A poor ex-student, he responds to his poverty not by taking from others but by working even harder. Razumikhin decides that he has not. Raskolnikov leaves his room soon after. Chapter V Svidrigailov notices Raskolnikov pursuing him razumikhin essay help again tells him goodbye.
Marmeladov is fully aware that his drinking is ruining himself and his family, but he is unable to stop. According to Svidrigailov, this girl possesses a mixture of childlike qualities and mature intelligence that he finds alluring. It is unclear whether his death by falling under the wheels of a carriage was a drunken accident or intentional.
He has not arrested Raskolnikov, he says, because he has not gathered enough evidence. Svidrigailov, however, persuades him to stay by mentioning Dunya. By placing the possibility of confession before Raskolnikov, he provides him with a method of resolving his unhappiness and thus appeals to his human side.
He informs Raskolnikov of a mysterious and upsetting letter that Dunya has received. He tells Raskolnikov that Pulcheria Alexandrovna is heartbroken and feels abandoned. His deepest wish is to marry a beautiful, intelligent, but desperately poor girl like Dunya so that she will be indebted to him.
Dunya is incredulous when Svidrigailov reveals that he overheard Raskolnikov confessing to the murders of Alyona Ivanovna and Lizaveta. Raskolnikov decides not to follow Svidrigailov after Svidrigailov boards a carriage for a distant part of the city.
Although he is self-centered, confused, and immature, he nonetheless seems to possess basic scruples. A former student, Raskolnikov is now destitute, living in a cramped garret at the top of an apartment building. One day, Razumikhin comes to visit him in his room.
The main drama of the novel centers on his interior conflict, first over whether to kill the pawnbroker and later over whether to confess and rejoin humanity. He fails to notice that Svidrigailov rides the carriage for only a hundred paces before getting off.
If he confesses, Porfiry promises to put in a good word with the judge. Sonya later reveals to Raskolnikov that she and Lizaveta were friends. She is decisive and brave, ending her engagement with Luzhin when he insults her family and fending off Svidrigailov with gunfire.
Thinking Svidrigailov a worthless and depraved man, Raskolnikov gets up to leave. Raskolnikov is disgusted at the engagement and the depraved pleasure that the older man clearly takes in it, but Svidrigailov is unfazed.
He is sympathetic to Raskolnikov, he says, and urges him to confess. The death of his wife, Marfa Petrovna, has made him generous, but he is generally a threatening presence to both Dunya and Raskolnikov. In horror, she runs to the door, only to discover that Svidrigailov has locked it.
Raskolnikov is ill throughout the novel, overwhelmed by his feelings of alienation and self-loathing. He dares her to fire, and she does, twice, but manages only to graze his temple. He says that he has come to find out once and for all whether or not Raskolnikov has gone mad.
She is meek and easily embarrassed, but she maintains a strong religious faith. Chapter II Porfiry tells Raskolnikov that he wants to apologize for his treatment of him, admitting that he was trying to extract a confession from him.
He suspects that Raskolnikov is mentally ill. After Razumikhin leaves, Porfiry appears. Svidrigailov tells Raskolnikov that he enjoys observing him, and then begins to talk about his life. Before leaving, he asks Raskolnikov to leave a note disclosing the location of the stolen loot should he decide to commit suicide.Dmitri Prokofych Razumikhin - Raskolnikov’s friend.A poor ex-student, he responds to his poverty not by taking from others but by working even harder.
Razumikhin is Raskolnikov’s foil, illustrating through his kindness and amicability the extent to which Raskolnikov has alienated himself from society.
This is Dostoyevski at his best - at least as far as this reader is concerned. This is a ‘complex’ story (in many respects) certainly with respect to the storyline: and, in the ‘typical’ Russian style, full of boiling emotion, honor, degradation and mystery. A summary of Part VI: Chapters I–V in Fyodor Dostoevsky's Crime and Punishment.
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