Raskolnikov's personality can be seen in another aspect - a person deeply perceiving the pain of others, pitiable to the people and ready always to help them. Raskolnikov gives his last money to Katerina Ivanovna for her husband's funeral. Here is the paradox of his contradictory personality - on the one hand he is a killer and on the other hand a benefactor and savior. The basic idea in "Crime and Punishment" is that one can find his lost human face, transform his disfigured soul into a beautiful and pure by suffering because it is a path to truth and happiness.

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Raskolnikov is not a little mad for the memory of the crime. But she meets Sonia Marmeladova, who despite her "craft" remains deeply religious. According to some literary critics, their relationship is an allegory of God's love for sinful people, as well as the redemptive power of love, but it only manifests after Raskolnikov's acknowledgment. Sonia and Raskolnikov are similar in that they both commit sin in the name of their families. Sonya sells her body, which is also a sin, and Raskolnikov kills. Dostoevsky chooses Sonya precisely because through her sacrifice she wants to instigate forgiveness and sin, the harlot, and the forgiveness of her sins. For the murder, Raskolnikov first acknowledges Sonya Marmeladova, expressing the destruction of its internal integrity. When a kidnapper confesses to Sonya about the murder of Lizzazha, his words are regretful of what he has done. He can not find justification for her murder. Rather, his soul can not accept the killing of Lizah. Right here lies his division - his understanding and his humane attitude. In the last three parts of the novel, we see a different Raskolnikov, as if his life is overturned and the change in character is clearly evident. The main character is no longer the reasonable and rational person we are used to seeing, now he is more humble, irrational.


There is a sleeping Christian conscience awakening in him, apparently he has not managed to tramp it completely, for which he himself begins to despise and despise himself. To his own surprise, he turns out to be "weak," "ordinary," an "aesthetic louse" alone. His will, hardened before steel, is now broken, broken, crushed. He succumbs to the reproaches of the believing prostitute Sonia, a new Mary Magdalene, and begins to deeply repent and repent of his sinful "sin" and violation of God's commandments. Was he sincerely repentant for his sinful act of sin, and Raskolnikov internally reborn into a "new person," and the "old man" died in him? Does he need to be further prosecuted, as it happens, to be tried and sent to a prisoner? Lying in prison? Is not the meaning of the punishment "correcting" the perpetrator? Aside from the intimidating edification of others, do not dare to do so, to obey the law for fear of punishment if they do not experience the "fear of God"? Does not the fear of God cease stronger in him than the fear of punishment of unbelievers in God? And is it not better to reduce crimes to get as many people as possible to believe than to improve their lifestyle, provision and living conditions? Is not it more noble for the poor to remain poor, but believers than to get rich by losing their faith and soul?

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[part 1](https://steemit.com/godflesh/@godflesh/some-thoughts-about-fyodor-dostoevsky-and-his-work-crime-and-punishment)

[part 2](https://steemit.com/godflesh/@godflesh/some-thoughts-about-fyodor-dostoevsky-and-his-work-crime-and-punishment-part-2)