Crime and Punishment

Characters

Raskolnikov

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Characters Raskolnikov

Raskolnikov is the protagonist of the novel, and the story is told almost exclusively from his point of view. His name derives from the Russian word raskolnik, meaning “schismatic” or “divided,” which is appropriate since his most fundamental character trait is his alienation from human society. His pride and intellectualism lead him to disdain the rest of humanity as fit merely to perpetuate the species. In contrast, he believes that he is part of an elite “superman” echelon and can consequently transgress accepted moral standards for higher purposes such as utilitarian good. However, that guilt that torments him after he murders Alyona Ivanovna and Lizaveta and his recurring faintness at the mention of the murders serve as proof to him that he is not made of the same stuff as a true “superman” such as Napoleon. Though he grapples with the decision to confess for most of the novel and though he seems gradually to accept the reality of his mediocrity, he remains convinced that the murder of the pawnbroker was justified. His ultimate realization that he loves Sonya is the only force strong enough to transcend his ingrained contempt of humanity. Raskolnikov’s relationships with the other characters in the novel do much to illuminate his personality and understanding of himself. Although he cares about Razumikhin, Pulcheria Alexandrovna, and Dunya, Raskolnikov is so caught up in his skeptical outlook that he is often unappreciative of their attempts to help him. He turns to Sonya as a fellow transgressor of social norms, but he fails to recognize that her sin is much different from his: while she truly sacrifices herself for the sake of others, he essentially commits his crime for his sake alone. Finally, his relationship with Svidrigailov is enigmatic. Though he despises the man for his depravity, he also seems to need something from him—perhaps validation of his own crime from a hardened malcontent.

Read about Dorian Gray, another character who tries and fails to transcend society’s morals, in Oscar Wilde’s The Picture of Dorian Gray.