizing how vile he could be, and after confirming that Dunia could not stand the sight of him. All end.
 Chapter I.
In this chapter we see Raskolnikov again under the effects of the fever produced by excessive worry. The protagonist's semi-consciousness comes to us
perfectly in the form of fast, accelerated rhythms and constant changes of appearance.
When Rasumikhin reminds him that Nikola has confessed to being the murderer, Raskolnikov is very surprised that Porfiry believes in Nikola's guilt, but he is
convinced by Rasumikhin's information; psychologically it was demonstrable, which delighted Porfiry, so the protagonist believes him even though he is not
very convinced.
 Chapter II.
In his conversation with the protagonist, Porfirio exposes the very Dostoyevskian idea of "accepting suffering" right in the interview with Raskolnikov, after
telling him that he knew perfectly well that the murderer was not Nikola but him, Raskolnikov. So he gives him advice to turn himself in so that, first, he can
enjoy a reduction in his sentence; and second, by confessing he will take a great weight off his shoulders, and the suffering of being deprived of liberty will
purify his soul. He warns him not to even think about escaping because then his mental oppression will crush him. He warns him that what he needs is to
declare and suffer in order to live.
Porfiry shows a friendly attitude towards Raskolnikov. He wants the best for him, within the limits of the law, and advises him as a friend, not as a judge.
 Chapter III - IV.
These chapters focus on the figure of Svidrigailov. As we have pointed out, its story constitutes almost "a novel within the novel." A story that shows how
miserable human beings are. Let's say that Svidrigailov is the image of baseness and evil. In the main story, he is the character who contrasts the most with
his kindness and generosity, compared to his sentimental selfishness, his obsession and his evilness produced by sentimental vehemence.
 Chapter V.
Svidrigailov tells of his life, in which he seems to boast of his baseness. Her life is summed up by the fact that her late wife got her out of a mess and they
got married, but he made it clear to her not to get angry because of his whims with girls, but she got tired of it and decided to give him moral lessons. He
displayed a false feeling of thirst for light, while inventing new formulas of seduction. She wouldn't have realized it if her passion hadn't made her fail. In
short, his life is reduced to deception. Let us say then that he is the incarnation of evil, the living portrait of fallacy and lies.
 Chapter VI
Raskolnikov shows some curiosity about Svidrigailov's strange personality, seen as original by the protagonist, due to the strong contrast between his
actions and his peculiar actions.
 Chapter VII
The scene between Svidrigailov and Dunia continues. His intentions are not good at all, but she doesn't seem to realize it and gradually falls into his traps. At
the end we see that he tries to seduce her, but seeing that it is useless he decides to convince her by force. After a tough fight, he lets her go. Here he
shows that he is truly in love, thanks to which he has been able to overcome his passion, and we will see that, regretting his existence, he commits suicide.
 Chapter VIII.
Svidrigailov's last night.
In this chapter, Svidrigailov shows a division of feelings regarding Dunia. He remembers that when she threw away the gun and saw her terrified, he felt
compassion. However, this memory produces a burning anger and a certain terror. Then he shows a certain indifference and forgets about the subject,
partially.
Svidrigailov's nightmares are a brilliant anticipation of psychoanalysis, and even of Surrealism. Analyzing its deeper meaning, we see how everything is
related to the harsh trauma that he has just experienced and his most hidden intentions. The mouse's nightmare could represent those hidden intentions,
which the character fears will come out and pursues to repress them, but is unable to achieve this.
These intentions are seen more clearly in the suicide's dream. Let's say that this dream shows the causes of the disaster and the future act. The cause of the
disaster would be those flowers that attract him along with what led the girl to commit suicide, the attraction together with the terrible disappointment. The
third dream, that of the girl, shows the part that made a cause a misfortune, and that is the lascivious one. In summary and to be specific, the dreams show
us that the character intends to commit suicide due to the rejection suffered, since he has realized that he has been rejected because what he believed was
love, only turned out to be desire.
Svidrigailov commits suicide completely repentant and ashamed of his life, although he does not show it. His capacity for redemption is not as strong as
Raskolnikov's, so he can bear less of a pain that, in addition to being greater, causes him terrible terror. He is unable to live with it and commits suicide. A
tragicomic suicide due to its peculiar execution. Svidrigailov seeks a witness who turns out to be a poor soldier. And there, in the middle of his workplace, the
character in question assures him that he is going to America and shoot himself. The soldier, contrary to what we might think, is more concerned about the
irregularity of the act than the barbarity itself. In this way the author makes a tragedy laughable for the reader, creating a feeling of indifference close to joy.
In view of this, we can say that Svidrigailov awakens in the reader a wide range of feelings, from indifference to hatred, passing through sympathy, curiosity,
distrust, the desire for revenge... In short, a curiously despicable being.
Such an eccentric character, however, has great importance in the vision of the work, giving another point of view about the problem of Evil and the ways to
escape from it. As we know, he escapes by committing suicide, terrorizing certain loved ones with the harm he has done.
 Chapter IX
A difficult moment for everyone, as Raskolnikov says goodbye to his family. The visit to his mother, full of tension and sadness, turns out to be a very hard
pill for him, who in the end is somewhat rigid with his mother, who seems to understand his departure and know the reasons, although she deceives herself
into believing otherwise.
With his sister Dunia he is more open, let's say that with his mother he was afraid of hurting her feelings. This freedom leads the protagonist to express his
opinion on crime, which he does not consider as such, seeing it as a liberating act, as social help to those in need, and he defines himself as a weak man,
low in his actions and self-interested, in short, he is a coward.
In this chapter we have observed Raskolnikov's true ideology, the real causes that led him to murder, and what really gnaws at his conscience.
 Chapter X.
Raskolnikov goes to say goodbye to Sonia. His restless, nervous, upset, and sometimes harsh attitude sometimes contrast and sometimes agree with his
feelings of insecurity, love, anguish, and pity. Once outside, after the strange conversation, Raskolnikov finds himself overcome by a tremendous confusion
and almost feverish insecurity, combined with an emotional emptiness and terror.
Once at the police station, there is a great contrast between the complex behavior of the protagonist and the foolish superficiality of the policeman, which
falls like a bucket of cold water on the reader. The ineptitude of the policeman's behavior exasperates us as we do not understand the meaning of this
conversation, a conversation devoid of content that at these moments creates an inexplicable malaise in the reader.
In this conversation the protagonist will receive the news of Svidrigailov's suicide, producing in him a shudder followed by disbelief and astonishment as he
tries to explain why.
After many doubts, hesitations and worries, Raskolnikov confesses without hesitation, although tired, his guilt. It is a strange contrast that, after so much time
of hesitation, doubt, etc., he says it with such determination and certainty, moved, perhaps, by a certain pride.
Epilogue.
 Chapter I.
During the trial there are details that round out Raskolnikov's strange personality, such as: the firmness and clarity of his confession, after hard times of
insecurity and cowardice; his clarity, almost haughty, in the exposition of the facts, in which he does not forget any detail in contrast to the amnesia he
suffered immediately afterwards; his brutal frankness exposed to the outside world...
If we look at the letters that Sonia sends to Dunia, we will see that they are dry, distant, impersonal, accurately describing Sonia's detached personality,
which relates in her letters everything related to Raskolnikov, without including any information about herself, which demonstrates her obsession with others,
and the little appreciation she has for herself.
 Chapter II.
In this chapter there are two things that deserve special mention:
Raskolnikov's dream in the hospital begins to show us the feelings of true redemption. In the dream he makes it clear that the “superman” would be like a
plague for society, since, if we were all like that, we would be incapable of living together. We would all have the right to do whatever we wanted, we would
all be the same again but worse. But in that dream a light of hope appears, a way out of the life that, according to the dream, very few will have, and they will
be the ones who repent.
Summarizing the dream, Raskolnikov finally finds the reason for his redemption, the reason for not having chosen another way out of the evil he had
committed (such as suicide), since he knew, perhaps unconsciously, that if he did not abandon life he had the chance to start a new one. This new hope is
fueled by the power of love, which, in addition to being a reason to live, offers the protagonist a redeeming force, as shown in this phrase: “Raskolnikov still
had seven years of pain and suffering left, but how much happiness! “I was saved.”
At one point, “reason” and “life” are opposed, and we see that reason is what had lost the protagonist, obsessively focused on his theories and forgetting to
live. In this sense we can give a vitalist and emotional meaning to the writer's thought, understanding that the power of reason should not be superior to that
of vitality or vice versa.
Raskolnikov may ultimately display irrational mysticism (although this is what mysticism is based on), but I am more confident that what he believes in is the
vital power of love, so he will do any religious act, not as a convinced man, but as giving a significant meaning to that feeling. That is, seeing in a specific
object that idea that he has of love, as if that sign were worth it to be in direct contact with that feeling and to be able to hold on to it, a kind of physical
emphasis of an object that helps him to believe (love).