6.1-6.2 It wasn't me who killed

In the first chapters, we quickly learn what happened during the two days after the end of Part 5, we talk with Razumikhin, and Porfiry Petrovich pays us a visit.

Hello, Dostoevsky enthusiast!

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Raskolnikov sinks into a hazy state: reality in his mind alternates with imagination, fear with apathy. The only constant is the "inescapable and heavy solitude." The evil forces pursuing him do not relent; he - and not only he - literally physically feels their presence. Raskolnikov enters Katerina Ivanovna's apartment, where, by Svidrigailov's order, memorial services are held twice a day at her coffin. In the Orthodox tradition, funerals take place on the second or third day after death: during this time, they conduct the funeral service, perform rituals, and prepare the grave.

Thus, in the novel, it is now July 19, 1865.

"In the awareness of death and in the sense of death's presence," the narrator reports, for Raskolnikov there was always "something heavy and mystically terrible" (a curious testimony about the author of the theory of "blood by conscience," isn't it?). But there was something else here, too terribly disturbing which made "the priest, while blessing and saying farewell, look around somewhat strangely."

Raskolnikov tries to get away from everyone, but the more secluded the place, the more strongly he became aware of someone's close and troubling presence, not exactly frightening, but somehow very annoying.

He even goes beyond the city gates — to the outskirts, to nature, to the villages. Rodion again goes to sleep in his favorite bushes, trying to rid himself of the presence of this diabolical city. But nature no longer helps him. Even there he feels a presence. Of what? Probably of diabolical forces. Or, to put it simply, of guilt. He has already confessed to Sonya, his need to speak out has disappeared, and now a new stage has begun for him. He really doesn't know what to do next.

Air

Svidrigailov, whom he met at Sonya's, says strange words to him: "All people need air, air, air, sir."

This phrase about air, which Svidrigailov utters, is very interesting. There is an opinion that this could be evidence indicating that Svidrigailov told everything to Porfiry, since he also uses this phrase. However, most likely, this is not the case. Svidrigailov could indeed have communicated with Porfiry, but about Rodion? Unlikely. He simply keeps telling everyone about this air. What is the essence of this phrase?

Most likely, this is an intertextual reference to the novel "Fathers and Sons."

There, one character objects to the nihilistic doctrine: "without principles, accepted, as you say, on faith, one cannot take a step, cannot breathe. Let's see how you will exist in a vacuum, in an airless space." Probably, Svidrigailov is talking about exactly this - that all people need air, and he repeats this to Rodion, to Porfiry, and possibly to everyone else.

It's worth remembering this phrase; it's quite enigmatic, and discussions about its role in the novel are still ongoing. Nevertheless, it may shed light on Raskolnikov's further story. I will tell you more about this in the epilogue.

The struggle begins again

But then Razumikhin, who drops in on Raskolnikov, informs him that Porfiry fully believed the painter Mikolka's confession and now "everything is cleared up".

And Raskolnikov is "renewed" again — that is, he transforms. You see, Rodion doesn't particularly want to be caught for the crime, he clings to any opportunity to avoid it. But at the same time, he also has an unbearable desire to tell about his crime — which he did when meeting with Sonya.

"The struggle begins again — which means, a way out has been found!"

He doubts that Mikolka's confession truly convinced Porfiry. Armed with this new "trump card," Raskolnikov plans to confront Porfiry while also addressing the issue of Svidrigailov, who overheard his confession. Though Svidrigailov's word lacks evidence, it could still cause problems.

Raskolnikov once again seeks conflict with the world. The narrator notes that his hatred for Porfiry and Svidrigailov intensifies to the point where "he could perhaps kill one of these two. At least, he felt capable of doing so, if not now, then later." Within two days, he dismisses Sonya's advice and reproaches, now viewing her care for him as mere self-abasement.

Could a political conspiracy be the reason for such behavior?

It's interesting that Dostoevsky mentioned "political conspirators." This could serve as an excellent justification for all of Rodion's behavior, and quite plausible in the historical context. Just a year after the events of the novel, in 1866, there was an assassination attempt on the Emperor. This event happened right at the time when Dostoevsky was writing the novel. So there were indeed quite a few conspirators around.

To be more precise - on April 4, 1866, Karakozov made an unsuccessful attempt on the life of Emperor Alexander II. This event deeply shocked Dostoevsky, about which he wrote, and it shook the entire country. On September 3, Karakozov was publicly executed by hanging. His accomplice Ishutin was treated similarly to Dostoevsky - he was pardoned at the last moment.

Raskolnikov could well have hinted at this to his family and Razumikhin. It was still dangerous to speak openly about it, and his loved ones would have understood the hint without asking unnecessary questions. This could have served as an excellent alibi for them.

In this chapter, Dostoevsky describes the scene of dialogue with Razumikhin for the last time. After this, he will only be mentioned, but there will be no more fully described meetings between Raskolnikov and Razumikhin in dialogue. Interestingly, the last phrase here sounds like this:

"Myself, myself; goodbye! I'll tell you something else later, but now I have business. There... there was a time when I thought... Well, what of it; later!.. Why should I get drunk now. You've intoxicated me without wine. I'm drunk, Rodya! Drunk now without wine, well, goodbye; I'll drop by; very soon."

What intoxicates Razumikhin in Raskolnikov's presence? It might be the same elusive force that mysteriously envelops them—those invisible specters that have already gathered around Raskolnikov. I suspect Raskolnikov is experiencing a kind of psychological bacchanalia. Though Dostoevsky doesn't explicitly describe this, if we draw parallels with the demonic and Gogol's work, it's plausible that Raskolnikov's consciousness is becoming clouded, as often occurs in mystical experiences. How can this intoxication happen without wine? Razumikhin, being empathetic, seems to become slightly infected by this peculiar energy as well.

The third meeting with Porfiry Petrovich. Gogol again

Each meeting with Porfiry begins with a reference to Gogol's works.

"Smoke, fog, a string vibrates in the fog" is a reminiscence of the finale of N. V. Gogol's "Diary of a Madman." One of the members of our club,

Paula Duvall

, recently read this work. I wonder if she recognized the reference while reading this chapter?

"There, the sky swirls before me; a little star sparkles in the distance; the forest rushes by with dark trees and the moon; a grayish fog spreads under my feet; a string vibrates in the fog..."

This Gogolian reminiscence is included in Porfiry Petrovich's monologue, where a psychological interpretation of Raskolnikov's theory is given. Its primary function is an unexpected connection between the novel's hero and another "Petersburg dreamer." Raskolnikov's aspiration to "become Napoleon" turns out, according to Dostoevsky, to be akin to the mad conviction of Gogol's hero that he is "Ferdinand VIII, King of Spain." In Raskolnikov's consciousness the 'Spanish king' is replaced by 'Napoleon,' who is also 'allowed everything.

However, the artistic function of this reminiscence is not limited to connecting the mad aspirations of the heroes from "Diary of a Madman" and "Crime and Punishment." Dostoevsky had his own, original understanding of Gogol's image of the "string vibrating in the fog." He used this phrase when talking about Turgenev's novel "Ghosts." And the theme of ghosts, as we remember, is not alien to "Crime and Punishment" either.

"This reality is the anguish of a developed and conscious being living in our time, a captured anguish. All of 'Ghosts' are filled with this anguish. It is 'a string vibrating in the fog,' and it does well to vibrate."

Thus, the "string vibrating in the fog" is the human soul that yearns for life and "wanders" somewhere in the fog. Dostoevsky specifies this "anguish" as wandering through all of reality without any relief.

This time, Porfiry comes to Raskolnikov himself, probably to catch him off guard. He states that he came to explain himself: to say that he has long been observing Raskolnikov's strange behavior, to ask forgiveness for making him suffer a great deal, that he appreciated his "youthful and incorruptible pride" and "courage of despair".

After this, Porfiry explains the reason for Mikolka's false confession: he is from the Schismatics, that is, Old Believers, who rejected the Nikonian reforms of the Russian Church in the 17th century.

Moreover, Mikolka is a sectarian from the Runners (Бегуны), those who called for fleeing from a world full of temptations. He spent two years in his village under the spiritual guidance of an elder, reading many "old" theological books. Then, having come to the capital to earn money and succumbing to many of its temptations, he bitterly repented. The gradually growing feeling of guilt suggested to him a path of purification through voluntarily taking on someone else's sin and suffering.

Old-Believers aka Runners aka Schismatics

Schismatics, or Old Believers, are known in Russian as "raskolniki" (раскольники), a word that forms the basis of Raskolnikov's surname. The Raskolnikov family hails from the same region as Mikolka, suggesting they likely earned their surname due to their religious beliefs. The circumstances of Raskolnikov's father's death remain unclear, though it's possible his beliefs played a role.

The Raskolnikov family hails from the Ryazan region, where the town of Zaraysk is located—a place mentioned a couple of times in the novel. Mikolka is also from this town. Zaraysk holds significance for Dostoevsky himself. His family's estate was nearby, where his father died. You can read about the ambiguous circumstances of his father's death in a recent article.

Halloween Edition: The Mysterious Death of Dostoevsky's Father—Murder or Misfortune?

Thus, Zaraysk acts as a crucial link connecting Dostoevsky himself, Raskolnikov (the true murderer), and Mikolka, who bizarrely confessed to a crime he didn't commit.

The inclusion of the Runners' teachings in "Crime and Punishment" highlights a stark contrast with Raskolnikov's ideology. The Runners' core belief in the impossibility of creating God's Kingdom on earth and their view of "rulers" as the Antichrist incarnate directly opposes Raskolnikov's theory of "extraordinary personalities." These "legislators and establishers of humanity," as Raskolnikov sees them, are meant to guide the world towards its ultimate goal—a universal harmony he calls the "New Jerusalem."

The Runners' teachings present a fundamentally different worldview than Rodion Raskolnikov's philosophical-historical concept, challenging the core of his ideological constructs. While Raskolnikov envisions "extraordinary" individuals whose "right" to bloodshed is justified by their unique historical mission, the Runners see only the Antichrist and his servants. They reject the notion of history as a path to salvation, believing that earthly life offers no redemption.

Consequently, the clash between Rodion Raskolnikov and the painter Mikolka in the novel's "great dialogue" transcends mere ethics. It embodies a profound religious and historiosophical debate.

"Become the sun, and everyone will see you"

Porfiry no longer hides his certainty that Raskolnikov is the murderer.

To Raskolnikov's confused question (who had just been gathering new strength to fight with Porfiry!):

"So... who... killed?" — surprised by his lack of understanding.

Porfiry answers: "You killed, sir."

"It wasn't me who killed," Raskolnikov whispered, like frightened little children when they are caught in the act of committing a crime.

Raskolnikov attempts to object, but Porfiry explicitly states that confession would be the better course, hinting at some evidence. Why the bluff? Likely because this evidence is circumstantial, insufficient for Porfiry to arrest Rodion definitively. Had the evidence been conclusive, he would have made the arrest already. Thus, the cat-and-mouse game persists.

Porfiry advises Raskolnikov "not to disdain" the potential sentence reduction that comes with confession. He then imparts two crucial insights:

1. "Perhaps God was waiting for you at this very point" (a phrase we'll revisit at the novel's conclusion, encapsulating the essence of Raskolnikov's journey and its necessity)

2. A profound piece of advice for those seeking fame and recognition: "Become the sun, and everyone will see you." This sun brings life, unlike a deadly comet or a "black hole." One might wonder, though: is such counsel not too late for Raskolnikov?

Furthermore, Porfiry reminds Raskolnikov of justice, albeit a different kind:

"If you've taken such a step, then stand firm. There's justice here. Now fulfill what justice demands. I know you don't believe, but by God, life will carry you through. You'll come to like it yourself later. You just need air now, air, air!".

However, Porfiry doesn't dismiss the possibility that Raskolnikov, "the benefactor of mankind," might take his own life, thereby sealing the fate of the innocent Mikolka. In such an event, he requests a detailed note beforehand. The situation takes an intriguing turn: Raskolnikov is presented with an opportunity to save someone—Mikolka, who falsely confessed. Porfiry cannot conclusively prove Rodion's involvement, which means he can't release Mikolka either, until a new suspect is accused or new evidence emerges.

Will Raskolnikov seize this chance to save a person? Or will he persist in his modus operandi?