Cover of Crime and Punishment & Other Great Novels of Dostoevsky

Crime and Punishment & Other Great Novels of Dostoevsky

by Fyodor Dostoevsky


Genre
Classics, Fiction, Philosophy, Psychology
Contents

Overview

Crime and Punishment & Other Great Novels of Dostoevsky gathers several major narratives centered on people pushed to moral, spiritual, and social extremes. Across Petersburg rooms, provincial salons, monasteries, gambling halls, and revolutionary circles, Dostoevsky follows students, princes, brothers, servants, socialites, outcasts, gamblers, and conspirators as they test the limits of pride, pity, faith, freedom, and responsibility.

The collection’s central figures include Rodion Raskolnikov, whose theories collide with conscience; the Karamazov brothers, divided by sensuality, faith, skepticism, and rivalry; Prince Myshkin, whose innocence disrupts a corrupt society; the Underground Man, trapped in self-conscious spite; Alexis Ivanovitch, enslaved by roulette and desire; and Nikolay Stavrogin and Pyotr Verkhovensky, whose circle turns ideology into danger. Together the novels examine guilt, redemption, family conflict, self-deception, social humiliation, and the haunting question of whether human beings can be saved from themselves.

Plot Summary ⚠️ Spoilers

Crime and Punishment follows Rodion Raskolnikov, an impoverished former student in Petersburg, as he murders the pawnbroker Alyona Ivanovna after nursing a theory that extraordinary people may overstep moral law. When Alyona’s sister Lizaveta unexpectedly arrives, he kills her too, then hides the stolen goods without using them. His crime immediately becomes a psychological punishment: fever, paranoia, near-confessions, and compulsive returns to the murder scene. Around him gather forces that expose his divided soul: Razumihin’s loyal practicality, Porfiry Petrovitch’s patient psychological investigation, Luzhin’s selfish respectability, Svidrigaïlov’s corrupt mirroring of his transgression, and Sonia Marmeladov’s suffering faith.

Raskolnikov’s confession to Sonia becomes the moral center of the novel. He explains that he killed not from need alone but to test whether he was a Napoleon or merely a louse. Sonia urges public repentance, gives him a cross, and promises to follow him. Svidrigaïlov, who overhears the confession, uses the secret to pressure Dounia but releases her when she refuses him; he later arranges aid for Sonia and the Marmeladov children before killing himself. Raskolnikov finally confesses at the police station and is sentenced to eight years in Siberia. Sonia follows him, Dounia marries Razumihin, Pulcheria Alexandrovna dies in delusion, and Raskolnikov’s spiritual renewal only begins after illness and Sonia’s steadfast love.

The Brothers Karamazov begins with the depraved father Fyodor Pavlovitch Karamazov and his sons: passionate Dmitri, intellectual Ivan, and gentle Alyosha. Their conflicts converge around money, women, and faith. Dmitri, engaged to Katerina Ivanovna but obsessed with Grushenka, quarrels violently with Fyodor, who also desires her. Ivan wrestles with God, suffering, and the claim that without immortality all is lawful. Alyosha, guided by Elder Zossima, moves through family scandal, monastic crisis, and service to suffering children, especially Ilyusha Snegiryov. Zossima’s death and the scandal over his decaying body shake Alyosha, but his vision at Cana renews his calling to love the world.

Dmitri’s frantic pursuit of money and Grushenka leads him to Fyodor’s garden, where he strikes the servant Grigory and flees, believing Grushenka has gone to Mokroe. That same night Fyodor is murdered. Dmitri is arrested and appears guilty because of his threats, bloody hands, sudden cash, and Katerina’s later production of a drunken letter threatening patricide. In truth, Smerdyakov murdered Fyodor after interpreting Ivan’s ideas and departure as tacit permission; he returns the stolen money to Ivan and accuses him as moral instigator, then hangs himself. Ivan collapses into fever and hallucination, while the court rejects the defense’s doubts and convicts Dmitri. After the verdict, Ivan’s plan for Dmitri’s escape remains possible, Katerina and Grushenka confront their guilt and love, and Alyosha ends by uniting Ilyusha’s schoolmates around memory, faith, and responsibility.

The Idiot introduces Prince Lev Myshkin, an epileptic nobleman returning from Switzerland with little money and extraordinary compassion. He enters the Epanchin and Ivolgin circles and becomes entangled with Nastasia Philipovna, a woman ruined by Totski and pursued by Rogojin and Gania. At Nastasia’s birthday gathering, Rogojin brings 100,000 roubles, Myshkin proposes to save her, and she flees with Rogojin after humiliating Gania with the burning money. Months later Myshkin returns richer but still divided between pity for Nastasia and love for Aglaya Epanchin. Society, scandal, and jealousy intensify: Aglaya idealizes and mocks him, Nastasia writes letters urging Aglaya to marry him, and Rogojin’s murderous jealousy grows.

The triangle collapses when Aglaya confronts Nastasia. Myshkin’s pity for Nastasia wounds Aglaya, who flees; Nastasia claims Myshkin, but on their wedding day she panics at the church and escapes with Rogojin. Myshkin follows to Petersburg and finds Rogojin beside Nastasia’s murdered body. He spends the night with Rogojin in a state of horrified tenderness, then relapses into helpless idiocy. Rogojin is sentenced to Siberian hard labor, Myshkin returns to Schneider’s Swiss clinic without hope of recovery, and Aglaya’s later impulsive marriage to a false Polish count leaves the Epanchins in grief.

Notes from Underground is the confession of a spiteful, isolated former civil servant who attacks rational egoism, determinism, and utopian dreams such as the Crystal Palace. He insists human beings will choose suffering, caprice, and self-destruction simply to prove they are free. His reminiscences show the philosophy in action: he obsessively avenges a trivial insult from an officer, humiliates himself at Zverkov’s farewell dinner, and then encounters Liza, a young prostitute. After terrifying her with visions of degradation and offering rescue, he later receives her in his shabby room, collapses into hysterical self-exposure, and then cruelly pays her as if she were nothing. Liza silently rejects the money and disappears, leaving him with remorse and rationalizations.

The Gambler centers on Alexis Ivanovitch, tutor in a household waiting greedily for the death of a wealthy Grandmother. Alexis is enslaved by his love for Polina and by roulette. The General, indebted to De Griers and infatuated with Mlle. Blanche, hopes for inheritance; Polina is trapped by debts and pride; Mr. Astley quietly loves and protects her. When the Grandmother arrives alive, she first wins at roulette, then loses a fortune, destroying everyone’s expectations. Polina comes to Alexis after De Griers abandons her; Alexis wins a vast sum for her, but she rejects the money and flees to Astley. Alexis drifts to Paris with Blanche, squanders his winnings, later becomes ruined, imprisoned, and servile, and finally learns from Astley that Polina once loved him. Even then, he turns back toward gambling.

Demons traces ideological and spiritual collapse in a provincial town. Stepan Trofimovich Verkhovensky, a theatrical liberal dependent on Varvara Petrovna, is overtaken by younger radicals led by his son Pyotr Stepanovich. At the center stands Nikolay Stavrogin, magnetic, morally paralyzed, secretly married to the lame Marya Lebyadkina, loved by Liza, and pursued as the symbolic leader of Pyotr’s revolutionary fantasy. Pyotr manipulates Governor von Lembke, Yulia Mihailovna, radicals, criminals, and gossip. Fedka murders the Lebyadkins after Stavrogin has known enough to feel guilty; Liza, after a night with Stavrogin, is beaten by a mob and dies from the catastrophe. Pyotr binds his cell by murdering Shatov, forcing Kirillov’s suicide to serve as a cover, and fleeing. The conspiracy unravels through Lyamshin’s confession. Stepan dies after a final spiritual awakening on the road with Sofya Matveyevna. Stavrogin, summoned toward exile by Dasha yet unable to live, hangs himself at Skvoreshniki, closing the town’s demonic cycle.

Characters

  • Rodion Raskolnikov
    The impoverished former student at the center of Crime and Punishment; he murders Alyona and Lizaveta to test his theory of extraordinary transgression. His collapse, confession, and beginning of renewal shape the novel’s moral arc.
  • Sofya Semyonovna Marmeladov
    Sonia is Marmeladov’s self-sacrificing daughter, forced into prostitution to support her family. Her faith, compassion, and insistence on confession guide Raskolnikov toward suffering and repentance.
  • Dmitri Razumihin
    Raskolnikov’s loyal friend, practical caretaker, and eventual protector of Pulcheria and Dounia. His generosity and steadiness contrast Raskolnikov’s isolation.
  • Avdotya Romanovna Raskolnikova
    Dounia is Raskolnikov’s proud sister, willing to sacrifice herself through marriage to Luzhin until she rejects him. She later resists Svidrigaïlov’s coercion and marries Razumihin.
  • Pulcheria Alexandrovna Raskolnikova
    Raskolnikov’s devoted mother, whose hopes and anxieties intensify his sense of guilt and obligation. After his conviction, she declines into delusion and dies.
  • Porfiry Petrovitch
    The investigator in Crime and Punishment who uses psychological pressure rather than immediate arrest. He becomes convinced of Raskolnikov’s guilt and urges voluntary confession.
  • Arkady Ivanovich Svidrigaïlov
    Dounia’s former employer and Raskolnikov’s corrupt double, drawn to vice, secrecy, and power. He overhears Raskolnikov’s confession, tries to coerce Dounia, then gives money to Sonia and the children before suicide.
  • Pyotr Petrovitch Luzhin
    Dounia’s calculating fiancé in Crime and Punishment, who wants a grateful, dependent wife. After being rejected, he tries to frame Sonia for theft and is exposed.
  • Semyon Marmeladov
    A drunken former clerk whose confession introduces Raskolnikov to Sonia’s suffering family. His death under a carriage draws Raskolnikov further into the Marmeladovs’ lives.
  • Katerina Ivanovna Marmeladova
    Marmeladov’s proud, consumptive widow, driven by poverty and humiliation into desperate scenes. Her death leaves Sonia and the children dependent on outside help.
  • Alyona Ivanovna
    The pawnbroker murdered by Raskolnikov, whose apartment he scouts and robs. She is the target of his theory-driven crime.
  • Lizaveta Ivanovna
    Alyona’s gentle sister and Sonia’s acquaintance, killed unexpectedly by Raskolnikov. Her murder becomes the unplanned moral weight that haunts him.
  • Fyodor Pavlovich Karamazov
    The debauched father in The Brothers Karamazov, whose greed, sensuality, and neglect poison his household. His murder drives the investigation, trial, and moral crises of his sons.
  • Dmitri Fyodorovich Karamazov
    The eldest Karamazov brother, passionate, impulsive, and torn between sensuality and honor. He is wrongly convicted of murdering his father after threats, jealousy, and circumstantial evidence make him appear guilty.
  • Ivan Fyodorovich Karamazov
    The intellectual Karamazov brother who wrestles with God, suffering, and the idea that all is lawful. His ideas influence Smerdyakov, and his knowledge of the truth drives him into fever and hallucination.
  • Alexey Fyodorovich Karamazov
    Alyosha is the youngest Karamazov brother, Zossima’s disciple, and the novel’s moral mediator. He moves among family scandal, suffering children, and spiritual trial while trying to answer hatred with love.
  • Elder Zossima
    Alyosha’s spiritual elder, whose teachings emphasize universal responsibility, humility, active love, and repentance. His death first shakes and then renews Alyosha’s vocation.
  • Pavel Smerdyakov
    Fyodor’s servant and possible illegitimate son, raised by Grigory and Marfa. He murders Fyodor, frames Dmitri, returns the stolen money to Ivan, and kills himself.
  • Agrafena Alexandrovna Grushenka
    The woman loved by both Dmitri and Fyodor Karamazov. Her rejection of her former Polish lover and love for Dmitri transform him, while her testimony and jealousy shape the trial’s emotional stakes.
  • Katerina Ivanovna Verkhovtseva
    Dmitri’s former fiancée, proud, wounded, and torn between sacrifice and revenge. Her testimony first helps Dmitri, then her production of his incriminating letter devastates his defense.
  • Madame Hohlakov
    A nervous, talkative society widow in The Brothers Karamazov. Her household connects Alyosha with Lise, Katerina, and the town’s gossip about Dmitri’s trial.
  • Lise Hohlakov
    Madame Hohlakov’s daughter, first teasingly attached to Alyosha and later feverish, cruel, and self-destructive. Her scenes expose a darker spiritual crisis parallel to the Karamazov turmoil.
  • Captain Nikolay Ilyich Snegiryov
    The impoverished officer humiliated by Dmitri and father of Ilyusha. His pride, poverty, and desperate love for his family become one of Alyosha’s chief lessons in compassion.
  • Ilyusha Snegiryov
    Captain Snegiryov’s sick son, whose loyalty to his father leads to conflict with schoolboys. His suffering and death gather Alyosha and the boys into a community of remembrance.
  • Kolya Krassotkin
    A brilliant, vain schoolboy who reconciles with Ilyusha through the dog Zhutchka. Alyosha’s friendship helps redirect Kolya’s precocity toward humility and love.
  • Rakitin
    A cynical seminarian in The Brothers Karamazov, jealous, opportunistic, and often eager to expose or exploit others. He tries to profit from scandal and from Alyosha’s crisis.
  • Prince Lev Myshkin
    The compassionate epileptic hero of The Idiot, whose innocence and pity unsettle Petersburg society. His divided attachment to Nastasia and Aglaya ends in tragedy and his relapse into helpless illness.
  • Nastasia Philipovna
    A proud, wounded woman exploited by Totski and pursued by Rogojin, Gania, and Myshkin. Her oscillation between self-condemnation and defiance drives the novel’s central catastrophe.
  • Parfen Rogojin
    A wealthy, feverishly jealous suitor obsessed with Nastasia Philipovna. His bond with Myshkin mixes brotherhood and rivalry, ending in Nastasia’s murder and his sentence to Siberia.
  • Aglaya Epanchin
    The youngest Epanchin daughter, proud, mocking, and romantically drawn to Myshkin. Her confrontation with Nastasia exposes jealousy and breaks her relationship with the prince.
  • Lizabetha Prokofievna Epanchin
    The sharp, impulsive Epanchin matriarch. She alternately defends, scolds, and rejects Myshkin while trying to protect her daughters’ futures.
  • General Ivan Fedorovich Epanchin
    The wealthy official who first receives Myshkin in Petersburg. His household becomes the social center through which Myshkin meets Aglaya, Gania, and Nastasia’s circle.
  • Gavrila Ardalionovich Ivolgin
    Gania is an ambitious clerk tempted to marry Nastasia for money and status. His humiliation over the burning money and his later schemes around Aglaya reveal his pride and insecurity.
  • General Ardalion Ivolgin
    Gania’s father, a degraded, boastful general prone to lies and pathetic grandeur. His decline and stroke deepen the Ivolgin family’s shame and pathos.
  • Colia Ivolgin
    Gania’s younger brother and one of Myshkin’s most loyal young friends. He moves between households, carries messages, and responds to tragedy with growing maturity.
  • Lebedeff
    A gossipy, scheming clerk in The Idiot who lodges Myshkin at Pavlovsk. His family, intrigues, and opportunism repeatedly entangle the prince.
  • Hippolyte Terentyev
    A consumptive youth whose bitterness, confession, and failed suicide unsettle Myshkin’s circle. His reflections on death and meaning intensify the novel’s spiritual tension.
  • Evgenie Pavlovitch Radomsky
    A polished officer connected to the Epanchins and considered as a suitor for Aglaya. He later helps arrange Myshkin’s return to Switzerland after the catastrophe.
  • Afanasy Ivanovich Totski
    Nastasia’s former guardian and exploiter, whose wish to rid himself of responsibility initiates the marriage scheme with Gania. His past defines Nastasia’s sense of dishonor.
  • Underground Man
    The unnamed narrator of Notes from Underground, a spiteful former civil servant trapped in overconsciousness, inertia, and self-laceration. His philosophy of irrational freedom is dramatized through humiliations and his cruelty to Liza.
  • Liza
    The young prostitute in Notes from Underground whom the narrator first tries to awaken morally and then humiliates. Her silent rejection of his money exposes his inability to love without domination.
  • Apollon
    The Underground Man’s contemptuous servant, whose implacable dignity provokes his master’s rage. Their wage dispute becomes a humiliating prelude to Liza’s visit.
  • Zverkov
    The successful former schoolmate whose farewell dinner humiliates the Underground Man. His patronizing ease crystallizes the narrator’s envy and resentment.
  • Simonov
    A former schoolmate of the Underground Man who reluctantly admits him to Zverkov’s dinner. He lends the money that enables the narrator’s degrading pursuit to Olympia.
  • Alexis Ivanovitch
    The narrator of The Gambler, a tutor consumed by love for Polina and by roulette. His spectacular winnings cannot save him from pride, compulsion, and decline.
  • Polina Alexandrovna
    The General’s step-daughter and Alexis’s obsession in The Gambler. Proud and indebted, she uses Alexis yet later reveals a wounded dependence on him before rejecting his money.
  • The General
    Alexis’s employer in The Gambler, ruined by debt, social ambition, and love for Mlle. Blanche. His hopes depend on his mother’s death and collapse when she arrives alive and gambles away her fortune.
  • Antonida Vassilievna Tarassevitcha
    The formidable Grandmother in The Gambler, whose unexpected arrival overturns everyone’s inheritance schemes. Her roulette obsession destroys the fortune others were waiting to inherit.
  • Monsieur de Griers
    The French creditor and adviser tied to the General and Polina. His self-serving departure exposes the financial and emotional trap around Polina.
  • Mlle. Blanche de Cominges
    A calculating adventuress who courts the General while watching his prospects. She later spends Alexis’s winnings in Paris and marries the General for advantage.
  • Mr. Astley
    The reserved Englishman who loves Polina and repeatedly behaves with quiet honor. He shelters her, aids the Grandmother, and later tells Alexis that Polina once loved him.
  • Stepan Trofimovich Verkhovensky
    The aging liberal intellectual in Demons, dependent on Varvara and theatrical about his significance. His humiliations end in a final wandering, spiritual awakening, and death.
  • Varvara Petrovna Stavrogina
    The wealthy matriarch who supports Stepan and tries to manage her son Nikolay’s reputation. Her pride and authority are broken by the scandals and Stavrogin’s suicide.
  • Nikolay Stavrogin
    Varvara’s magnetic, morally paralyzed son in Demons. His secret marriage, passivity before murder, entanglement with Liza and Dasha, and final suicide anchor the novel’s darkest conflicts.
  • Pyotr Stepanovich Verkhovensky
    Stepan’s son and the manipulative revolutionary organizer of Demons. He exploits gossip, ideology, crime, and weakness to bind his group through murder before fleeing.
  • Ivan Shatov
    A former revolutionary who turns toward Russian faith and peoplehood. His desire to leave the conspiracy and begin anew with his wife makes him Pyotr’s target, and he is murdered by the cell.
  • Alexei Kirillov
    An engineer whose philosophy centers on conquering fear through suicide and becoming a man-god. Pyotr exploits his planned suicide to cover Shatov’s murder.
  • Lizaveta Nikolaevna Tushina
    Liza is the passionate young woman drawn to Stavrogin while engaged to Mavriky. After spending a night with Stavrogin and learning of the Lebyadkins’ murders, she is attacked by a mob.
  • Darya Pavlovna Shatova
    Dasha is Varvara’s protégée and Shatov’s sister, quietly devoted to Stavrogin. He asks her to accompany him abroad as a nurse, but she arrives only to find his suicide.
  • Marya Timofyevna Lebyadkina
    Captain Lebyadkin’s lame, abused sister and Stavrogin’s secret wife. Her murder becomes one of the central crimes that reveals Stavrogin’s moral passivity.
  • Captain Ignat Lebyadkin
    Marya’s drunken, abusive brother, who uses her and Stavrogin’s secret for money. He is murdered with Marya during the fires.
  • Fedka the Convict
    An escaped criminal in Demons, connected to Pyotr’s and Stavrogin’s darker possibilities. He commits or is linked to major crimes before being found murdered.
  • Yulia Mihailovna von Lembke
    The governor’s ambitious wife, eager to influence youth and society. Her vanity and trust in Pyotr help enable the fête’s collapse and the town’s unrest.
  • Andrey Antonovich von Lembke
    The anxious governor manipulated by Pyotr and undermined by his own instability. His mishandling of unrest and public breakdown signal the failure of official order.
  • Liputin
    A malicious gossip and member of Pyotr’s revolutionary circle. He helps spread scandal, participates in the conspiracy, and panics after Shatov’s murder.
  • Lyamshin
    A pianist, mimic, and conspirator in Demons. His buffoonery feeds public disorder, and his later confession exposes Pyotr’s network.
  • Virginsky
    A gentle radical whose home hosts the conspiratorial meeting. He protests Shatov’s murder as wrong but still becomes implicated in it.
  • Shigalov
    The theorist of Pyotr’s circle, proposing a system in which one-tenth rule and nine-tenths submit. His doctrine reveals the authoritarian core beneath revolutionary rhetoric.
  • Karmazinov
    A famous writer courted by Yulia and mocked by the unfolding chaos. His vain farewell reading at the fête helps turn the event into farce.
  • Sofya Matveyevna Ulitin
    The gospel-seller who accompanies and nurses Stepan Trofimovich during his final wandering. Her humble faith helps frame his last spiritual turn.
  • Narrator of Demons
    The provincial chronicler who observes Stepan, Varvara, Stavrogin, and the town’s collapse. His perspective organizes the scandals, rumors, and revelations of Demons.

Themes

Across this collection, Dostoevsky returns obsessively to the human soul under pressure: poverty, desire, ideology, pride, humiliation, and the longing for grace. Though the novels differ in plot, they share a moral universe in which ideas are never abstract; they become wounds, crimes, confessions, or acts of mercy.

  • Crime, conscience, and the need to confess. In Crime and Punishment, Raskolnikov’s murder of Alyona and Lizaveta is less a mystery than an inward trial. His theory of the “extraordinary” man collapses into fever, paranoia, and finally Sonia’s demand that he bow to the earth and accept suffering. Similar patterns recur in The Brothers Karamazov, where Dmitri is spiritually guilty though legally innocent, Ivan is morally implicated through his “all is lawful” logic, and Smerdyakov turns philosophy into murder.
  • Freedom versus rational systems. Dostoevsky distrusts any system that reduces humanity to utility, progress, or calculation. The Underground Man attacks the “Crystal Palace” and insists on the terrifying freedom to choose against one’s own interest. Ivan’s Grand Inquisitor similarly argues that people prefer bread, miracle, and authority to freedom, while revolutionary schemes in Demons culminate in coercion, surveillance, and murder.
  • Suffering as degradation and possible redemption. Marmeladov, Sonia, Katerina Ivanovna, Ilyusha, Myshkin, and Stepan Trofimovich all reveal different faces of suffering. Dostoevsky does not sentimentalize pain—Katerina’s collapse, Liza’s humiliation in Notes from Underground, and Nastasia Philipovna’s destruction are brutal—but he repeatedly asks whether suffering can open the soul to truth, compassion, or repentance.
  • Pride, humiliation, and self-laceration. Many characters would rather suffer than be pitied: Captain Snegiryov tramples Katerina’s money, the Underground Man wounds Liza because she sees his shame, Gania endures Nastasia’s money-test, and Raskolnikov resists confession because it humiliates his theory of himself. Pride becomes both armor and prison.
  • Holy innocence and active love. Against destructive intellect, Dostoevsky sets figures of compassionate attention: Sonia reads Lazarus to Raskolnikov; Alyosha carries Zossima’s teaching into the world; Myshkin responds to others with radical pity; Zossima teaches responsibility for all. These figures are not spared tragedy, but they embody the book’s deepest counterforce: love enacted humbly, person to person.
  • The demonic power of ideas without love. From Raskolnikov’s Napoleonism to Ivan’s rebellion, Kirillov’s suicide-theology, and Pyotr Verkhovensky’s conspiracies, Dostoevsky shows ideas detached from compassion becoming destructive. The collection’s recurring warning is that brilliance without humility can become possession.
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