Crime and Punishment

Raskolnikov expresses despair and confusion about why he revealed his actions to Sonia, feeling that she will only suffer because of him. He struggles with feelings of cowardice and meanness, questioning his own motives and the morality of his actions.

Raskolnikov reflects on whether a figure like Napoleon would have hesitated to commit murder if it served his ambitions, suggesting that he believed Napoleon would not have felt remorse for killing a pawnbroker if it was necessary for his career. This comparison illustrates Raskolnikov's attempt to rationalize his own crime as a means to an end.

Sonia's reaction shows her compassion and willingness to understand Raskolnikov's suffering. Despite his confession, she encourages him to speak and expresses a desire to understand his feelings, highlighting her empathetic nature and her role as a moral anchor for him.

By calling himself a 'mean wretch', Raskolnikov acknowledges his moral failings and cowardice. He feels guilty for burdening Sonia with his troubles and recognizes that his actions are selfish, as he seeks solace in her compassion while causing her pain.

Raskolnikov's contemplation of the 'monumental' signifies his struggle with the morality of his actions. He grapples with the idea that true greatness requires monumental deeds, and he questions whether his crime can ever be justified or seen as significant, revealing his internal conflict about his identity and values.

Raskolnikov feels a deep sense of responsibility for his family's financial struggles. He acknowledges that his mother has little, and his sister is forced to work as a governess despite her good education. He believes that their hopes are centered on him, and he feels pressured to succeed to alleviate their suffering.

Raskolnikov attempts to justify his actions by arguing that he killed the old woman for practical reasons, believing it would allow him to secure a better future for himself and his family. He expresses a sense of hopelessness about his prospects and the burden of his family's expectations, leading him to rationalize the murder as a means to an end.

Sonia is distressed and cannot accept Raskolnikov's justification for murder. She expresses disbelief and anguish at his reasoning, indicating that she finds it morally unacceptable to equate a human life with something as insignificant as a louse.

Raskolnikov refers to the old woman as a 'louse' to diminish the moral weight of his actions, suggesting that he views her as a useless and harmful creature. This reflects his attempt to rationalize the murder and detach himself from the emotional implications of taking a human life.

Raskolnikov's mental state deteriorates as the conversation progresses. He becomes feverish and delirious, struggling to articulate his thoughts clearly. His exhaustion is evident, and he oscillates between rationalization and confusion, indicating a deep internal conflict and psychological distress.

Raskolnikov expresses that he feels cramped and suffocated by his low ceilings and tiny room, describing it as a 'den' where he sat like a spider. He hated the garret but chose to remain isolated, refusing to go out or work, which contributed to his mental state.

His laughter signifies a moment of irrationality and a coping mechanism in the face of overwhelming fear and despair, highlighting his unstable mental state.

Raskolnikov grapples with fear of being caught and the belief that the police are trying to trick him, which exacerbates his anxiety and feelings of being light-headed.

It reveals a deep sense of despair and confusion; he attempts to seek solace in prayer but instead finds himself laughing at his own situation, indicating a breakdown in rational thought.

Raskolnikov feels despair and a cynicism of misery as he leaves, indicating a deep sense of hopelessness.

Raskolnikov finds the street environment insufferable, describing the heat, dust, and stench from shops, which contributes to his discomfort and disorientation.

Raskolnikov considers that if questioned, he might simply confess everything, indicating his inner turmoil and desire for relief from his burden.

He notes that the police station is located on the fourth floor of a new house, with a crowded staircase filled with various people, contributing to a stifling atmosphere.

Raskolnikov perceives the clerks as unkempt and disinterested, suggesting a lack of professionalism and empathy in the environment he is in.

The scene takes place in a small room filled with people, including a head clerk, a lady in mourning, and a gaily-dressed woman. The atmosphere is stifling and tense, with Raskolnikov feeling inner turmoil and anxiety.

Raskolnikov experiences a terrible inner turmoil, fear of losing self-control, and anxiety about potentially betraying himself. He tries to regain confidence and calmness but struggles with the stifling atmosphere.

The head clerk is a young man, about two and twenty, with a dark mobile face that appears older than his age. He is fashionably dressed, foppish, and wears rings and a gold chain. He speaks French correctly, indicating a level of education and sophistication.

The gaily-dressed woman, described as stout with a purplish-red face, appears embarrassed despite her smart attire. She has an impudent yet cringing smile and is conscious of her strong scent, indicating a mix of confidence and unease.

The entrance of the assistant superintendent, who is described as jaunty and insolent, shifts the atmosphere. The lady in mourning reacts with excitement, while he ignores her, creating a sense of tension and highlighting social hierarchies in the room.

Raskolnikov felt a sudden intense indescribable relief and joy, as if a load was lifted from his back.

Raskolnikov grew angry himself and found pleasure in standing up for himself, asserting that he was a student and would not allow anyone to shout at him.

Raskolnikov feels a vague and mysterious emotion that leaves him strangely cold, finding the picture blank and lifeless.

He flings the coin into the water, symbolizing a moment of cutting himself off from everyone and everything.

He is awakened by a fearful scream, which is a combination of howling, wailing, and curses that he has never heard before.

Razumihin expresses frustration and insists that Raskolnikov doesn't truly know what he wants, suggesting that he might change his mind.

He recognizes the voice of Ilya Petrovitch, who is beating the landlady.

He is filled with terror, feeling as if he might be going mad, and is paralyzed with fear, unable to fasten his door.

The other tenants run from their rooms, exclaiming, disputing, and raising their voices, indicating a chaotic response to the violence.

Raskolnikov experienced an intolerable sensation of infinite terror and anguish, unable to close his eyes for half an hour.

Nastasya brought a candle, a plate of soup, bread, salt, a plate, and a spoon.

Raskolnikov asked Nastasya why the landlady was being beaten and why Ilya Petrovitch was there.

Nastasya initially scrutinized Raskolnikov and then firmly stated that nobody had been beating the landlady, suggesting it was 'the blood crying in your ears.'

Nastasya suggested that the hallucinations were due to blood that was clotted and had no outlet, causing him to fancy things.

Raskolnikov asked Nastasya to give him something to drink.

Raskolnikov was in a feverish state, sometimes delirious and sometimes half conscious. He experienced feelings of being surrounded by people who were discussing him, as well as moments of being alone and feeling threatened.

Razumihin worries that Raskolnikov might harm himself, indicating that he feels responsible for his friend's well-being.

Razumihin reflects on the sensibility of Raskolnikov's talk, questioning whether he is truly mad and feeling guilty for letting him go alone.

Raskolnikov gazes into the distance, observing the sunset, the darkening houses, and the canal. He experiences a sense of weakness and dizziness, with red circles flashing before his eyes as the surroundings seem to dance before him.

Raskolnikov intended to hide his strength and listen to what was going on around him, showing a sense of cunning.

He notices that the women are of varying ages, with some being quite young, and observes that almost all have blackened eyes, suggesting a rough life.

Razumihin invites Raskolnikov to his house-warming party, offering him a comfortable place to sit, tea, and company.

Raskolnikov declines Razumihin's invitation, stating 'No' when asked if he will come.

He experiences a feeling of intense repulsion and agitation, struggling with the thoughts that have crossed his mind during the visit.

It reveals his moral ambiguity and the ethical dilemmas he faces, as he grapples with loathsome thoughts and feelings of guilt.

Raskolnikov is in a state of wretchedness, walking like a drunken man and jostling against passers-by, indicating his mental turmoil.

Raskolnikov feels giddy and tormented by a burning thirst, which he attributes to a lack of food, leading him to seek a drink of cold beer.

They conclude that the old woman must have gone out for a walk, which is unusual since she typically stays at home due to her bad legs.

Raskolnikov saw a crowd and heard talk and shouts, with a carriage in the middle of the crowd.

The man was lying on the ground, apparently unconscious, covered with blood, and had a crushed, mutilated, and disfigured face.

The atmosphere was chaotic, with people talking, shouting, and exclaiming, while the police were present and one held a lighted lantern.

The coachman kept repeating, 'What a misfortune! Good Lord, what a misfortune!'.

Raskolnikov expresses that he feels very sad, almost like a woman, and mentions giving all his money to a clerk who died.

Sonia is helping Katerina Ivanovna with the funeral lunch, expressing gratitude for the assistance they received the previous day.

Raskolnikov notices Sonia's thinness and compares her hand to a 'dead hand,' showing his concern for her well-being.

Raskolnikov expresses a sense of despair, muttering about being welcomed in the madhouse and contemplating his fate.

Sonia's voice becomes sterner as she questions Raskolnikov about whether he has read the story of Lazarus and if he goes to church.

Porfiry references Gogol, suggesting that noticing the comic side of situations is a characteristic of Gogol's writing.

He feared being shown up and was anxious about transferring his business to Petersburg due to this fear.

He discovered that Andrey Semyonovitch was a commonplace simpleton, which did not reassure him.

Katerina Ivanovna tries to appear disdainfully unaware of the laughter but raises her voice to speak with conviction about Sonia's abilities.

Amalia Ivanovna suggests that particular attention must be paid to the laundry (die Wäsche) and that the young ladies must not read novels at night.

Katerina Ivanovna threatened to go to the Tsar himself to seek justice, asserting her determination to defend Sonia.

Katerina Ivanovna demands Sonia to turn out her pockets to prove her innocence, showing that they are empty except for a handkerchief.

Sonia is initially stunned and then cries out in despair, claiming she did not take the money and knows nothing about it, before hiding her face in her hands.

The atmosphere was chaotic, with the company stirred by drink, shouting threats at Luzhin, and various lodgers joining in the commotion.

Sonia expresses her willingness to visit Raskolnikov in prison, showing her commitment and love for him despite the circumstances.

Porfiry Petrovitch expresses that he has a genuine liking for Raskolnikov and does not want him to view him as a monster.

Porfiry Petrovitch proposes that Raskolnikov should surrender and confess, stating it would be to both their advantages.

His hurried visit indicates a sense of urgency and a need to confront his anxieties, reflecting his unstable mental state.

Svidrigaïlov tells Dounia to 'make haste' and take the key from the table, indicating a sense of urgency and significance in his tone.

Svidrigaïlov stands at the window for three minutes, displaying a strange smile of despair and washing the blood from his forehead, indicating his troubled mental state.

Svidrigaïlov picks up the revolver that Dounia had thrown away, examines it, and puts it in his pocket, suggesting he may have intentions to use it later.

Dostoevsky was the son of a doctor, raised in a very poor family with deeply religious parents. They lived with their five children in only two rooms and spent their evenings reading serious books aloud to them.

Dostoevsky came out third in the final examination of the Petersburg school of Engineering, despite being sickly and delicate.

His first work, 'Poor Folk,' was published by the poet Nekrassov in his review and was received with acclamations, making Dostoevsky something of a celebrity.

In 1849, Dostoevsky was arrested, which dashed his hopes for a brilliant and successful career after his initial acclaim as a writer.

Dostoevsky was condemned to death for participating in conversations against censorship, reading a letter from Byelinsky to Gogol, and knowing about the intention to set up a printing press.

Dostoevsky and others were bound to stakes, believing they were to be executed. However, at the last moment, they were informed that their lives had been spared, and their sentence was commuted to hard labor.

The intense suffering from his near-execution and subsequent imprisonment left a lasting impact on Dostoevsky's mind, leading him to frequently explore themes of agony and cruelty in his writings.

After his arrest, Dostoevsky developed violent attacks of epilepsy, which he suffered from for the rest of his life, with fits occurring more frequently during periods of great strain.

Upon returning to Russia, Dostoevsky faced poverty, the loss of his first wife and brother, and the burden of his brother's debts, which forced him to write rapidly without correcting his work.

Dostoevsky's speech at the unveiling of the Pushkin monument in June 1880 was significant as it showcased his prominence and was met with extraordinary demonstrations of love and honor from the public.

A Russian critic described Dostoevsky as a man who has suffered deeply and possesses wisdom of the heart, which inspires readers to learn how to live, highlighting his profound insight and relatability.

The young man lives in a small garret under the roof of a high, five-storied house, which is described as more like a cupboard than a room. He is in debt to his landlady, who lives on the floor below, and he feels anxious about encountering her.

He returned home twice as irritated and angry as before.

She was preparing for a funeral dinner.

All the lodgers were invited, including Andrey Semyonovitch Lebeziatnikov, despite his previous quarrel with Katerina Ivanovna.

Svidrigaïlov expressed disgust and annoyance at the vulgar tales surrounding him, indicating a desire to avoid discussing them.

Svidrigaïlov's relationship with the footman, who he treated badly, suggests a pattern of disregard for others and a complex moral character that is both intriguing and troubling.

Marfa Petrovna's gossip made Avdotya Romanovna feel pity for the narrator, viewing him as a lost soul despite her natural aversion to him.

The narrator believes that Avdotya Romanovna is inclined to want to 'save' him, which he sees as dangerous because it could lead to her wanting to uplift him and restore him to a new life.

The narrator describes Avdotya Romanovna as 'awfully chaste' and 'incredibly and phenomenally so,' suggesting that her chastity may hinder her in relationships.

The narrator uses flattery as a powerful weapon to win over women, claiming that it is easier to flatter than to speak the truth, and that flattery is often received with satisfaction.

The narrator believes that speaking the truth is difficult and can lead to discord, while flattery, even if entirely false, is agreeable and often perceived as true by the recipient.

The narrator implies that all women, regardless of their background or principles, can be seduced by flattery, indicating a universal vulnerability to this tactic.

Svidrigaïlov believed he could have had all of Marfa Petrovna's property settled on him during her lifetime due to her weakness for flattery.

Svidrigaïlov described being greatly moved by Avdotya Romanovna, feeling a frenzy that made him consider offering her all his money to run away with him.

Raskolnikov suspected that Svidrigaïlov had come to Petersburg with designs on his sister, Avdotya Romanovna.

Svidrigaïlov dismissed Raskolnikov's accusation, claiming that Avdotya could not endure him, but he also suggested that one could never be sure of what had passed between them.

Svidrigaïlov reflected on his own stupidity and impatience, acknowledging that he had ruined his chances with Avdotya due to his actions and the way he expressed himself.

Svidrigaïlov reveals that he is going to get married and that he has a betrothed, which he describes as a settled thing.

Svidrigaïlov describes himself as a gloomy, depressed person who can sit in silence for days without speaking.

The other character suspects that Svidrigaïlov still has evil designs on Dounia and intends to carry them out.

Svidrigaïlov implies that Madame Resslich is manipulative and believes he will abandon his wife for her own profit.

Svidrigaïlov mentions that his betrothed's family includes a broken-down retired official, a sensible mother, a son serving in the provinces, a married daughter, and two little nephews.

Dounia firmly shook her head, indicating that she did not love Svidrigaïlov and could never love him, which caused him despair.

He feels a sick, frightened sensation and scowls in shame due to his debt. He dreads meeting her and avoids her to escape her demands and trivial gossip.

Sonia is frightened and distressed by Raskolnikov's words. She feels that she is dishonorable and questions why he would say such things about her, indicating her internal struggle with her identity and the shame she feels about her situation.

Raskolnikov suggests that it would be better for Sonia to leap into the water and end her life rather than continue living in shame and degradation. This reflects his desperation and the intensity of his feelings about her suffering.

Raskolnikov realizes that Sonia has likely contemplated ending her life before, as her expression reveals a deep anguish and familiarity with the idea. He understands that her shame and suffering have been torturing her for a long time.

Raskolnikov notes that despite Sonia's exceptional circumstances and her education, she has not succumbed to depravity. He sees that her suffering has not penetrated her heart, indicating a resilience in her character despite her dire situation.

The character struggles with the idea that Sonia, who has preserved her spirit's purity, could be drawn into a life of filth and iniquity. He questions whether her ability to resist vice is diminishing and whether she is losing her sanity by sitting on the edge of moral decay without acknowledging the danger.

Sonia initially does not respond but eventually expresses that she cannot imagine her life without God. When pressed further, she becomes emotional and insists that he does everything for her, indicating a deep reliance on her faith.

The character concludes that Sonia may be a 'religious maniac,' reflecting his perception of her intense faith and emotional responses as bordering on madness, especially in the context of her circumstances.

He observes her pale, thin, and angular face, her soft blue eyes that can flash with energy, and her body shaking with indignation and anger, which he finds increasingly strange and almost impossible.

The character finds an old, worn New Testament in Russian translation, which symbolizes Sonia's faith and possibly her hope for redemption amidst her struggles.

Sonia reveals that Lizaveta brought the book to Raskolnikov, as she had asked her for it.

Raskolnikov asks Sonia to find the story of Lazarus in the book.

Sonia responds by looking at the ground and initially not answering, but then tells him that it is in the fourth gospel.

He despised and hated him but also seemed somewhat afraid of him.

Razumihin points out that the criminal took jewels worth only a small amount, ransacked the old woman's belongings, and found a significant sum of money, indicating a lack of knowledge on how to properly commit robbery, suggesting it was a crime of passion rather than premeditation.

Pyotr Petrovitch notes that crime is increasing not only among the lower classes but also proportionately in the higher classes, highlighting a broader societal issue.

Razumihin suggests that the increase in crime may be explained by society's inveterate impracticality and the desire for quick wealth without effort, as exemplified by a lecturer who forged banknotes.

Raskolnikov interjects by pointing out that the discussion aligns with the theory being advocated, suggesting that if one follows that theory logically, it could justify killing.

Zossimov mentions that there are many economic changes, which may contribute to the observed increase in crime.

Razumihin implies that society has become accustomed to having everything readily available, leading to a mentality of wanting wealth without hard work, which contributes to moral decay.

Raskolnikov feels strangely attracted by the singing and the noise, indicating a mix of curiosity and melancholy.

Katerina Ivanovna appears to be very thin, with a brighter hectic flush on her face, indicating her poor health, likely exacerbated by her consumptive condition.

She reminisces about her happy and luxurious life in her father's house, contrasting it with her current miserable situation due to her husband's alcoholism.

The children are terrified, with little Lida screaming and rushing to Polenka, trembling all over, indicating their fear and distress at the situation.

Katerina Ivanovna instructs Polenka to mend the tear in the shirt and to prepare the stockings, showing her concern for their clothing despite her own suffering.

Katerina Ivanovna rushed to her husband, placed a pillow under his head, and began undressing and examining him, showing her determination and care despite the situation.

Raskolnikov induced someone to run for a doctor, assured Katerina that he would pay for the medical help, and began washing the blood off Marmeladov's face with a towel he found.

Her behavior shows that she is strong-willed and resilient, as she does not swoon easily and takes immediate action to care for her husband, despite her own distress.

The scene illustrates a chaotic social environment, with many people intruding into their space, highlighting the lack of privacy and respect for personal tragedy in their lives.

Katerina Ivanovna expresses anger and frustration towards the crowd, accusing them of being disrespectful and treating her husband's injury as a spectacle.

Katerina Ivanovna expressed her anger by crying out 'No business to die!' and rushed to confront those speaking outside about the hospital.

Katerina Ivanovna cried out in despair, expressing her concern about how to bury her husband and what to provide for food the next day.

Raskolnikov feels a mix of anticipation and fear, as he is almost afraid of what the letter might contain, reflecting his emotional turmoil.

Raskolnikov's mother expresses her distress over his silence, her love for him, and her concern about his decision to give up the university due to financial difficulties.

The letter reveals that Raskolnikov's mother has a very limited pension of one hundred and twenty roubles a year, which makes it difficult for her to support him.

Dounia has been living with the narrator for the last six weeks and will not be separated in the future.

Dounia took a hundred roubles in advance for her governess position to send Rodya sixty roubles, which he needed.

Mr. Svidrigaïlov treated Dounia rudely and made disrespectful remarks at the table.

Dounia could not leave due to the debt she owed and to avoid causing a scandal or upsetting Marfa Petrovna.

Marfa Petrovna overheard her husband making advances to Dounia and, misunderstanding the situation, blamed Dounia, leading to an altercation and her being sent away.

The scandal led to Dounia and her family facing contemptuous looks, whispers, and avoidance from acquaintances. They were even unable to attend church due to the shame and gossip surrounding them, and there were threats of further insults, such as shopmen and clerks planning to smear their house with pitch.

Marfa Petrovna spread slander about Dounia throughout the town and surrounding district, using her connections and gossiping about her family affairs, which exacerbated the situation and led to widespread gossip and contempt for Dounia.

Mr. Svidrigaïlov repented and presented a letter written by Dounia that proved her innocence. This letter was a refusal of his advances and condemned his behavior towards her, which helped to restore her reputation.

Marfa Petrovna went to the Cathedral to pray for strength and then visited Dounia to express her remorse. She publicly acknowledged Dounia's innocence, shared the letter that proved it, and traveled around the town to restore Dounia's reputation.

Dounia bore the scandal with resilience and tried to comfort her family despite the shame and gossip. Her strength and nobility in the face of adversity were highlighted, showing her character as an angelic figure in the narrative.

Dounia has a suitor, Pyotr Petrovitch Luzhin, and she has already consented to marry him.

He is described as a well-to-do man, respectable, presentable, somewhat morose and conceited, but possibly just giving a first impression. He is practical, shares some convictions of the rising generation, and is an opponent of prejudices.

Dounia is described as resolute, sensible, patient, generous, and having a passionate heart. She is clever and has the heart of an angel, willing to make her husband happy.

Dounia believes that she can rely on herself to handle any defects of character or differences of opinion in the marriage, and she is ready to endure a lot if their relationship can be honorable and straightforward.

The narrator warns Rodya to avoid judging Luzhin too hastily and severely, suggesting that understanding a man requires deliberation and avoiding prejudices.

Dounia was vexed and stated that 'words are not deeds,' indicating that she believed actions are more important than words.

Raskolnikov shows unmistakable agitation and asks for details about the information, particularly from whom it was heard.

He implies that the murderer is a 'genius of hypocrisy' and resourcefulness, able to manipulate situations to avoid suspicion, which reflects on the nature of human deceit.

He mentions that Porfiry provided a capital psychological explanation regarding the murder, although he does not elaborate on it at that moment.

It suggests that the emotional and psychological weight of the conversation and the revelations have overwhelmed him, leading to a state of inebriation without actual alcohol.

Razumihin concludes that Raskolnikov is a political conspirator and that he has involved his sister, Avdotya Romanovna, in his schemes. He reflects on her words and hints that suggest this connection.

Raskolnikov feels renewed and experiences a sense of escape from the stifling burden he has been carrying. He acknowledges that he cannot continue living with the weight of his guilt and the secret on his mind.

Raskolnikov is incredulous that Porfiry could believe Nikolay is guilty, especially after their previous interactions, which he feels should have made Porfiry certain of Nikolay's innocence.

Raskolnikov thinks he must settle the matter with Svidrigaïlov, indicating that he sees Svidrigaïlov as a potential threat or complication in his situation.

He is in an overstrained, irritable condition, verging on hypochondria, and has become isolated from others, leading to a lack of desire to engage with practical matters.

He reflects that men are most afraid of taking new steps and uttering new words, suggesting that cowardice leads to inaction. He acknowledges his own tendency to chatter as a distraction from doing anything meaningful.

He considers that he talks too much, which may be a reason for his inaction, and he has spent time lying in his den thinking about fantastical stories like 'Jack the Giant-killer'.

The young man experiences profound disgust and bitterness, feeling overwhelmed by the heat, stench, and the chaotic environment around him. He is in a state of deep thought or mental blankness, and he has not eaten for two days, indicating his emotional and physical distress.

He feels a sense of contempt and bitterness about his shabby clothing, but he is least concerned about it in the street due to the surrounding environment. However, he becomes anxious and embarrassed when he encounters acquaintances, particularly when a drunken man points out his worn-out hat, which he perceives as a significant detail that could jeopardize his plans.

He believes that trifles, such as his conspicuous hat, could ruin his entire plan. He thinks that being too noticeable could lead to being remembered, which would give others clues about his intentions. This reflects his obsession with details and the fear of failure in his scheme.

The hat symbolizes his anxiety about being noticed and the potential failure of his plans. Its worn and grotesque appearance represents his current state of desperation and the fear that even trivial details could lead to his downfall.

He reflects on his previous dreams and how he once viewed them as reckless fantasies. Now, he begins to see these dreams as potential exploits, indicating a shift in his mindset towards his ambitions and plans.

Raskolnikov feels a mix of excitement and fear, with his excitement growing more violent as he approaches the house. He experiences a sinking heart and nervous tremor, indicating his anxiety about the situation.

Raskolnikov perceives the old woman as distrustful and suspicious, as she eyes him with evident mistrust when he first arrives. This makes him feel uneasy and disconcerted.

The house is inhabited by working people of various kinds, including tailors, locksmiths, cooks, petty clerks, and girls trying to make a living. This reflects the social class dynamics present in the story.

The old woman is described as diminutive, with sharp malignant eyes and a sharp little nose, indicating a possibly malicious or cunning nature. Her appearance, including her colorless hair and ragged clothing, suggests poverty and neglect.

Raskolnikov observes that the flat is very clean, with no dust visible, and everything is brightly polished. He attributes this cleanliness to Lizaveta's work, reflecting on the idea that such cleanliness is often found in the homes of spiteful old widows.

Raskolnikov attempts to pawn an old-fashioned flat silver watch, which has a globe engraved on the back and a steel chain.

The old woman, Alyona Ivanovna, informs Raskolnikov that the time is up for his last pledge and that she can either wait or sell his pledge at once. She offers him a very low price for the watch, which frustrates him.

He reflects on the old woman's keys, deducing that the largest key likely belongs to a strong-box, indicating the presence of something valuable.

He feels intense confusion and agitation, expressing feelings of loathing and disgust towards himself and the thoughts he has entertained.

He mentions bringing her a valuable silver cigarette-box as soon as he gets it back from a friend.

After drinking beer, Raskolnikov feels easier, his thoughts become clearer, and he expresses a sense of relief from his burdens, although he has a foreboding that this happiness is not normal.

The tavern is quiet and rather empty, with only a few patrons present, including two drunken men, an artisan, and a retired government clerk, creating a somewhat desolate environment.

The drunken man with the grey beard falls asleep on the bench, occasionally waking to hum meaningless refrains, indicating a state of disconnection from reality.

Raskolnikov initially dismisses his worries as nonsense, attributing them to physical derangement and feeling a sense of clarity and strength after drinking.

Raskolnikov, who usually avoids society, suddenly feels a desire to be with other people, indicating a shift in his emotional state after a month of wretchedness and gloomy excitement.

The tavern is insufferably close, heavy with the fumes of spirits, and filled with unpleasant smells from the food, creating an oppressive environment.

The retired clerk makes a strong impression on Raskolnikov, who feels a sense of presentiment about him, especially as the clerk persistently stares at him, eager to engage in conversation.

Marmeladov introduces himself as a titular counsellor and expresses respect for education, suggesting that he values genuine sentiments alongside educational background.

Marmeladov implies that his wife is different from him and that he feels guilt and shame for being a useless husband, especially after witnessing her being beaten by Mr. Lebeziatnikov while he was drunk.

Marmeladov's behavior, such as engaging in high-flown speeches and seeking conversation with strangers, suggests that he has developed a need for social interaction and justification for his actions, typical of some drunkards who are controlled at home.

The innkeeper's reaction, calling Marmeladov a 'funny fellow' and questioning why he is not working, reveals a lack of empathy and a dismissive attitude towards the struggles of the poor, highlighting societal indifference to their plight.

Marmeladov drinks to find sympathy and feeling, claiming that the more he drinks, the more he feels his suffering. He believes that drinking allows him to suffer twice as much, indicating a complex relationship with his pain and his need for escape.

Marmeladov suggests that in times of despair, every individual needs a place or a person to turn to for support or solace, highlighting the human need for connection and understanding, even in dire circumstances.

Dounia plans for Rodya to enter a career with Pyotr Petrovitch, potentially becoming an associate and partner in his legal bureau, as she believes he is fitted for the duties.

Marmeladov sees himself as a 'pig' and a 'beast' due to his actions, which leads to feelings of unworthiness in his relationship with Katerina. He believes that despite her noble qualities, she is unjust towards him, creating a dynamic of guilt and longing for her affection.

The narrator describes his wife as a proud and determined lady who scrubs floors and eats black bread but refuses to be treated with disrespect. Despite her hardships, she clings to memories of her past honors and happiness.

The narrator, a widower with a daughter, offered his hand to Katerina Ivanovna after witnessing her extreme suffering and hopeless poverty following the death of her first husband, who had been abusive and left her with three children.

The narrator attempted to educate his daughter Sonia in geography and history but was unsuccessful due to his own lack of knowledge and resources. He notes that Sonia has had no formal education and their instruction ended abruptly.

Katerina Ivanovna, driven by her illness and the hunger of her children, often lashes out in frustration. She expresses her distress by beating the children when they cry from hunger, indicating her desperation and inability to cope with their dire circumstances.

Sonia quietly brings thirty roubles to Katerina Ivanovna, demonstrating her selflessness and willingness to support the family despite her own struggles. She does this without seeking recognition, laying the money on the table and then retreating to her bed in silence.

Taking a yellow ticket, which signifies her status as a prostitute, forces Sonia to live separately from her family. This decision creates tension, particularly with their landlady, and complicates her relationship with Katerina Ivanovna, who defends her despite societal stigma.

Marmeladov describes a deep bond between Sonia and Katerina Ivanovna, highlighting a moment where Katerina kneels and kisses Sonia's feet in gratitude. This act signifies their mutual support and love amidst their struggles, as they find solace in each other.

Marmeladov's return to service brings a sense of hope and improvement to his family's dire circumstances. It leads to a change in behavior from his wife Katerina Ivanovna and daughter Sonia, who begin to treat him with more respect and care, reflecting a temporary uplift in their living conditions. They even manage to prepare better meals and present themselves more nicely, indicating a brief escape from their poverty.

Marmeladov feels a sense of joy and validation from his family's positive reaction to his job. Their efforts to make him feel special and cared for, such as preparing coffee and dressing nicely, revive his spirits and give him a sense of purpose, despite his ongoing struggles with alcoholism and poverty.

The onlookers, who are described as coarse and laughing, signify a lack of empathy and a sense of entertainment in the misfortunes of Marmeladov's family, highlighting the social indifference to their suffering.

Katerina Ivanovna's transformation, where she dresses nicely and prepares a better meal for her family, suggests that she is deeply affected by her husband's return to work. It highlights her desire for dignity and a better life, as well as her ability to find hope and strength in difficult circumstances, even if temporarily.

He refers to her as 'my little poppet.'

He expresses a poignant love for his wife and children despite his degraded appearance and circumstances.

He stole money from his wife Katerina Ivanovna's box to spend on drinking, which he deeply regrets.

He states that Sonia gave him thirty copecks, her last money, to buy a drink, highlighting his guilt for using her money.

Marmeladov believes he deserves to be crucified, not pitied. He expresses a desire for tears and tribulation rather than merriment, indicating a deep sense of guilt and suffering.

Marmeladov hopes that God will forgive him and his daughter Sonia, as he believes that God understands all men and their suffering. He expresses faith that God will judge and forgive both the good and the evil.

Marmeladov suggests that through suffering and tribulation, one can find redemption. He believes that those who have suffered, like himself and his daughter, will be received by God with understanding and forgiveness.

The tavern-keeper and others react with laughter and mockery to Marmeladov's speech, indicating a lack of empathy and understanding for his plight.

Marmeladov envisions that on the day of judgment, all those who have suffered, including drunkards and the weak, will be called forth by God, who will offer them forgiveness despite their sins.

Marmeladov is filled with dismay and confusion, expressing fear of Katerina Ivanovna's reaction, particularly her eyes and the children's crying. He is unsteady and relies on Raskolnikov for support.

Marmeladov states that he is not afraid of blows from Katerina Ivanovna; in fact, he finds them to be a relief for her heart and even an enjoyment for himself.

Katerina Ivanovna is described as tall, slim, and emaciated, with dark brown hair and a hectic flush on her cheeks. She appears to be in a state of nervous agitation, with parched lips and broken gasps in her breathing, giving her a feverish look.

The room is in disarray, littered with rags and children's garments, indicating a poor living situation. It is small, dark, and close, with a stench from the staircase, suggesting neglect and hardship.

The inner rooms are filled with shouting, uproar, and laughter, suggesting a lively and carefree atmosphere, contrasting sharply with Katerina Ivanovna's tense and oppressive environment.

Marmeladov is found on his knees in the doorway after having been beaten. His daughter, a nine-year-old girl, is trying to comfort him while their mother expresses anger and despair over the lack of money and the state of the family.

She reacts with frenzy, accusing him of being a criminal and a monster, demanding to know where the money is, and expressing despair over their financial situation and the hunger of the children.

The children are in a state of distress; one child wakes up crying, another trembles and screams in terror, and the eldest girl is shaking with fear, reflecting the chaotic and desperate atmosphere of their home.

Raskolnikov hastens away without saying a word, feeling the weight of the situation but ultimately choosing to leave rather than intervene.

Before leaving, Raskolnikov takes the coppers he received in exchange for his rouble and lays them unnoticed on the window, indicating a moment of compassion amidst the chaos.

Raskolnikov feels a sense of possessiveness over Sonia, reflecting on his desire for her while acknowledging that it is impossible to take her back. He dismisses his feelings with a wave of his hand, indicating a struggle between his desires and the reality of the situation.

Raskolnikov contemplates whether mankind is inherently scoundrel-like or if this perception is merely a prejudice. He questions the nature of humanity, suggesting that perhaps all barriers and artificial terrors are unfounded.

Raskolnikov lives in a tiny, poverty-stricken room that contributes to his ill-tempered and irritable state. The disorder and neglect of his surroundings reflect his mental turmoil, as he isolates himself from others and becomes increasingly absorbed in his own thoughts.

Raskolnikov finds a sense of agreement in the disorder of his room, feeling that it mirrors his current state of mind. He is irritated by the presence of others and prefers to remain isolated, likening himself to a tortoise in its shell.

Raskolnikov's landlady has stopped sending him meals due to his withdrawn state, and the servant girl, Nastasya, has also ceased regular cleaning, indicating that his mood has affected the household dynamics.

Raskolnikov asks Nastasya to buy him a loaf of bread and a little sausage, the cheapest, at the pork-butcher's.

Nastasya describes the soup as 'capital soup' and mentions that it is yesterday's, which she saved for him because he came in late.

Praskovya Pavlovna wants to complain to the police about Raskolnikov because he does not pay her money and refuses to leave the room.

Raskolnikov responds that he is 'thinking' when Nastasya asks him what he is doing instead of working or teaching children.

Nastasya laughs at Raskolnikov's claim, quivering and shaking with laughter until she feels ill, indicating she finds it amusing.

Raskolnikov expresses frustration about not being able to go out to give lessons without boots and is sick of the situation.

The phrase suggests that one should not jeopardize their livelihood or source of income, indicating the importance of maintaining stability in life.

Raskolnikov becomes greatly excited and anxious, asking Nastasya to bring him the letter quickly and wanting to be alone with it.

Lizaveta is the half-sister of the old woman, being the child of a different mother.

Lizaveta works day and night for her sister, doing cooking, washing, sewing, and working as a charwoman, giving all her earnings to her sister.

The old woman's will states that all her money is to be left to a monastery, while Lizaveta will only receive the movables like chairs and other items.

The student views the old woman as a 'stupid, senseless, worthless' person whose life has little value compared to the potential good that could be done with her money.

The student argues that killing the old woman could lead to thousands of good deeds being done with her money, suggesting that one tiny crime could be justified by the greater good it could achieve.

The officer listens with interest and amusement, but Raskolnikov shudders at the student's suggestion of killing the old woman.

Rodya's mother feels that it might be better for her to live apart from Dounia and her husband after the wedding, despite believing that he would invite her to stay.

Pulcheria Raskolnikov expresses a desire to be independent and not be a burden to anyone, preferring to have her own means of support, such as a 'crust of bread' and her children, Rodya and Dounia.

Pulcheria Raskolnikov shares the joyful news that she and Dounia will soon be traveling to Petersburg, and they may be reunited with Rodya after almost three years of separation.

Dounia is very excited about the thought of seeing Rodya again and jokingly mentioned that she would be ready to marry Pyotr Petrovitch just for the chance to see him.

Pulcheria mentions that her credit has improved since the announcement of Dounia's engagement, allowing her to possibly send Rodya some money, estimating she could send twenty-five to thirty roubles.

Pulcheria expresses concern that Rodya may have been influenced by a 'new spirit of infidelity' and prays for him, urging him to remember his childhood prayers and faith.

After reading the letter, Raskolnikov experiences a mix of emotions; he is initially moved to tears, but then his expression changes to a pale, distorted face with a bitter smile, indicating inner turmoil and conflict.

Raskolnikov felt tortured by his mother's letter but was resolute in his decision against the marriage, stating, 'Never such a marriage while I am alive and Mr. Luzhin be damned!'

Raskolnikov views Mr. Luzhin as a sensible businessman who has made his fortune and holds government posts, but he is deeply skeptical and feels that Dounia is being deceived by appearances, particularly the notion that Luzhin 'seems' kind.

Raskolnikov feels bitterness and anger towards his family for making decisions without consulting him, and he questions the sincerity of their intentions, particularly regarding Dounia's marriage.

His muttering and speaking aloud suggest a state of agitation and confusion, reflecting his inner turmoil and the overwhelming nature of his thoughts as he grapples with his feelings about Dounia's marriage and his family's expectations.

He interprets it as a manipulation to prepossess him in favor of Mr. Luzhin, questioning the honesty of their discussions and feeling a sense of betrayal regarding Dounia's sacrifice for him.

Mr. Luzhin is perceived as a 'man of business' who seems kind for sending luggage for his bride and her mother. However, this kindness is overshadowed by the stinginess and meanness of the arrangements, indicating a tone that may persist after marriage.

The narrator highlights that Dounia's mother has to raise money on her pension for the journey, suggesting a precarious financial situation. The narrator questions how they can be pleased with Mr. Luzhin's arrangements, which seem to benefit him more than them.

The narrator implies that Dounia has a history of enduring difficult situations, having previously dealt with Mr. Svidrigaïlov. Despite her ability to endure, the narrator expresses concern that Dounia should not have to compromise her moral freedom for comfort, especially with Mr. Luzhin.

The narrator is skeptical about Dounia's potential marriage to Mr. Luzhin, questioning her ability to live with a man who holds a patronizing view of women. The narrator believes Dounia values her moral freedom too much to barter it for comfort or financial security.

Raskolnikov is grappling with feelings of anguish and self-torture over unresolved questions about his life and existence. He feels a pressing need to take action rather than suffer passively, indicating a struggle between despair and the desire for agency.

Initially, Raskolnikov's troubling thoughts were mere dreams, but they evolve into a menacing reality that he can no longer ignore. This shift signifies a deepening of his psychological turmoil and the urgency of his situation.

The young girl, who appears drunk and disheveled, symbolizes the degradation and despair present in society. Her condition reflects the broader themes of poverty and moral decay that Raskolnikov is grappling with in his own life.

Raskolnikov's intense focus on the girl and his desire to understand her situation indicate his deep empathy and sensitivity to the suffering of others, despite his own internal struggles. This moment highlights his conflicted nature and the moral dilemmas he faces.

This phrase underscores Raskolnikov's feelings of hopelessness and isolation. It reflects his existential crisis and the desperation that comes from feeling trapped without options or support, which is a central theme in his psychological journey.

Raskolnikov feels furious and has a sudden longing to insult the gentleman, whom he identifies as Svidrigaïlov.

Raskolnikov tries to draw the attention of a police constable to the girl, explaining that she appears to be hopelessly drunk and has likely been deceived and put out into the street.

He notes that her dress is torn and that it looks like she has been dressed by unpractised hands, suggesting she has been taken advantage of.

He accuses the gentleman of wanting to take the girl away while she is in a vulnerable state, implying that he has ill intentions.

The police constable intervenes to prevent the fight, asking Raskolnikov who he is and what the issue is, thus acting as a mediator in the situation.

The policeman expressed genuine compassion, noting that the girl looked like a child who had been deceived.

Raskolnikov offered twenty copecks to the policeman to call a cab and take the girl to her address.

The policeman speculated that the girl might belong to gentlefolk, possibly poor, and noted that she looked refined, as though she were a lady.

Raskolnikov was concerned about keeping the girl out of the hands of the gentleman, whom he suspected had ill intentions.

The policeman lamented the shameful things happening in the world, expressing shock at the vice and the plight of innocent creatures like the girl.

The girl muttered 'Go away! They won't let me alone' and waved her hand, indicating her distress and unwillingness to engage.

Raskolnikov experiences a complete revulsion of feeling and initially shouts at the policeman to let the girl go, indicating a conflicted sense of morality and detachment.

He feels wretched and reflects on his thoughts aimlessly, longing to forget himself and start life anew, indicating his inner turmoil and guilt.

He predicts that the girl will come to regret her actions, face punishment from her mother, and ultimately lead a downward spiral into a life of despair, hospitals, and possibly death at a young age.

His reflection suggests a cynical view of society, where he acknowledges a resigned acceptance of a certain percentage of individuals who will fall into ruin, indicating a broader commentary on social neglect and moral decay.

Raskolnikov grapples with feelings of guilt and confusion about his right to intervene, questioning whether he has any obligation to help the girl or if he should remain indifferent to her fate.

Raskolnikov has a more unreserved and communicative relationship with Razumihin compared to his other university comrades. Razumihin is described as exceptionally good-humored, candid, and fondly regarded by his peers, while Raskolnikov generally keeps aloof and does not welcome friendships.

Raskolnikov seems to look down upon his university peers, perceiving them as children and feeling superior in development, knowledge, and convictions. He maintains a haughty pride and reserve, keeping much to himself.

Razumihin is characterized as good-natured, intelligent, and exceptionally good-humored. He is described as tall, thin, and always badly shaved, with a reputation for physical strength and resilience in the face of adversity. He is also resourceful and able to endure poverty and hardship.

Raskolnikov contemplates going to Razumihin to ask for work or lessons, but he doubts the effectiveness of this help, questioning what Razumihin could do for him given his own financial struggles.

Raskolnikov is agitated and perplexed about why he is going to Razumihin, seeking a deeper significance in this ordinary action. He questions whether he can resolve his issues through Razumihin alone.

'It' refers to a pivotal event or decision that Raskolnikov is contemplating. He is anxious about whether this event will actually happen, indicating a moment of potential change or resolution in his life.

Initially, the greenness and freshness of the islands provide a sense of relief from the oppressive city. However, this quickly shifts to morbid irritability as he becomes fixated on the lives of others, contrasting his own troubled state.

Raskolnikov's counting of his money and his calculations about how much he has spent reflect his anxiety and disconnection from reality. His preoccupation with small amounts of money indicates a deeper sense of desperation and confusion.

After drinking vodka, Raskolnikov experiences heaviness in his legs and a wave of drowsiness, suggesting that he is physically and mentally exhausted, further highlighting his deteriorating state.

Raskolnikov's dream reveals a vivid recollection of his childhood, particularly his feelings of fear and aversion towards the tavern and the drunken figures associated with it. The dream emphasizes the stark contrast between his innocent childhood and the chaotic adult world he now inhabits.

The setting of Raskolnikov's dream, including the grey heavy day, the bare landscape, and the tavern filled with drunkenness, creates a somber and oppressive atmosphere. This enhances the emotional impact of the dream, reflecting Raskolnikov's inner turmoil and feelings of dread.

The tavern in Raskolnikov's dream symbolizes chaos, fear, and the darker aspects of society. It represents his childhood fears and the negative influences that have shaped his psyche, contrasting with the innocence of his earlier experiences.

Raskolnikov feels deep sympathy and sorrow for the thin little sorrel beast struggling under the load, reflecting his sensitivity to suffering and injustice. This emotional response highlights his internal conflict and compassion amidst his troubled state of mind.

Raskolnikov's dream illustrates how memories from childhood can resurface with intense clarity and emotional weight, influencing his current psychological state. The vividness of the dream suggests that unresolved feelings from the past continue to haunt him in the present.

Mikolka shows a disregard for the mare's well-being, believing he can make her gallop despite her age and condition. He is furious and thrashes the mare, thinking that beating her will encourage her to perform better.

The crowd reacts with laughter and mockery, making jokes about the mare's inability to gallop and the absurdity of the situation. They find humor in the idea of the old mare dragging them all in the cart.

The young boy's reaction shows his empathy and sensitivity towards the suffering of the mare. He is horrified by the beating and tries to intervene, indicating a strong sense of compassion and a desire to protect the vulnerable.

Mikolka intends to beat the mare to death, expressing his anger and frustration. The crowd reacts with a mix of laughter and encouragement, despite the cruelty of the act, showing a disturbing sense of amusement at the situation.

The crowd's behavior reflects a callous attitude towards the suffering of the mare, viewing her as mere property to be abused. Their laughter and encouragement of Mikolka's actions indicate a desensitization to violence and a lack of empathy for the animal's plight.

The boy experiences a strong emotional response, crying and feeling choked with grief as he witnesses the mare being whipped. His tears and desperate attempts to intervene highlight his compassion and the stark contrast to the crowd's indifference.

Mikolka's insistence on beating the mare reveals his aggressive and domineering nature, as well as a sense of entitlement over his property. His fury and determination to inflict pain suggest a deeper moral ambiguity and a lack of compassion.

The scene illustrates the theme of cruelty in human behavior through the collective enjoyment of the crowd as they encourage Mikolka to beat the mare. This reflects a disturbing normalization of violence and a lack of moral responsibility among the onlookers.

A group of spectators is urging Mikolka to finish off a dying mare, and he brutally strikes her with a crowbar until she dies.

Mikolka shows no remorse and instead expresses anger and frustration, claiming the mare as his property and continuing to strike her even after she is dead.

The crowd expresses outrage, with some shouting that he is not a Christian and condemning his brutal treatment of the mare.

The boy is devastated, crying out in grief and attempting to attack Mikolka in a fit of rage for killing the horse.

The father tries to comfort the boy by saying that the crowd is drunk and brutal, and that it is not their business, indicating a sense of helplessness.

He feels terror and relief that it was just a dream, but he is left feeling broken, with darkness and confusion in his soul.

Raskolnikov is grappling with the horrifying thought of committing murder, feeling both repulsed and compelled by the idea. He oscillates between the reasoning that justifies his potential actions and his deep-seated moral objections, ultimately concluding that he cannot bring himself to commit the act.

Raskolnikov realizes that he cannot go through with his plan to murder, feeling a sense of relief and peace as he renounces his 'accursed dream.' He acknowledges that despite his rationalizations, he is unable to bear the thought of committing such a vile act.

As Raskolnikov crosses the bridge, he experiences a transformation from anxiety and dread to a sense of freedom and relief. He feels as though a heavy burden has been lifted, and he is no longer under the spell of his obsessive thoughts about murder.

Raskolnikov reflects on his choice to take the longer route through the Hay Market, considering it a predestined turning point in his fate. He is puzzled by this seemingly random decision, believing it led to a crucial encounter that could influence his destiny.

The Hay Market is depicted as a bustling yet dirty place, filled with market people closing their stalls and various characters like rag pickers and costermongers. Raskolnikov has a particular fondness for this area, suggesting a connection to his past and the life he is trying to navigate.

Raskolnikov was overcome by a strange sensation of intense astonishment, despite there being nothing particularly astonishing about the meeting.

Lizaveta is portrayed as timid, submissive, and almost idiotic, living in fear of her sister, who makes her work tirelessly and even beats her.

Raskolnikov learns that Lizaveta will be away from home the next day at seven o'clock, leaving Alyona Ivanovna alone.

He feels a thrill of horror and realizes that he has lost his freedom of thought and will, as everything seems irrevocably decided regarding his plan.

The huckster advises Lizaveta not to mention her visit to Alyona Ivanovna and encourages her to come around without asking, implying that it would be beneficial for her.

A family reduced to poverty was selling their household goods and clothes, and they needed a dealer to sell them, which was Lizaveta's business.

Raskolnikov became superstitious and began to see strange and mysterious influences and coincidences in events, particularly regarding his interactions with Alyona Ivanovna.

Raskolnikov felt an insurmountable repulsion for Alyona Ivanovna at first glance, despite knowing nothing special about her.

Raskolnikov felt an extraordinary impression, as if the conversation about Alyona Ivanovna was directed at him, reinforcing his superstitious beliefs.

The student described Alyona Ivanovna as a first-rate pawnbroker who was rich, could lend large sums, but was spiteful and uncertain, often taking advantage of her clients.

Razumihin asks the messenger if Raskolnikov is fully conscious, indicating concern for his mental state.

Raskolnikov refuses to sign for the money, stating, 'I don't want... the money.'

Raskolnikov feels profound astonishment and a dull, unreasoning terror, deciding to keep quiet and observe what happens next.

The messenger suggests that Raskolnikov should sign for the money, indicating that it is common for him to be on his travels and that they will help him sign it.

After signing his name, Raskolnikov expresses that he is hungry and inquires about soup.

Nastasya confirms that there is some of yesterday's soup with potatoes and rice in it.

Nastasya brought two spoons, two plates, salt, pepper, mustard for the beef, and so on.

Razumihin sat beside Raskolnikov, put his left arm around his head, and fed him spoonfuls of soup, blowing on each spoonful to cool it down.

Razumihin mentioned that he dines like that every day, thanks to Pashenka, his landlady, who takes care of him.

Raskolnikov did not resist and allowed Razumihin to feed him tea, even though he felt strong enough to sit up and hold a cup himself.

The officer suggests that the old woman does not deserve to live, indicating a belief in a natural order where some lives are less valuable than others.

Raskolnikov feels violently agitated by the conversation, as it mirrors his own thoughts and ideas about the old woman, leading him to ponder the implications of justice and morality.

After the discussion, Raskolnikov experiences a fever and shivering, indicating his mental turmoil and distress, which culminates in a long, dreamless sleep, suggesting a need to escape his thoughts.

Raskolnikov finds the coincidence of hearing a discussion about the old woman at the same time he is contemplating her fate to be strange and feels it has a preordained significance, influencing his later actions.

Nastasya brings soup to the protagonist.

The protagonist initially lies still and does not respond, showing signs of illness or distress.

The protagonist day-dreams about being in Africa, in an oasis with a caravan, drinking cool water from a spring.

The protagonist feels he must prepare a noose and sew it into his overcoat.

The protagonist eats mechanically, without appetite, indicating a state of distress or distraction.

Nastasya feels offended and repulsed by the protagonist's lack of response and apparent illness.

The protagonist designed a noose that allowed him to hang the axe quietly under his arm inside his coat, making it appear as if he was not carrying anything.

The 'pledge' was a piece of wood disguised with an iron strip to divert the old woman's attention while she tried to untie it, giving the protagonist a moment to act.

The protagonist found that the more final his resolutions became, the more hideous and absurd they seemed to him, leading to an inner struggle and doubt about carrying out his plans.

He planned to wait for Nastasya to leave the house, as she often did, and then quietly go into the kitchen to take the axe, intending to return it later after the deed was done.

Despite his preparations, he could not fully believe in the execution of his plans, feeling that if everything were settled, he would renounce the act as absurd and monstrous.

The character struggles with the belief that he can carry out his design without succumbing to a failure of will or reasoning, convinced that his act is 'not a crime.' He grapples with self-doubt and the fear of being unable to maintain control over his actions at the critical moment.

He concludes that most criminals exhibit a failure of will and reasoning at the moment of the crime, akin to a disease that clouds their judgment. This phenomenon leads to poor concealment of their actions and obvious traces left behind.

He rationalizes that his crime is not truly a crime, believing that he can maintain his reason and willpower during the act, thus distinguishing himself from other criminals who succumb to a loss of control.

Upon reaching the landlady's kitchen, he is surprised to find Nastasya at home, which disrupts his calculations and adds an unforeseen complication to his plan to retrieve the axe.

His analysis suggests a complex view of morality, where he believes that the nature of the crime and the criminal's psychological state are intertwined, leading him to question the very essence of right and wrong in his own situation.

The character feels overwhelmed, crushed, and humiliated, reflecting on his assumptions about the situation. He experiences a mix of anger and dull rage, leading to a sense of lost opportunity.

Upon finding the axe, the character's spirits are raised extraordinarily, and he feels a strange grin as he thinks, 'When reason fails, the devil helps.' This indicates a shift from despair to a sense of relief and determination.

The hesitation signifies his internal struggle and indecision about his actions. He feels revolted by the idea of going out or returning to his room, highlighting his mental turmoil and the weight of his intentions.

As he walks, the character becomes absorbed in thoughts about the construction of fountains and their potential benefits to the city, as well as pondering why people live in unpleasant parts of town. This distraction reflects his attempt to escape from the gravity of his situation.

The reflection suggests a sense of detachment and a fleeting acknowledgment of his dire situation. It indicates that he is trying to mentally distance himself from the reality of his actions, similar to how condemned men might focus on their surroundings as a coping mechanism.

He hears a clock striking, indicating the time, and later he hears shouting and quarrelling as he passes through the gate.

He feels a throbbing heart, anxiety, and agitation, questioning whether he appears pale or suspicious.

He observes that the flat underneath appears to be empty, as the visiting card nailed on the door has been torn off.

He listens intently at the door, rings the bell multiple times, and tries to gauge the old woman's reaction.

He hears the cautious touch of a hand on the lock and the rustle of a skirt, indicating someone is listening from inside.

He contemplates whether to go back or to wait longer due to his agitated heart, reflecting his inner turmoil and fear.

Raskolnikov opens the door and enters uninvited, trying to speak easily but his voice breaks and shakes. He offers her a pledge he promised earlier, but she is suspicious and mistrustful of him.

Alyona Ivanovna is alarmed and initially unable to speak, staring at Raskolnikov with suspicion. She questions him about his identity and intentions, showing her mistrust.

He offers her a silver cigarette case, which he had mentioned in a previous conversation.

He claims to be suffering from fever and mentions that he is pale and trembling due to not having eaten.

His behavior, including his trembling hands and broken voice, indicates a state of anxiety and fear, suggesting he is on the verge of losing control.

After the first blow, Raskolnikov deals the old woman another and another blow with the blunt side of the axe, resulting in her death.

Raskolnikov feels his strength failing him initially, but after the first blow, he experiences a return of strength and is able to continue the act almost mechanically.

After killing the old woman, Raskolnikov feels collected and careful, trying to avoid getting smeared with blood, and he quickly searches her pockets for keys.

Raskolnikov finds a bunch of keys on a steel ring in the old woman's pocket.

Raskolnikov feels a convulsive shudder and is tempted to give up and leave, but he ultimately decides it is too late to go back.

Raskolnikov suddenly fears that the old woman might still be alive and could recover her senses, prompting him to consider lifting the axe again.

He notices that the skull is broken and there is a pool of blood. He also finds a string around her neck that he eventually cuts to retrieve a purse.

He finds a coat of red brocade, a silk dress, a shawl, and various articles made of gold, including bracelets, chains, earrings, and pins, likely unredeemed pledges.

He stops short and remains still, holding his breath, but when he hears a faint cry, he jumps up, seizes the axe, and runs out of the bedroom.

Lizaveta is in shock, gazing at her murdered sister, white as a sheet, and seems unable to scream. She begins to back away from Raskolnikov, staring at him intently.

Lizaveta's mouth twitched piteously, resembling a frightened baby, and she did not raise a hand to guard her face. Instead, she slowly held out her empty left hand as if to motion him away.

Raskolnikov felt an overwhelming sense of fear and loathing, especially after the unexpected murder of Lizaveta. He longed to escape the scene and was consumed by horror and the absurdity of his actions.

Raskolnikov washed his hands and the axe in a bucket of water, using soap to remove the blood. He spent time ensuring the axe was clean and examined his clothing for any bloodstains, particularly on his boots.

Raskolnikov was shocked to find the outer door standing unfastened and open, realizing that he had not considered how Lizaveta could have entered the room, indicating his mental disarray and oversight in the situation.

Raskolnikov experienced dark, agonizing thoughts about his sanity and the possibility that he was incapable of reasoning or protecting himself, leading him to feel he should be doing something entirely different from what he was currently doing.

He listens patiently and waits for the noise to subside before considering going out.

He feels a sense of dread and is rooted to the spot, as if he is being pursued in a dream.

He quickly slips back into his flat, closes the door, and secures it with a hook.

He thinks that the visitor must be a big, fat man, and he grips the axe tightly in his hand.

He rings the bell loudly and then impatiently tugs at the door handle, expressing frustration.

He angrily calls out to Alyona Ivanovna and Lizaveta Ivanovna, questioning if they are asleep or murdered.

Raskolnikov thinks that the newcomer must be quite young based on the cheerful, ringing voice he hears.

The young man mentions he has come on business and was hoping to get some money from the old woman.

They deduce that the door is not locked but fastened with a hook, indicating that someone is inside, as it would be locked with a key if everyone were out.

Koch is astonished and begins furiously shaking the door, questioning what the people inside are doing.

The young man suggests fetching the porter to wake them up, indicating that something must be wrong.

Raskolnikov is in a sort of delirium, holding tight to the axe and contemplating whether to shout at them or to fight when they come in.

Koch becomes impatient and leaves his post to hurry down the stairs, expressing frustration at the situation.

Raskolnikov is tempted to end it all by shouting through the door, feeling a mix of urgency and agitation as time passes.

He goes out, closing the door thoroughly behind him and descends the stairs.

He hears a loud voice below, followed by someone shouting 'Catch the brute!' and the name 'Mitka' being called repeatedly.

He feels filled with despair, realizing that if they stop him or let him pass, all is lost.

He finds an empty flat with the door wide open and quickly hides behind the wall inside it.

He thinks they will be astonished to find the flat unlocked and will guess that the murderer had just been there and escaped.

He feels weakened and nearly unable to move, despite knowing he is less at risk in the crowd.

He is sweating profusely, with perspiration running down him, indicating his stress and exhaustion.

Raskolnikov was almost falling from fatigue and was not fully conscious when he passed through the gateway of his house. He was preoccupied with the grave problem of putting the axe back and escaping observation.

Raskolnikov found the door of the porter's room closed but not locked, which allowed him to put the axe back under the bench without encountering the porter or anyone else.

After returning to his room, Raskolnikov flung himself on the sofa and sank into blank forgetfulness, overwhelmed by scraps of thoughts that he could not catch or rest upon.

Fearful, despairing cries from the street, which he recognized as the drunken men coming out of the taverns, woke him up.

Upon realizing it was past two o'clock, Raskolnikov suddenly recollected everything about the crime, leading him to fear that he was going mad.

He experienced violent shivering, chattering teeth, and shaking limbs — symptoms of a fever and severe psychological distress.

He is amazed that he came in the night before without fastening the door and fell asleep on the sofa without undressing or even taking off his hat.

He discovers thick drops of congealed blood clinging to the frayed edge of his trousers, which heightens his anxiety about the previous night's actions.

He hurriedly takes them out of his pockets and stuffs them into a hole under the paper on the wall, trying to hide them from view.

He feels horror and despair, questioning whether his method of hiding the items is effective and realizing that he is losing his rationality.

He remembers that he forgot to take the loop off the armhole, which he considers a piece of evidence, and hurriedly cuts it to pieces to dispose of it.

He fears he is losing his reason and is torn between guilt, dread of punishment, and delirious doubt — haunted by blood, uncertain of his memories, and consumed by torment.

His frantic search for blood stains and his thoughts about his clothes indicate a deep sense of paranoia and guilt. He oscillates between moments of clarity and confusion, reflecting his deteriorating mental state and the overwhelming burden of his crime.

He alternately hides stolen items in a hole under the wall paper and cuts the loop from his coat to destroy evidence; he also contemplates throwing blood-stained clothes away outdoors, but fear and indecision largely prevent decisive action.

The knocking at the door symbolizes the intrusion of reality and the outside world into Raskolnikov's isolated state. It represents the pressure of societal expectations and the consequences of his actions, forcing him to confront his situation.

Raskolnikov's reaction shows signs of anxiety and paranoia. He is fearful of being discovered and feels a sense of desperation as he contemplates whether to resist or open the door. His physical symptoms, such as the pain in his heart and his fever, further indicate his deteriorating mental health.

Nastasya observes Raskolnikov's state with concern, noting that he appears ill and has been in a fever since the previous day. Her comments reflect a mix of compassion and mockery, as she also points out his strange behavior of holding onto rags as if they were a treasure.

The grey folded paper symbolizes the consequences of Raskolnikov's actions and serves as a catalyst for his internal conflict. It represents the summons to the police, indicating that he is being called to account for his actions, which heightens his sense of guilt and fear.

Raskolnikov's behavior of holding onto the rags signifies his desperation and disconnection from reality. It reflects his inner turmoil and the chaos in his mind, as he clings to these items in a feverish state, suggesting a symbolic attachment to his guilt and the remnants of his past actions.

Raskolnikov feels a mix of confusion and fear, questioning why he has to deal with the police and expressing a desire to get it over with quickly. He experiences a sense of bewilderment and anxiety about the situation.

Raskolnikov feels disgust and horror at the idea of wearing the sock, but ultimately puts it on again out of necessity, reflecting his internal conflict and despair.

Raskolnikov suggests that pain and suffering are inevitable for those with a large intelligence, implying that the burden of guilt and remorse will naturally follow those who commit crimes, regardless of their justification.

Porfiry suggests that Raskolnikov might have fancied himself as an 'extraordinary' man while writing his article, implying that he could see himself as someone capable of overstepping moral boundaries for a greater purpose.

Sonia was almost shaking with terror and looked timidly at the two ladies, feeling it was inconceivable for her to sit beside them. She was so frightened that she hurriedly got up again in utter confusion.

Sonia came to ask Raskolnikov to be at the service in the morning at Mitrofanievsky and to honor Katerina Ivanovna by attending the funeral lunch afterwards.

Raskolnikov introduced Sonia as Sofya Semyonovna Marmeladov, the daughter of Mr. Marmeladov, who had been run over the previous day.

The lodgers were angry because the body was remaining for too long, especially since it was hot, and they wanted it to be taken to the cemetery.

Razumihin wakes up feeling troubled and serious, confronted with many new and unexpected perplexities regarding his situation and feelings.

Razumihin recognizes that he acted 'base and mean' due to his drunkenness and jealousy, particularly in how he criticized the young girl's fiancé without understanding their relationship.

He feels that the dream is hopelessly unattainable, leading to feelings of shame and a desire to focus on more practical matters.

He examines his attire carefully, feeling the need to present himself decently despite his self-loathing, and he cleans himself thoroughly to avoid offending others.

Razumihin struggles with feelings of inadequacy and self-disgust, comparing himself unfavorably to Avdotya Romanovna and grappling with his coarse manners and drunken behavior.

He questions his right to criticize others, especially given his own flaws and the way he behaved, feeling that he has no justification for his actions.

Zossimov intended to check on Raskolnikov, who was sleeping, before going home.

It reveals his defiance and desire for respect, as he challenges the authority of the assistant superintendent and expresses his dissatisfaction with being treated poorly.

The assistant superintendent was furious and struggled to respond, eventually shouting at Raskolnikov to be silent and accusing him of being impudent.

The head clerk's smile suggests a more relaxed or amused atmosphere, contrasting with the assistant superintendent's anger, indicating a tension in the office dynamics.

The writ is for the recovery of money on an I O U, requiring the debtor to either pay the amount or provide a written declaration of when they can pay, along with an undertaking not to leave the capital without payment or conceal their property.

Raskolnikov feels a sense of security and deliverance from overwhelming danger, experiencing instinctive joy without concern for the future or the implications of the I O U.

The assistant superintendent angrily confronts the smart lady, accusing her of disgraceful behavior and threatening her with consequences, showing his wounded dignity and frustration.

Despite the assistant's violent accusations, the smart lady appears increasingly amiable and seductive, curtsying and waiting for an opportunity to speak, indicating a complex dynamic in their interaction.

Luise Ivanovna recounts an incident where a drunken visitor caused chaos in her house, playing the piano with his foot, hitting people, and making a scene at the window.

She describes his behavior as ungentlemanly and disgraceful, emphasizing that it was inappropriate for an honourable house.

The assistant warns Luise Ivanovna that if there is another scandal in her house, he will put her in the lock-up, indicating the seriousness of the situation.

The assistant expresses contempt for authors, suggesting they are scandalous and disgraceful, citing various incidents involving them.

Nikodim Fomitch addresses Ilya Petrovitch in a civil and friendly tone, indicating that he is aware of the commotion and is somewhat amused by it.

Ilya Petrovitch suggests that Raskolnikov is behaving like a cad and is explosive in nature, indicating that he is easily offended and reacts strongly to slights, but ultimately has a heart of gold.

Raskolnikov describes himself as a poor, sick, and shattered student who is unable to study or pay his debts due to poverty, and he expresses a desire to make amends for any ill-mannered behavior.

Raskolnikov made a verbal promise to marry his landlady's daughter, which he describes as a youthful affair, although he was not in love with her.

Raskolnikov reveals that his landlady had complete trust in him and agreed to give him credit freely, but later asked for an I O U for the debt he owed her, promising not to use it until he could pay.

Raskolnikov exhibits a mix of desperation and frustration as he tries to explain his situation, feeling overwhelmed by his debts and the consequences of his poverty.

Raskolnikov experiences a profound sense of indifference and solitude, feeling a gloomy sensation of agonizing, everlasting solitude and remoteness. He realizes he cannot appeal to the police officers with sentimental feelings, indicating a deep emotional detachment.

Raskolnikov feels that the head clerk treats him with casualty and contempt, and he becomes indifferent to their opinions. This marks a significant shift in his emotional state, where he feels empty and disconnected from others, including those he once considered close.

His reaction reveals a transformation in Raskolnikov's character, showcasing his alienation and the depth of his despair. He feels that even if the officers were his own family, he would still be unable to express any human sentiment, highlighting his internal conflict and isolation.

The head clerk dictates a declaration stating that Raskolnikov cannot pay his debts and undertakes to do so in the future. Raskolnikov responds by saying he is giddy and struggles to hold the pen, indicating his physical and emotional distress.

This feeling signifies Raskolnikov's deep existential crisis and his disconnection from society. It reflects his internal struggles and the moral ambiguity he faces, as he grapples with his actions and their implications on his psyche.

Raskolnikov had the idea to go to Nikodim Fomitch and tell him everything that had happened the previous day, and then to show him the things in the hole in the corner.

His initial impulse was to cast off the burden without thinking, but he hesitated and stood still when he overheard Nikodim Fomitch talking.

The contradictions included why the porter was called if they were guilty, the timing of Pestryakov's entrance, and the locked door that was later found to be unfastened.

Raskolnikov felt as if a nail were being driven into his skull and eventually lost consciousness, needing support from others when he came to.

Nikodim Fomitch asked sharply if Raskolnikov was ill, indicating concern for his well-being.

Raskolnikov appeared white as a handkerchief and answered sharply and jerkily, indicating he was quite ill.

He went out along the street at about seven, despite his illness.

Ilya Petrovitch noted that Raskolnikov could scarcely stand upright but decided not to detain him further.

He was worried about a search being conducted, feeling that the others suspected him.

His faintness passed off completely, but he was overwhelmed by terror as he hurried home.

The character found eight articles: two little boxes with earrings, four small leather cases, a chain wrapped in newspaper, and a purse. He concealed them by lining his pockets with the items, trying to hide them as much as possible.

The character's initial plan was to fling the items into the canal to hide all traces of them in the water, which he had decided during a night of delirium.

He decided against throwing the items into the canal because there were too many people around, making it suspicious for him to stop and throw something into the water, and he was concerned that the boxes might float instead of sink.

The character considered going to the Neva River as an alternative location because it was less crowded and more convenient for disposing of the items.

The character realized that he had wasted half an hour on an irrational plan to go to the canal instead of thinking of the Neva sooner, indicating his absent-mindedness and forgetfulness.

While walking towards the Neva, the character thought it might be better to go to the Islands and hide the items in a solitary place, such as a wood or under a bush, and mark the spot.

The protagonist plans to bury the purse under a large stone in a yard, believing it will hide his tracks and leave no clues behind.

After burying the purse, the protagonist feels an intense, almost unbearable joy, believing he has successfully hidden his crime and left no clues.

Upon reaching the K— Boulevard, the protagonist's joy turns to loathing as he recalls the girl he encountered and feels anger towards the policeman he had previously interacted with.

The protagonist realizes that despite having a deliberate plan, he did not even look into the purse to see what he had taken, which confuses and troubles him.

The protagonist feels a sense of futility and frustration about his new life, expressing disdain for the lies he told and the people he interacted with, questioning the purpose of his actions.

Raskolnikov is experiencing an immeasurable, almost physical, repulsion for everything surrounding him, accompanied by a malignant feeling of hatred towards others.

Raskolnikov feels grim about his illness, acknowledging that he has been worrying and fretting, and expresses a desire to get well and stop worrying, but also fears he may not recover.

Razumihin is surprised to see Raskolnikov and immediately notices his poor condition, commenting on how Raskolnikov looks very ill and has fallen into disarray.

Raskolnikov intends to see Razumihin, although he is uncertain if he came on purpose or by chance, and he expresses that he does not really want lessons despite initially mentioning them.

Razumihin observes that Raskolnikov is seriously ill and attempts to check his pulse, indicating concern for his friend's well-being.

Raskolnikov feels a strong desire to be alone and experiences rage at himself for having to face anyone, indicating his emotional turmoil and isolation.

Razumihin expresses concern and frustration, calling Raskolnikov a 'queer fish' and insisting that he cannot just leave without explanation, showing his care for Raskolnikov's well-being.

Razumihin offers Raskolnikov the opportunity to help him with a translation project about the question 'Is woman a human being?' and offers him payment for his work.

After taking the German sheets and three roubles, Raskolnikov leaves in silence but then returns to lay the sheets and money back on the table, indicating his conflicted feelings about accepting help.

Razumihin's project reveals his entrepreneurial spirit and willingness to engage in discussions about social issues, such as women's rights, showcasing his progressive views and cleverness.

A coachman shouted at Raskolnikov and then gave him a violent lash on the back with his whip for almost falling under the horses' hooves.

He was infuriated, dashed to the railing, clenched and ground his teeth, and felt angry and bewildered after the incident.

She thrust a piece of twenty copecks into his hand, saying, 'Take it, my good man, in Christ's name.'

He closed his hand on the twenty copecks, walked on for a bit, and then turned to face the Neva, indicating a moment of reflection despite the earlier anger.

He noticed that the sky was without a cloud and the water was almost bright blue, which is rare for the Neva, and he admired the glittering cupola of the cathedral.

He was reminded of the times he had attended the university and had been at that spot hundreds of times before.

He remembered a lot of squabbling and discussing about him, and felt that they were mocking and plotting against him. He also recalled Nastasya being at his bedside and another person he felt he knew but could not remember.

Raskolnikov felt a sense of forgetfulness and torment over not being able to remember something important. He experienced rage and terror, and struggled to get up but was prevented from doing so.

Raskolnikov returned to consciousness at ten o'clock in the morning when the sun was shining into the room, creating a streak of light on the wall. Nastasya and a stranger were present beside him.

Nastasya expressed relief and surprise, saying, 'I say, he's himself again!' indicating that Raskolnikov had returned to his senses.

The landlady was described as shy, good-natured, and bashful. She peeped in at the half-opened door and quickly closed it when she realized Raskolnikov was conscious.

Razumihin entered the room after Raskolnikov regained consciousness, expressing surprise at the state of the lodging and confirming that Raskolnikov was conscious.

The messenger's name is not explicitly stated, but he is referred to as a messenger from the merchant Shelopaev.

Zossimov attributes Raskolnikov's condition to 'nervous nonsense' resulting from bad feeding, indicating he has not eaten or drunk enough.

A remittance of thirty-five roubles is being sent to Raskolnikov from his mother.

Razumihin mentions that Raskolnikov has scarcely eaten or drunk anything for the last four days and that they had to give him tea in spoonfuls.

Afanasy Ivanovitch Vahrushin is the person through whom Raskolnikov's mother sends remittances.

Razumihin thinks highly of Zossimov, calling him a 'first-rate fellow' who is making quite a name for himself.

The messenger refers to Raskolnikov's state as 'intelligible,' implying that he is aware and capable of understanding the situation.

Razumihin felt angry about Raskolnikov's disappearance and resolved to find him and punish him. He made inquiries and eventually located Raskolnikov's new lodging.

Razumihin went to the address bureau, where they quickly looked up Raskolnikov's name, allowing him to find out where he was staying.

Nastasya found Razumihin's comments amusing and giggled, indicating that she enjoyed the conversation and the dynamics between Razumihin and Pashenka.

Razumihin implies that Pashenka is prepossessing and has a strong influence, which he did not expect when he first set out to uproot malignant influences in the locality.

Razumihin suggests that Praskovya Pavlovna is not as foolish as she appears at first glance, indicating that there is more complexity to her character. He describes her as an 'unaccountable character' and acknowledges that he finds her intellectually puzzling.

Raskolnikov feels guilty and ashamed for having lied about his mother's ability to pay the I O U. He acknowledges that it was base of him to say that, as his mother is almost a beggar, and he did it to maintain his lodging and be fed.

Mr. Tchebarov is a business man who demands payment for the I O U. He represents a more aggressive and opportunistic approach to Raskolnikov's financial situation, contrasting with Praskovya Pavlovna's more passive character.

Razumihin intervenes by paying Tchebarov ten roubles to retrieve the I O U, thus helping Raskolnikov avoid immediate financial distress. He assures Raskolnikov that Praskovya now trusts his word after this action.

Raskolnikov does not respond positively to Razumihin's chatter and instead turns to the wall without saying anything, indicating his discomfort and possibly his depression. Razumihin realizes that he may have made Raskolnikov cross instead of amused.

Raskolnikov asked Razumihin if he did not recognize him when he was delirious.

Razumihin mentioned that Raskolnikov was beside himself and raved about various topics, including a bulldog, ear-rings, chains, and a sock.

Raskolnikov repeatedly asked for his sock during his delirium.

Razumihin described Zametov as a capital fellow and mentioned that they see each other almost every day, indicating a friendship.

Nastasya opened the door to listen to Razumihin and then ran downstairs after him, showing her fascination with him.

Raskolnikov felt burning, twitching impatience and leapt out of bed, eager to set to work, but he was unsure of what work to do.

Raskolnikov is worried about whether others know about his actions and if they are mocking him while he is ill.

He examines a hole in the wall, rummages through the ashes in the stove, and checks his sock on the sofa, trying to recall what he has forgotten.

He considers taking money and an I O U, planning to escape to another lodging or even to America to avoid being found.

After drinking the beer, he experiences a pleasant shiver and a sense of comfort, leading him to fall into a deep, refreshing sleep.

Razumihin brings a parcel and informs Raskolnikov that he will have the account directly.

Razumihin tells Raskolnikov that he has slept for more than six hours and that it is almost evening, around six o'clock.

Razumihin brings a new cap for Raskolnikov, emphasizing the importance of proper head-covering in dress and its role as a recommendation. He believes that making Raskolnikov presentable is essential for his well-being.

Raskolnikov appears pettish and dismissive, initially refusing to try on the cap and showing signs of confusion and forgetfulness about previous conversations, indicating his troubled mental state.

Razumihin's caring and persistent attitude towards Raskolnikov shows a deep friendship and concern for his well-being, as he tries to uplift Raskolnikov's spirits and encourage him to take care of himself.

The conversation highlights how clothing, such as a proper cap, can influence social perceptions and self-image, as Razumihin believes that a good appearance can positively affect how others view Raskolnikov.

Razumihin is proud of the clothes he bought for Raskolnikov, emphasizing their quality and the practicality of buying seasonal items. He believes that keeping to the seasons helps save money and is excited to present a complete new rig-out for Raskolnikov.

Raskolnikov reacts with disgust and resistance to Razumihin's playful efforts to help him, expressing a desire to be left alone and showing reluctance to accept the new clothes and care.

Razumihin suggests that the clothes, although a bit worn, are still respectable and that their wear actually improves them, making them softer and smoother. He emphasizes the practicality of the purchase, especially considering the seasonal changes.

Razumihin details the costs of the items he bought for Raskolnikov, totaling nine roubles fifty-five copecks, and mentions that the money came from Raskolnikov's mother, indicating that he is using funds sent to Raskolnikov for his care.

Razumihin changing Raskolnikov's linen symbolizes care and brotherly support, as he believes that a fresh start with clean clothes might help Raskolnikov recover from his illness. It also highlights Razumihin's determination to help despite Raskolnikov's resistance.

Zossimov is described as a tall, fat man with a puffy, colourless, clean-shaven face and straight flaxen hair. He wears spectacles and a big gold ring. His clothing is fashionable and loose, and he has a nonchalant manner that tries to conceal his self-importance, which is apparent to others.

Raskolnikov responds irritably, declaring that he is perfectly well, despite showing signs of depression and discomfort. He raises himself on the sofa but quickly sinks back and turns to the wall, indicating his mental state.

Zossimov suggests that Raskolnikov may have soup and tea but should avoid mushrooms, cucumbers, and meat, indicating a cautious approach to his recovery.

Razumihin plans to take Raskolnikov for a walk to the Yusupov garden and then to the Palais de Crystal the following evening, indicating a desire to help him socialize and recover.

Razumihin is hosting a house-warming party.

Guests include neighbours, a teacher, a government clerk, a musician, an officer, and Zametov.

Razumihin considers Zametov to be a delightful person despite his flaws, such as taking bribes.

Zossimov expresses reluctance to attend the party, particularly due to his past quarrel with Porfiry Petrovitch.

Razumihin suggests that one should not repel a person like Zametov, especially since he is young, and that one must be careful and supportive to help improve him.

Razumihin implies that there are not many good people left and that everyone has flaws, including himself.

The main topic of discussion is about a house-painter who is accused of the murder of the old pawnbroker-woman and Lizaveta, and the efforts to prove his innocence.

The victims mentioned are the old pawnbroker-woman and Lizaveta, who sold old clothes.

Razumihin is passionate and determined to prove the painter's innocence, expressing frustration over the flawed logic of the accusations.

Raskolnikov reacts with a sense of shock and detachment, murmuring her name and becoming fixated on a flower, indicating his emotional turmoil.

Razumihin implies that the evidence against the painter is weak and based on flawed reasoning, similar to the initial accusations against Koch and Pestryakov.

The character expresses frustration about the 'sickening rotten, petrified routine' of the police investigation and suggests that the case could introduce a new method of interpretation based on psychological data.