Lizaveta is the woman Raskolnikov didn't intend to kill Well, actually, there's no appreciable difference: they both end up deader than disco and deader than the expression "deader than disco". In fact, part of why he feels justified in killing Alyona, Lizaveta's half sister, is because she beats and exploits Lizaveta.
Lizaveta is a year-old woman who appears to be mentally challenged, is at least 6 feet tall, is incredibly shy and meek, and is often "with child" though we never hear about her kids. In Raskolnikov's mind at least before he starts getting axe happy , Lizaveta, Dounia, and Sonia have almost merged into a single abused person whom he feels completely powerless to help. Thinking that Lizaveta won't be at home when he plans to kill Alyona is one thing that motivates him to follow through with his plan.
The irony is richer than Bill Gates. If he hadn't been running late, if he hadn't forgotten to shut the door, and if he hadn't reacted to Lizaveta's presence by lowering his axe, she wouldn't be dead She wishes to protect her family but also contributes to the incredible unhappiness her children feel, for she beats them mercilessly.
Polenka, Kolka, and Lidochka Marmeladov. Raskolnikov tells Sonya that the children ought to be provided for, so that Polenka does not have to resort to prostitution—as Sonya must. Marfa Petrovna Svidrigailov. Marfa and Svidrigailov had an arrangement during their marriage whereby Svidrigailov was permitted to sleep with some servant-women. Marfa also gave Svidrigailov a significant amount of money before her death.
Porfiry suspects for much of the novel that Raskolnikov is the true killer; his circuitous psychological techniques infuriate Raskolnikov into more or less admitting his guilt. Alexander Grigorievich Zamyotov. A clerk in the police station, Zamyotov runs into Raskolnikov at a tavern. There Raskolnikov lays out a playful and frightening declaration of how he would have committed the murders. This raises suspicions for Zamyotov, who informs Porfiry. Alyona Ivanovna the pawnbroker. Raskolnikov believes, until the Epilogue, that killing the pawnbroker was not entirely immoral because she herself was so wretched a creature.
The assistant to the police chief, Gunpowder intimidates Raskolnikov early in the novel, when he has come to the station to inquire about a summons for back-payment of rent. Raskolnikov confesses his guilt to Gunpowder at the end of the book. A young doctor, he tends to Raskolnikov early in the work and declares him initially fit. Later Zossimov fears that Raskolnikov has gone insane. Cite This Page. Home About Story Contact Help. Previous Quotes.
Unable to stand it any longer, and given an unusually fortuitous opportunity, he kills the pawnbroker Alyona Ivanovna and, unexpectedly, her half-sister, then robs the pawnbroker and escapes. From then on, he is beset with paranoia, though not guilt. He lurches through the world, flirting with capture, sometimes trying to get his confession spoken for him by others, sometimes trying to avoid suspicion altogether.
He abandons his mother and sister, who have come to town, after helping to break his sister's unsuitable engagement and placing her and her mother in the care of his friend Razumikhin. Thrown in with the Marmeladov family, he falls into a strange relationship with Sonya, the oldest daughter, who has had to prostitute herself to provide for her family. Though Sonya loves him, he cannot accept her love for a long while, because he despises himself for not having been able to "step over" those he has killed; his petty crime and his failure to remain in control of his fate have proven to him that he is not a great man as he had hoped.
At the end, he finally turns himself in, but still does not believe that his crime was inherently sinful. Sentenced to hard labor, whence he is followed by the faithful Sonya, he works sullenly and cuts himself off from his fellow-convicts until first he, then Sonya fall ill.
When they meet again after their respective recoveries, something has changed in him, and he at last truly repents of his sin. His struggle, profoundly metaphorical, culminates in his resurrection from death and sin into love and life. Sonya is the personification of purity and innocence, despite the fact that she has had to defile herself physically by becoming a prostitute to support her destitute family.
We hear about her through her father long before we see her, at his deathbed. When Raskolnikov gives the family money for the funeral, she goes to his apartment to invite him, and there begins their strange relationship. They are clearly attracted to one another, perhaps because they are so different: Rodion's soul is in turmoil, while Sonya is anchored in her religious faith.
Sonya is clearly a Christ-figure: she represents the only way to salvation, which is through faith and suffering taking responsibility for the consequences of one's actions. Indeed, her attraction to Rodion seems at least partly grounded in her compassion for his suffering and unhappiness.
She alone is able to elicit in him a desire to confess to her, as well as some softer, more human feelings than he has felt in a very long time.
Sonya's devotion is remarkable; she follows Rodya to Siberia for his hard labor. Something of a mute witness to faith, she waits for Rodya to come to his own repentance, which he finally does at the end. With this revelation he is at last able to love her without fear or constraint. Raskolnikov's fellow student and only friend from university. Kind, huge, somewhat clumsy but goldenhearted, Razumikhin takes care of Raskolnikov while he is ill and then takes care of Raskolnikov's family when Raskolnikov abandons them.
He is in many ways the foil to Raskolnikov: friendly, sociable, and humble. Both are intelligent, but Razumikhin does not fall into the trap of hyperrationalism as Raskolnikov does; he maintains his perspective and can see the dangers of the new ideas that have corrupted Raskolnikov.
Razumikhin falls in love with Dunya, Raskolnikov's beautiful sister, and pledges himself to take care of her and her mother forever. In the end, his marriage to Dunya makes this possible. Raskolnikov's sister. Beautiful, proud, virtuous, and somewhat arrogant, Dunya is in many ways similar to her brother.
However, she has a faith that he lacks, which preserves her from the confusion which clouds his views on morality and sin. Dunya had been a governess in the Svidrigailov household, but was kicked out when the master of the house made advances on her. Like Sonya, Dunya is ready to sacrifice herself for the sake of her family, though she denies it, and therefore engages herself to the unworthy Luzhin, whom she follows to Petersburg.
Fortunately for her, word has just come that she has been left money in someone's will, so she has some security. She and her mother remain in Petersburg, but Rodya cuts himself off from them, after committing them to the care of Razumikhin, who has fallen in love with Dunya at first sight. Despite Rodya's desire to be left alone, Dunya resurfaces to tell him that he can rely on her if he ever needs anything.
Not long after this, she receives a letter from Svidrigailov in which he promises to prove that Raskolnikov committed the murders of Alyona and Lizaveta Ivanovna. Their meeting reveals a more intimate past relationship than the reader has been led to expect.
It is not entirely clear whether Dunya had feelings for the man mixed up in her desire to save him, or whether her interest in him was purely platonic. Svidrigailov attempts to blackmail Dunya into marrying him, and even threatens to take her by force, but she has come prepared to shoot him.
The situation ends strangely but with Dunya still chaste and unharmed. By the end of the book she marries Razumikhin. Raskolnikov's mother. She writes to Rodya early on in the book, telling him about Dunya's experience with the Svidrigailovs and her subsequent engagement to Luzhin. Though she tends to romanticize things and perhaps get carried away, Pulcheria Alexandrovna sees a good deal, which comes out in the end especially, when she falls ill and in her delirium betrays her suspicion of her son's fate, which till then has been kept from her.
Dunya's former employer and a scoundrel. Tainted by scandal and sin, Svidrigailov had conceived a passion for the pure and upright Dunya while she was working as a governess in his household.
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