Crime and punishment is a very important classic Dostoevsky novel. Its main focus is on providing a deep and detailed insight into the psychological struggle of Rodion Raskolnikov. Raskolnikov deals with a tense mental conflict of trying to justify and rationalize his crime while also feeling horribly guilty and disgusting about it. His struggle generates a theme of moral ambiguity which comes up in other events and interacts with his mental state in interesting ways. He believably confronts guilt, self loathing, paranoia, and more.
The psychological issues resulting from the story events are often exhibited by characters' behaviors in a perfectly subtle but comprehensible way that shows the progression of their mental state in a "show don't tell" kind of fashion. Every character's writing is executed with brilliant psychological realism as they experience all sorts of traumatic events.
Through its psychological realism, this book presents a great philosophical commentary on the nature of morality and crime, as well as applicable criticisms of rationalism and utilitarianism. Raskolnikov, like the underground man from another Dostoevsky book, is a practical example of the dangers that certain ideologies can create. Demonstrating the threat of ideological radicalization much more effectively than any blue checkmark on twitter ever did. It's a must read for anyone interested in literature.
SPOILERS BELOW
In part 1 Raskolnikov's struggle is made apparent, he is antisocial and unmotivated, he has quit school, doesn't seek employment, and generally avoids improving his situation.
He has come up with a plan to murder a rich pawn-broker, he rationalizes that the wealth could be used by him to do good things, it is better in his hands than hers. This is a critique of utilitarianism. Minor flaws of her character are exaggerated in Raskolnikov's mind to justify murder. He can't bring himself to commit to it yet, however. He randomly encounters a man in a bar who tells Raskolnikov about his daughter Sonya, who has turned to prostitution to provide for her family. This story speaks to Raskolnikov, who is also considering a morally unrighteous act to make ends meet. Later, he hears that his sister is looking to marry a manipulative and opportunistic rich man, sacrificing herself to support her family. This enrages Raskolnikov and he converts this anger into a rationalization to justify his crime. Instead of subjecting his sister to a bad marriage, he will provide for his family. At this point it is clear that Raskolnikov at some level is aware that he is going to commit murder, but is unwilling to confront the thought of doing it until he has justified it to himself enough through mental gymnastics. After rationalizing a few more unrelated circumstances into his justification, he is mentally prepared enough to go through with it. This forms into a good critique of rationalism. Reason doesnt lead into a single conclusive direction, it is capable of being manipulated and distorted into justifying murder.
He carries out the murder with extreme nervousness and dissonance. He even uses the blunt end of the axe, seemingly to avoid having to see too much gore that he knows would make him feel guilty. An unexpected second murder becomes necessary to remove all witnesses. This witness is someone he doesn't know, she's unrelated to his complex justifications. She is geniusly placed there by Dostoevsky to force Raskolnikov to confront the fact that he committed this crime out of greed, and only tried to justify it morally to cover up that disgusting truth. From here he is filled with so much mental anguish that he neglects to rob all of the pawn-broker's wealth, taking only a few items home.
From here on he is constantly reminded of his crime. He is summoned to the police station, which gives him great paranoia and anxiety, but it turns out to be an unrelated matter. He overhears discussion about the murder and faints, which arouses suspicion. This suspicion makes him even more paranoid and anxious, so much so that he ends up in a sickened and delirious state. A friend of his takes care of him through his sickness, but he can never escape hearing about his crime, even his friend and the doctor bring the investigation up.
Luzhin, his sister's fiancé arrives at Raskolnikov's apartment and tries to introduce himself, only to be kicked out and insulted. Raskolnikov used hatred of Luzhin as a partial justification for his crime, and is forced to reject him on that principle, even if it is socially inappropriate and makes him appear unhinged.
Raskolnikov is overcome with guilt at this point. His mental state has progressed to the point where he at some level wishes to absolve himself by confessing, but doesn't want to confront the consequences. This drive to cure his guilt causes him to revisit the crime scene and act extremely suspicious, seemingly hoping to draw attention to his role in the crime. He even finds a policeman who was present when he suspiciously fainted at the police station and insults him for holding suspicions.
He happens to witness the drunkard from the bar that inspired him earlier, who is dying after being run over by a carriage. Raskolnikov manages to get him home, where he dies surrounded by his family. Raskolnikov gives the widow the last of his money, seemingly to impress the drunkard's daughter Sonya, who is in a position similar to his own. This act of charity is channeled into a temporary alleviation of his guilt.
Raskolnikov is interviewed by a detective concerning the murders. The detective brings up an article written by Raskolnikov months prior, in which he asserts that gifted and intelligent individuals should be viewed as above laws and social norms in the pursuit of their ideas. This article gives us further insight into Raskolnikov's mental state and his tendency to reason away the immorality of his actions using a utilitarian conception of the greater good. The article also conflicts with the guilt, shame, and disgust that he is experiencing, indicating a lack of nuance in his beliefs. A lack of nuance that causes him to feel overwhelming cognitive dissonance.
Some family drama happens, which I think is a low point of the book. It is still good but it feels less important to the reader, in comparison to Raskolnikov's primary struggle.Stuff like this is less interesting at best or filler at worst.
Raskolnikov develops a relationship with Sonya, at which point he learns that she was friends with one of the people he murdered. Turning a positive relationship that could have distracted him from his problems into a relationship which feeds his guilt. He still concludes that their struggles are alike and decides to face his future with her. He confesses his crimes to her, which is indicative both of his selfish need to alleviate guilt and his willingness to commit to a more honest relationship with Sonya and therefore a more pure and morally good lifestyle. She is naturally disgusted by this and demands that he turn himself in to the police. This conversation is overheard by a neighbor.
Raskolnikov encounters the detective once again, and refuses to confess, he has yet to completely choose repentance. He ties up some loose ends with his family then goes to finally confess. He is informed that the man who overheard his first confession committed suicide, which makes him reconsider, but he sees Sonya and decides that her purity is superior to the life of guilt he would suffer if he didn't confess. So he finally makes a decision that puts his life on a path towards improvement, which he was far from doing at the beginning of the book.