Analysis of the episode “Raskolnikov’s Confession of Murder to Sonya” (Part 5, Chapter 4)

Raskolnikov's confession to Sonya

3.6

(15)

First attempt to confess to murder.

Raskolnikov and Sonya started talking about what faith means to Sonya. She spoke, and her eyes sparkled, and Rodion thought that she was a holy fool. Taking from the table the Gospel brought to Sonya by her friend Lizaveta, he suddenly asked the girl to read to him about the resurrection of Lazarus.

She read, and Raskolnikov understood that this was the most sacred thing for her, that she was revealing her faith to him and wanted him to believe it too.

After reading, he was silent for a while, and then said that he had abandoned his family and would not go to them anymore, that now he and Sonya had a common road, one goal. He also said that we need to do something, we need to take power over ourselves and over everyone. Sonya was scared.

When leaving, Raskolnikov promised that he would come to her tomorrow and tell her who killed the old woman and Lizaveta. Sonya looked at him as if he were crazy and spent the whole night semi-delirious...

Second attempt to confess to murder.

The next day, Raskolnikov set out to fulfill his promise to Sonya yesterday. Arriving at Kapernaumov’s apartment, he, experiencing terrible torment, asked the girl to guess where he knew the killer. Sonya's eyes reflected horror, and Rodion realized that she had the same expression on her face that Lizaveta had when he approached her with an ax. It was obvious that she understood everything.

Suddenly Sonya hugged him and said that she would follow him to hard labor. Raskolnikov's heart softened, two tears rolled out of his eyes and hung on his eyelashes. Sonya began to ask why he did this. He began to explain, but he himself felt that there was something wrong with the explanation.

Rodion seemed to be delirious, and Sonya simultaneously understood and did not understand him. He said that he did not kill in order to help his family, and not in order to, having received funds and power, become a benefactor of humanity, but he killed “simply, he killed for himself, and it was the devil who led him with his hand.”

Sonya was again amazed at how he was suffering and said that he needed to go to the crossroads. kneel down, kiss the ground, bow on all four sides and loudly, loudly, publicly repent of what you have done before the people. Then God will forgive him. Raskolnikov said that it was stupid to repent before the cattle.

Convincing him, the girl offered him her cypress cross as a gift, since she still had a copper one from Lizaveta (she and her friend swapped: Sonya gave the icon, and Lizaveta gave the cross). Rodion wanted to take Sonya's cross, but then he said that it was not ready yet.

The conversation about how he should live further was interrupted: Mr. Le6yezyatnikov appeared.

3.6 / 5. 15

Excerpt from Chapter IV of Part Five “Crime and Punishment.” See summary of this chapter and the entire novel. See also the articles: Image of Raskolnikov, Characteristics of Raskolnikov, Characteristics of Sonya Marmeladova, Raskolnikov and Sonya.

...She could not stand it and suddenly began to cry bitterly. He [Raskolnikov] looked at her in gloomy anguish. Five minutes passed.

“But you’re right, Sonya,” he said quietly at last. He suddenly changed; his affectedly impudent and impotently defiant tone disappeared. Even his voice suddenly weakened. “I myself told you yesterday that I wasn’t coming to ask for forgiveness, but I almost started by asking for forgiveness... I was talking about Luzhin and the providence for myself... I asked for forgiveness, Sonya...”

He wanted to smile, but something powerless and unfinished was reflected in his pale smile. He bowed his head and covered his face with his hands.

Raskolnikov's theory

And suddenly a strange, unexpected feeling of some caustic hatred for Sonya passed through his heart. As if surprised and frightened by this sensation, he suddenly raised his head and looked at her intently; but he met her restless and painfully caring gaze; there was love here; his hatred disappeared like a ghost. This was not it; he mistook one feeling for another. It only meant that that moment had come.

Again he covered his face with his hands and bowed his head down. Suddenly he turned pale, got up from the chair, looked at Sonya and, without saying anything, mechanically moved to her bed.

This moment was terribly similar, in his feeling, to the one when he stood behind the old woman, having already freed the ax from the noose, and felt that “not a moment could be lost anymore.”

- What's wrong with you? – asked Sonya, terribly timid.

He couldn't say anything. This was not at all what he had intended to announce, and he himself did not understand what was now happening to him. She quietly approached him, sat down on the bed next to him and waited, not taking her eyes off him. Her heart pounded and sank. It became unbearable: he turned his deathly pale face towards her; his lips curled helplessly, trying to utter something. Horror passed through Sonya's heart.

- What's wrong with you? – she repeated, moving away from him slightly.

- Nothing, Sonya. Don't be scared... Nonsense! Really, if you think about it, it’s nonsense,” he muttered with the air of a delirious man who doesn’t remember himself. - Why did I come to torment you? – he added suddenly, looking at her. - Right. For what? I keep asking myself this question, Sonya...

He may have asked himself this question a quarter of an hour ago, but now he spoke in complete powerlessness, barely conscious of himself and feeling a continuous trembling throughout his whole body.

- Oh, how you are suffering! – she said with suffering, peering at him.

“It’s all nonsense!.. That’s what, Sonya (he suddenly smiled, somehow palely and powerlessly, for about two seconds), “do you remember what I wanted to tell you yesterday?”

Sonya waited restlessly.

“I said as I was leaving that maybe I was saying goodbye to you forever, but that if I come today, I’ll tell you... who killed Lizaveta.”

She suddenly trembled all over.

“Well, that’s what I came to say.”

“So it was really yesterday…” she whispered with difficulty, “how do you know?” – she asked quickly, as if suddenly coming to her senses.

Sonya began to breathe with difficulty. The face became paler and paler.

- I know.

She was silent for a minute.

- Did you find him? – she asked timidly.

- No, they didn’t find it.

- So how do you know about this? – she asked again, barely audibly, and again after almost a minute of silence.

He turned to her and looked at her intently.

“Guess,” he said with the same twisted and powerless smile.

Convulsions seemed to run through her entire body.

- Yes, you... me... why are you so... scaring me? – she said, smiling like a child.

“So I’m a great friend with him... since I know,” Raskolnikov continued, relentlessly continuing to look into her face, as if he was no longer able to take his eyes off, “he didn’t want to kill this Lizaveta... He killed her... accidentally... He was an old woman.” wanted to kill... when she was alone... and he came... And then Lizaveta came in... He was there... and he killed her.

Another terrible minute passed. Both kept looking at each other.

- So you can’t guess? - he asked suddenly, with that feeling as if he was throwing himself down from a bell tower.

“N-no,” Sonya whispered barely audibly.

- Take a good look.

And as soon as he said this, again one of the old, familiar sensations suddenly froze his soul: he looked at her and suddenly, in her face, he seemed to see Lizaveta’s face. He vividly remembered the expression on Lizaveta’s face when he was approaching her with an ax, and she was moving away from him towards the wall, putting her hand forward, with a completely childish fear in her face, just like little children when they suddenly start doing something. to get scared, look motionless and restless at the object that frightens them, pull back and, holding out their little hand, prepare to cry. Almost the same thing now happened to Sonya: just as helplessly, with the same fear, she looked at him for some time and suddenly, putting her left hand forward, lightly, slightly, rested her fingers on his chest and slowly began to rise from the bed , moving away more and more from him, and her gaze at him became more and more motionless. Her horror was suddenly communicated to him: exactly the same fear appeared in his face, and he began to look at her in exactly the same way, and almost even with the same childish smile.

- Did you guess it? – he finally whispered.

- God! - a terrible scream burst from her chest. She fell helplessly onto the bed, face down into the pillows. But after a moment she quickly stood up, quickly moved towards him, grabbed him by both hands and, squeezing them tightly, as if in a vice, with her thin fingers, began again motionless, as if glued, to look into his face. With this last, desperate look, she wanted to look out and catch at least some last hope for herself. But there was no hope; there was no doubt left; everything was like that! Even then, later, when she recalled this moment, she felt both strange and wonderful: why exactly did she see so immediately then that there was no longer any doubt? Surely she couldn’t say, for example, that she had a presentiment of something like that? And yet, now, as soon as he told her this, it suddenly seemed to her that she really seemed to have had a presentiment of this very thing.

- That's enough, Sonya, that's enough! Don't torture me! – he asked painfully.

This is not at all what he thought of opening up to her, but it turned out that way.

As if not remembering herself, she jumped up and, wringing her hands, reached the middle of the room; but she quickly returned and sat down next to him again, almost touching him shoulder to shoulder. Suddenly, as if pierced, she shuddered, screamed and threw herself, without knowing why, on her knees in front of him.

- What are you doing, that you did this to yourself! - she said desperately and, jumping up from her knees, threw herself on his neck, hugged him and squeezed him tightly with her hands.

Raskolnikov recoiled and looked at her with a sad smile:

“You’re so strange, Sonya,” you hug and kiss when I told you about it. You don't remember yourself.

- No, there is no one more unhappy than you in the whole world now! - she exclaimed, as if in a frenzy, not having heard his remark, and suddenly began to cry bitterly, as if in hysterics.

A feeling that had long been unfamiliar to him surged into his soul and immediately softened it. He did not resist him: two tears rolled out of his eyes and hung on his eyelashes...

Raskolnikov's confession to a crime (essay)

Even as a child, Raskolnikov learned about the cruelty of the world and experienced acute compassion for the “humiliated and insulted.” Raskolnikov went to law school not because he wanted to become a lawyer, like Luzhin, but because he wanted to understand the problem of crime. His mother and sister do not understand him, thinking that he can work as Luzhin's assistant. And he left the university, most likely, not because he could not support himself. He is the author of the article “On Crime”. In the article he argued that a genius can sometimes, if necessary, commit a crime. Raskolnikov considered himself a genius. He will later “atone for his crime with a thousand good deeds.” Even then, after the crime, he does not find errors in his logical constructions and is angry that his nerves could not stand it.

In Dostoevsky's novels, the plot is not the main thing. The fact that Raskolnikov killed the old woman and Lizaveta is not the main thing. The main thing is the questions that Dostoevsky poses. The question of the injustice of the world is, of course, the main one. The point is not that Raskolnikov killed. The point is that he had no other way out of his situation. But this is also not a solution. The point is not that Katerina Ivanovna sent Sonya to the panel. But the point is that there was no other way out. Crime is a search for an “exit” from a hopeless situation. But then, after the murder, it turns out that the world is not only a “vale of tears” and suffering, one can completely reconcile with it. After the crime, he begins to appreciate life and is ready to live “at the height of space.”

May 17, 2021 polrostov 98

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Analysis of the episode of Raskolnikov’s confession (Chapter 8 of Part 6 of the novel F

Chapter 8 is the final chapter in the sixth part of Dostoevsky’s novel Crime and Punishment. It is this that can be considered the formal denouement of the entire work - here Raskolnikov confesses to the murder to “officials”. However, this moment is only a small part of the chapter, the significance of which is much more important both for the development of the image of the main character and for the entire novel as a whole. Sonechka Marmeladova plays a huge role in this episode. We are once again convinced that this girl has become a “guardian angel” and “spiritual guide” for Raskolnikov, because it is she who pushes the hero to nationwide repentance and confession of his crimes. It is important that Raskolnikov’s sister, Dunya, especially clearly feels the connection between Sonya and her brother: “Dunya at least took one consolation from this meeting, that her brother would not be alone...” Excitement for Rodion’s fate, love for him brings both women together , makes them close people. Sonya is very concerned not only about Raskolnikov’s mental but also about his spiritual state. She longs with all her heart for him to repent and believe in the possibility of his own rebirth. It is important for her that Rodion wants to live not out of fear of death (“Can cowardice and fear of death alone make him live?”), but with a desire to change and correct something. And as if answering Sonya’s question, Raskolnikov comes to her and informs her that he has decided to confess. The hero behaves unnaturally - he wants to show that he is not worried at all, that he is going to the office because it will be “more profitable.” However, “he could not even stand still for one minute, he could not concentrate his attention on a single object; his thoughts jumped one after another, he started talking; his hands were trembling slightly.” Sonya puts a cypress cross on Rodion’s chest (“cypress, that is, common”), and she herself puts on a copper one - the one that belonged to Lizaveta, who was killed by Raskolnikov. This moment, like others in this episode, has symbolic meaning. Having put on the cross, the hero seemed to accept his fate (“this means that I am taking the cross upon myself, hehe!”), realized that it exists and needs to come to terms with it. In addition, it is important that this cross is common to the people - thereby Raskolnikov, as it were, brings himself closer to the people from whom he separated when he “crossed the moral line.” From this moment it becomes completely clear that the hero has embarked on the path of “spiritual rebirth.” Further events of the chapter confirm this, and also show how difficult this “revolution in consciousness” is for Raskolnikov: “Is it so, is it all so? - he thought again, coming down the stairs, - is it really impossible to stop and move everything again? and not go? On the way to the office, conducting a continuous dialogue with himself, Raskolnikov comes to the conclusion that he needs human society, that he desperately needs Sonya’s support. However, for now he perceives this as his own weakness, as another confirmation that he is a “trembling creature”: “And I dared to hope for myself so much, to dream about myself so much, poor me, insignificant me, scoundrel, scoundrel!” Without realizing it, Raskolnikov desperately needs public recognition and repentance; he longs to reunite with people again, to “go over to the side of good” again. That is why, it seems to me, he gives alms to a woman with a child and hears from her: “God bless you!” These words are another confirmation of the correctness of Rodion’s decision. Something with enormous force is dragging him to the Sennaya - into the very thick of the people. He himself still doesn’t understand why he’s going there, he squeezes through the crowd, trying to laugh with everyone at the antics of a drunken man. However, he came here for something else - for emotional liberation, mental relief. And it comes: “Everything in him softened at once, and tears flowed. As he stood, he fell to the ground. "Raskolnikov kisses the ground and bows to the people. Thus, he symbolically performs the rite of repentance that Sonya told him about. And she herself is nearby, invisibly supporting Rodion, praying for him: “...turning to the left, about fifty steps away, he saw Sonya.” The hero can only make a confession in the office. He does not want to tell Porfiry Petrovich about his crime - in this case it will turn out as if he admitted defeat. Raskolnikov chooses investigator Porokh. However, it is very difficult to recognize a hero. It’s as if through a fog he listens to an endless stream of speech flowing from the lips of Ilya Petrovich. All the words of the investigator merge for Raskolnikov into a single mass, from which he isolates the message about Svidrigailov’s suicide: “Raskolnikov felt as if something had fallen on him and crushed him.” The hero feels bad, he loses the last strength that he saved up in order to confess. Raskolnikov leaves the office on the street, but “in the courtyard, not far from the exit, a pale, completely dead Sonya stood and looked at him wildly, wildly.” It is thanks to Sonya that the hero returns to the office and says, and then repeats again: “It was I who killed the old official woman and her sister Lizaveta with an ax and robbed her.” Thus, this episode in the novel is the final one; it shows, in essence, the beginning of the hero’s “correction,” the fact that Raskolnikov has taken the path of admitting his guilt and spiritual rebirth. This is evidenced by the fact that he puts on the cross, his symbolic repentance on Sennaya, his confession in the office. In addition, this episode clarifies and clarifies the huge role in the “spiritual destiny” of the hero played by Sonya Marmeladova, who became a real guardian angel for Raskolnikov.

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Sonya Marmeladova and Rodion Raskolnikov in the novel “Crime and Punishment”

The novel “Crime and Punishment” was written by Dostoevsky after hard labor, when the writer’s beliefs took on a religious overtones. The search for truth, denunciation of the unjust structure of the world, the dream of “the happiness of mankind” during this period were combined in the writer’s character with disbelief in the violent remaking of the world. Convinced that it is impossible to avoid evil in any social structure, that evil comes from the human soul, Dostoevsky rejected the revolutionary path of transforming society. Raising the question only of the moral improvement of each person, the writer turned to religion.

Rodion Raskolnikov and Sonya Marmeladova are the two main characters of the novel, appearing as two oncoming streams. Their worldview forms the ideological part of the work. Sonya Marmeladova is Dostoevsky’s moral ideal. She brings with her the light of hope, faith, love and sympathy, tenderness and understanding. This is exactly what the writer thinks a person should be. Sonya personifies Dostoevsky's truth. For Sonya, all people have the same right to life. She is firmly convinced that no one can achieve happiness, both their own and that of others, through crime. A sin remains a sin, no matter who commits it and for what purpose.

Sonya Marmeladova and Rodion Raskolnikov exist in completely different worlds. They are like two opposite poles, but cannot exist without each other. The image of Raskolnikov embodies the idea of rebellion, and the image of Sonya embodies the idea of humility. But what is the content of both rebellion and humility is a topic of numerous debates that continue to this day.

Sonya is a highly moral, deeply religious woman. She believes in the deep inner meaning of life, she does not understand Raskolnikov’s ideas about the meaninglessness of everything that exists. She sees the predestination of God in everything and believes that nothing depends on man. Its truth is God, love, humility. The meaning of life for her lies in the great power of compassion and empathy from person to person.

Raskolnikov passionately and mercilessly judges the world with the mind of a hot rebellious personality. He does not agree to put up with life's injustice, and hence his mental anguish and crime. Although Sonechka, like Raskolnikov, oversteps herself, she still oversteps in a different way than he does. She sacrifices herself to others, and does not destroy or kill other people. And this embodied the author’s thoughts that a person has no right to selfish happiness, he must endure and through suffering achieve true happiness.

According to Dostoevsky, a person should feel responsible not only for his own actions, but also for every evil that occurs in the world. This is why Sonya feels that she is also to blame for Raskolnikov’s crime, which is why she takes his action so close to her heart and shares his fate.

It is Sonya who reveals Raskolnikov his terrible secret. Her love revived Rodion, resurrected him to a new life. This resurrection is expressed symbolically in the novel: Raskolnikov asks Sonya to read the Gospel scene of the resurrection of Lazarus from the New Testament and relates the meaning of what she read to herself. Touched by Sonya's sympathy, Rodion goes to her for the second time as a close friend, he himself confesses to her the murder, tries, confused about the reasons, to explain to her why he did it, asks her not to leave him in misfortune and receives an order from her: to go to the square, kiss the ground and repent before all the people. This advice from Sonya reflects the thought of the author himself, who strives to lead his hero to suffering, and through suffering, to atonement.

In the image of Sonya, the author embodied the best qualities of a person: sacrifice, faith, love and chastity. Being surrounded by vice, forced to sacrifice her dignity, Sonya was able to maintain the purity of her soul and the belief that “there is no happiness in comfort, happiness is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always through suffering.” Sonya, who “transgressed” and ruined her soul, a “man of high spirit”, of the same “class” as Raskolnikov, condemns him for his contempt for people and does not accept his “rebellion”, his “axe”, which, as it seemed to Raskolnikov, was raised and in her name. The heroine, according to Dostoevsky, embodies the national principle, the Russian element: patience and humility, immeasurable love for man and God. The clash between Raskolnikov and Sonya, whose worldviews are opposed to each other, reflects the internal contradictions that troubled the writer’s soul.

Sonya hopes for God, for a miracle. Raskolnikov is sure that there is no God and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. He tells Sonya about the uselessness of her compassion, about the futility of her sacrifices. It is not the shameful profession that makes Sonya a sinner, but the futility of her sacrifice and her feat. Raskolnikov judges Sonya with different scales in his hands than the prevailing morality; he judges her from a different point of view than she herself.

Driven by life into the last and already completely hopeless corner, Sonya tries to do something in the face of death. She, like Raskolnikov, acts according to the law of free choice. But, unlike Rodion, Sonya has not lost faith in people; she does not need examples to establish that people are naturally good and deserve a bright share. Only Sonya is able to sympathize with Raskolnikov, since she is not embarrassed by either physical deformity or the ugliness of social fate. She penetrates “through the scab” into the essence of human souls and is in no hurry to condemn; feels that behind the external evil there are hidden some unknown or incomprehensible reasons that led to the evil of Raskolnikov and Svidrigailov.

Sonya internally stands outside of money, outside the laws of the world tormenting her. Just as she, of her own free will, went to the panel, so herself, of her own firm and indestructible will, she did not commit suicide.

Sonya was faced with the question of suicide; she thought about it and chose an answer. Suicide, in her situation, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from the fetid pit. “After all, it would be fairer,” Raskolnikov exclaims, “a thousand times fairer and wiser it would be to dive headfirst into the water and end it all at once!” - What will happen to them? “Sonya asked weakly, looking at him painfully, but at the same time, as if not at all surprised by his proposal.” Sonya's measure of will and determination was higher than Rodion could have imagined. To keep herself from committing suicide, she needed more stamina, more self-reliance than to throw herself “headfirst into the water.” What kept her from drinking water was not so much the thought of sin as “about them, our own.” For Sonya, debauchery was worse than death. Humility does not imply suicide. And this shows us the full strength of Sonya Marmeladova’s character.

Sonya's nature can be defined in one word - loving. Active love for one’s neighbor, the ability to respond to someone else’s pain (especially deeply manifested in the scene of Raskolnikov’s confession of murder) make the image of Sonya “ideal.” It is from the standpoint of this ideal that the verdict is pronounced in the novel. In the image of Sonya Marmeladova, the author presented an example of comprehensive, all-forgiving love contained in the character of the heroine. This love is not envious, does not require anything in return, it is even somehow unspoken, because Sonya never talks about it. It fills her entire being, but never comes out in the form of words, only in the form of actions. This is silent love and that makes it even more beautiful. Even the desperate Marmeladov bows to her, even the crazy Katerina Ivanovna prostrates herself before her, even the eternal libertine Svidrigailov respects Sonya for this. Not to mention Raskolnikov, whom this love saved and healed.

The heroes of the novel remain true to their beliefs, despite the fact that their faith is different. But both of them understand that God is one for everyone, and he will show the true path to everyone who feels his closeness. The author of the novel, through moral search and reflection, came to the idea that every person who comes to God begins to look at the world in a new way, rethinks it. Therefore, in the epilogue, when Raskolnikov’s moral resurrection occurs, Dostoevsky says that “a new history begins, the history of the gradual renewal of man, the history of his gradual rebirth, gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality.”

Having rightly condemned Raskolnikov’s “rebellion,” Dostoevsky leaves victory not for the strong, smart and proud Raskolnikov, but for Sonya, seeing in her the highest truth: suffering is better than violence—suffering purifies. Sonya professes moral ideals that, from the writer’s point of view, are closest to the broad masses of the people: the ideals of humility, forgiveness, silent submission. In our time, most likely, Sonya would become an outcast. And not every Raskolnikov today will suffer and suffer. But the human conscience, the human soul, have lived and will always live as long as “the world stands.” This is the great immortal meaning of the most complex novel created by a brilliant psychological writer.

► Materials about the novel by F.M. Dostoevsky "Crime and Punishment":

Biography of the writer
History of the creation of the work
Plot and issues
Originality of the work
Dreams in the novel
The world of heroes "Crime and Punishment"
Petersburg in the novel
Critics about the novel “Crime and Punishment” and the work of F.M. Dostoevsky

Essays

Raskolnikov's idea and its collapse
The world of the “humiliated and insulted” in the novel “Crime and Punishment”

► Go to the table of contents of the book “Crime and Punishment” by F.M. Dostoevsky. Summary. Features of the novel. Essays

Crime and Punishment - a book of great pain for humanity

The action of the novel takes place in St. Petersburg, in the part where the poor lived. A grey, gloomy city, numerous pubs inviting people to drown their sorrows; crowds of drunks on the streets; women selling themselves for next to nothing, and those who did not want to do this threw themselves from the bridge into the water. A terrible kingdom of poverty, lawlessness, disease, hopelessness - these are the conditions in which ordinary Russian people exist, those conditions under which false (albeit quite understandable) ideas of restoring justice are born in the minds of many.

Yes, such an idea could have arisen in the hero’s head, as well as in the head of another student, whose conversation Raskolnikov once heard in a tavern, only under the influence of extreme poverty, hopelessness, and injustice of the world around him. “In one life, thousands of lives saved from rot and decay.” Isn’t it a noble, justified way out?!

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Of course, a marriage proposal made so unconventionally, and immediately after reading the Gospel, when Sonya expected the exact opposite - humility and repentance, and soon after Raskolnikov kissed the girl’s foot - could have confused a less impressionable nature. What can we say about Sonya, who then suffered in semi-delirium all night and all the next day. But what exactly was tormenting her? To some it may seem like something vague and complex from the area of spiritual life or mysterious psychology. In fact, the essence is simple: the girl needs to give an answer to the young man’s proposal. This is precisely the proposal to which Sonya then agrees (the second conversation is a repetition of the proposal, but in a form more understandable to Sonya).

Before another attempt to visit government agencies, the hero meets with Sonya. He is trying to convey to her the feelings of individualistic rebellion in his soul. Sonya sees some strangeness in him. Afterwards he comes to the square in order, on her advice, to bow to people, kiss the Russian soil, and confess publicly. Raskolnikov is irritated only by the thought that “these stupid, brutal hari” will see him and condemn him. The hero hates people, the crowd. He feels superior to them; in his opinion, they are not able to understand his thoughts and feelings.

The hero repents of his actions only after a conversation with Sonya, and finally confesses only at the end of the work. The following describes his life in hard labor and his complete repentance for the crime. Sonya pushed him to take this step, she managed to convince him that it would be better for himself, his heart would stop tormenting and suffering.