essay on punishment and crime

An Essay on Crimes and Punishments

• Cesare Bonesana di Beccaria (author)
• Voltaire (author)

An extremely influential Enlightenment treatise on legal reform in which Beccaria advocates the ending of torture and the death penalty. The book also contains a lengthy commentary by Voltaire which is an indication of high highly French enlightened thinkers regarded the work.

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An Essay on Crimes and Punishments. By the Marquis Beccaria of Milan. With a Commentary by M. de Voltaire. A New Edition Corrected. (Albany: W.C. Little & Co., 1872).

The text is in the public domain.

• United States

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The Classic Journal

A journal of undergraduate writing and research, from wip at uga, an analysis of crime and punishment.

by Paris Whitney

Crime and Punishment by Fyodor Dostoevsky is a novel that has been deemed controversial, yet notable over the course of centuries. This novel was influenced by the time period and setting of 19 th century St. Petersburg, Russia. Society was transitioning from medieval traditions to Westernization, which had a large impact on civilians, specifically those in poverty. Dostoevsky writes this novel centered around a poor man whose poverty drives him to test an ideology that results in his own detriment. Although this is important, the plot is only part of what makes this novel significant. What continues to make this novel memorable centuries after it was written is how Dostoevsky uses the concept of time to progress the plot and establish information, how his use of symbolism contributes to the message and meaning of the story and its characters, and how his writing has unintentionally embraced and related to different philosophies.

symbolism, nature, time, philosophy, existentialism, ego transcendence

Fyodor Dostoevsky is perhaps the most controversial author of the nineteenth century. His best-known work is Crime and Punishment , a novel that explores the psychological depths of man. At the center is Raskolnikov, a character who inflicts and experiences a great deal of suffering, all because he perceives himself to be superior to the average man.

Crime and Punishment takes place in St. Petersburg, Russia. The time is 1860, Alexander II holds reign, and consequently political skepticism is abundant. In addition to skepticism, the country’s economic state has disproportionate effects on its citizens, as the increasing wealth gap parallels the increase of turmoil in the streets. The novel follows Rodion Raskolnikov, a man of lower class whose poverty leads him to forming an idea and testing its validity. This theory is that certain men are exempt from laws created by society, as their actions against these laws are done for the greater good. In order to test this theory, Raskolnikov forms a plan to murder Alyona Ivanovna, an old pawnbroker whom he has had many exchanges with. After killing Ivanovna, he ends up killing her sister Lizaveta as well, when her appearance at Ivanovna’s apartment startles his original plan. In a frenzy, he leaves their bodies at the crime scene, and on his way out his mental state begins to spiral leading the readers to follow his psychological decline. 

Around the world, philologists and psychologists alike have studied Crime and Punishment to understand what makes this work essential to literature. Through studies of symbolism, philosophy, and psychology, it is recognized how Dostoevsky uses the concept of time to develop the story, how he uses symbolism to reflect underlying emotions and intentions of characters, and how different ideologies may be related to the meaning behind Crime and Punishment. These components used together showcase how Dostoevsky’s work remains notable for centuries.  

Crime and Punishment is a novel symbolic of the drawbacks that society can have on individuals, specifically those who are at a disadvantage as a result of their class or mental state. When Dostoevsky penned this novel, the time was 1866. 19 th century Russia was a transition period from medieval traditions to Westernization. During this transition, many people struggled to accommodate to the changing times. There was unrest in the streets, conflict amongst the classes, economic upheaval, and a lack of concern for those suffering by the government. Those who were of higher class were better able to navigate this complex transition, while those in poverty lacked the materials necessary to accommodate to the coming changes. Previously Westernized countries exhibited unrest fromtheir populations while progressing in societal advancement. There was concern about this potentially translating into Russia’s development. Russia was not exempt from these issues, and Dostoevsky was no help in assuring that peace would be maintained. Dostoevsky’s work concerned people in power when he indirectly made an association between violence and societal progression, and how this may prompt the masses to revolt against their government. Localized current events, such as a rise in domestic violence and murder, also influenced this novel. Due to these real-life events that inspired Dostoevsky’s work, it can be said that Crime and Punishment is an accurate representation of its time period [ 1 ] .

Not only was time period an influence on his work, but Dostoevsky would manipulate the concept of time itself to convey the meaning behind his stories. In Crime and Punishment , Dostoevsky writes Raskolnikov as a character continuously in a fever of thoughts. His mind is constantly running rampant, unrelenting even in slumber. Before significant events Raskolnikov would either flashback or dream of memories foreshadowing future moments. An example of this is before committing to murder Alyona Ivanovna, his subconscious takes him and the reader back to a moment where he and his father witnessed the cruel killing of a mule at the hands of a crowd for being too weak to pull a wagon . From a third person perspective, young Raskolnikov’s reaction to this moment is described hither, “But by now the poor boy is beside himself. With a shout he plunges through the crowd into the sorrel, embraces her dead, bloodstained muzzle, and he kisses her, kisses her on the eyes, on the mouth…” (Dostoevsky, 1866, pg. 57). By preceding Raskolnikov’s murderous intentions with his younger self’s mournful reaction to the mule’s death shows the audience how Raskolnikov has developed over time, and the degeneration resulting from his experiences in life.Time also seems to slow down when Raskolnikov is in moments of heightened emotion , because as he loses the ability to conceptualize, the more feverish his mind becomes. Towards the end of the novel, Raskolnikov reflects on the events that have occurred, saying “after a long time had passed, he thought his consciousness must have kept flashing on and off, with several dim, dark intervals, right up to the final catastrophe. He was absolutely convinced he had been mistaken about many things at the time; the duration of time of certain events, for example.” (Dostoevsky, 1866, pg. 417). This feverish mindset also manifests into physiological symptoms, giving Raskolnikov the appearance of being sick. “He was not completely unconscious all the time he was sick, but rather delirious, in a feverish state of half consciousness. He could recall a good deal later. Once in his room seemed full of people… They had all gone out. They were afraid of him.” (Dostoevsky, 1866, pg. 112). Dostoevsky uses syntax and diction to write these occurrences in a way that mimics Raskolnikov’s thinking. The transitions between events are frenetic, reflecting the tumultuous thoughts that plague Raskolnikov as a result of his actions. Choosing to modify the chronology of the novel in this way, he emphasizes the severity of situations by making the readers feel like they are experiencing the event as well.

In addition to this, Crime and Punishment contains levels of symbolism to enhance the mental conditions of characters . George Gibian explored traditionalsymbolism [2] within Crime and Punishment , and came to find that many motifshave religious roots. Ranging from Christianity to Paganism to Russian Orthodoxy, Dostoevsky’s implementation of images such as water, vegetation, air, and earth come together to express the mental state of the characters immersed in a particular setting. For example, Gibian described how water is used as a symbol of rebirth or regeneration. In Crime and Punishment , Raskolnikov would aimlessly walk about the setting in moments where his mind and thoughts were chaotic. He would end up in symbolically important nature scenes, for instance beside a river that ran through his town, or on the ground surrounded by bushes and trees. When near the water, he would feel the weight of guilt coming from the crimes he has committed. “He stared at the darkening water of the canal. He seemed to be scrutinizing this water. At last red circles danced before his eyes, the buildings swayed, the passersby, the embankments, the carriages- everything around him began to swirl and dance. All of a sudden he shuddered. A wild and grotesque scene saved him, perhaps, from another fainting spell.” (Dostoevsky, 1866, pg. 163). In this scene, Raskolnikov’s physiological symptoms begin to arise as his consciousness fights for contrition. This is important because Raskolnikov’s proximity to water when these feelings arise is representative of the good side of his conscience, trying to push him in the direction of what is right.

While water and vegetation are symbols that typically have a positive connotation, their presence can be used to emphasize the degeneration of one’s mental state . An example would be Svidrigailov, a character whose presence is nothing short of problematic. He strives to satisfy his erotic desires regardless of who may be harmed in the process, solidifying his position as one of the antagonists in Crime and Punishment . Svidrigailov also possesses a dislike for nature. This is shown when he visits St. Petersburg, and in his final night of life he ends up spiraling in his hotel room. During this downward spiral, he hears the sound of trees rustling outside of his window combined with rain. Instead of comforting him, they drive him further towards insanity. “‘The trees are sighing. I must admit I don’t care for the sighing of trees on a dark, stormy night- it gives me the creeps!’” He takes time to contemplate his life, saying, “ ‘I never in my life liked water… You’d think now, of all times, I’d be indifferent to these fine points of esthetics and comfort, whereas actually I’m fussier,’” (Dostoevsky, 1866, pg. 480). He resents the sound of vegetation when having a mental breakdown, and he ends up committing suicide in the midst of a fog that has emerged after a thunderstorm- showing his opposition to growing as a person. The use of nature as a way to reflect internal torments and emotions of different characters shows Dostoevsky’s proficiency in storytelling. Having the character’s surroundings speak the unspoken about what they may be feeling adds a level of meaning to the novel. This implementation of pathetic fallacy strengthens the story while aiding the reader in understanding the message of the text. When looking at the novel as a whole, it is clear nature bridges a connection between the audience and the author, by contextualizing events using the description of the setting where they take place. The narrator establishing the environment before delving into details about actions is a way to indicate to the reader potential outcomes of events, or foreshadow underlying emotions.

Symbolism in this novel does not stop with traditional aspects. Janet Tucker [3] explored the significance of clothing in respect to a character’s religious prospects and how their clothing reflects their beliefs or state of mind. When being worn by someone who has dedicated their life to Christ, clothing is modest and kept to the best of their ability. Sonya is a character in Crime and Punishment who serves as a deuteragonist, being one of the women that only have pure intentions when it comes to helping Raskolnikov. She tries to help Raskolnikov find faith and become a better person, and she does her best to comfort him in his worst moments of mental distress. Sonya even follows Raskolnikov to Siberia when he is imprisoned, despite his resistance to loving her. After analyzing this description of character, it can be said that Sonya’s clothes reflect the graciousness of her soul. She conceals her body in rags because she is poor, although she tries her best to keep them from becoming tattered, showing her values and how she maintains her composed state of mind. Comparing her to Raskolnikov, his mental state is too far distracted for him to care about trivial matters such as his appearance. His clothes are riddled with holes, and he lacks the incentive to fix the damage. An interesting point that Tucker made is how Raskolnikov uses his clothes in his crimes. He wears an overcoat that he uses to conceal his murder weapon and the items he has stolen from Ivanovna after killing her. Considering this, Tucker’s point is validated by the quality of clothing matching the quality of the person who bears it. Dostoevsky using clothing to portend the mental state and values that characters hold is a creative and effective way to give the readers insight as to how they will be progressing throughout the novel. Astute members of the audience will be able to recognize the differences among presentation of characters and base predictions about their actions off of their clothing. It is also interesting to see how characters’ religious affiliations can be observed through their attention to quality of clothing, reflecting how they choose to preserve and care for their items. In contrast to nature’s reflection of emotions, clothing gives insight about personal traits and the morals that shape a character into who they are.

While symbolism is important to developing the meaning behind Crime and Punishment , what makes this novel so notable are the philosophies it both challenges and embraces unintentionally. Existentialism [4] is a philosophy maintaining the belief that as individuals, there is a right within everyone to determine quality of life through acts of free will. It is easy to see how Crime and Punishment can be regarded by many existentialists as representative of this philosophy, but overall Dostoevsky is not one many would like to consider an archetype for existentialism. And, in retrospect, he is not. Dostoevsky’s main character in Crime and Punishment spends a lot of his time soliloquizing his belief that certain men are greater than others. Raskolnikov thinks men like this come to be by exercising their free will in ways that defy the common laws of life, but with the intention that what they are doing will better the world in the end. This idea is the reason behind Raskolnikov’s eventual murder of Alyona Ivanovna, a pawnbroker, and her half-sister Lizaveta. He kills Ivanovna as a way to test if he can be one of these people, but quickly discovers in the throes of his crime that he is not. This misconstrued idea of free will presented in Crime and Punishment can be where many begin to wonder if Dostoevsky was an existentialist. But a conclusion can be made that Dostoevsky’s free will is psychologically based and pushes the boundaries between what is right and what is wrong. Existentialism, on the other hand, is a philosophy centered around creativity and authenticity of the self.       

On a more granular level, while Dostoevsky was not an existentialist, his work shows his agreement with the philosophical concept of ego transcendence [5] . Transcendence of the ego is described as an advancement of the “authentic self” through experiences that result in a greater awareness. Once this awareness is achieved, this person usually begins to see themselves as greater than the average human. This is easily relatable to Raskolnikov’s philosophy that he reiterates often throughout the novel. The way that Dostoevsky sets his characters up for transcendence is through suffering. Richard Chapple analyzed the way Dostoevsky progresses Crime and Punishment by noting the use of the prism of the divine [6] . The prism of the divine includes 6 reasons that people suffer, and Dostoevsky provides different scenarios for representations of each reason. Raskolnikov suffers as a result of “recognition of transgression,” which is his guilt overpowering him after killing two women. It is even more stressful because in this guilt he realizes that he is not the monumental person he thought he was. In turn, he suffers because of “involvement in the torments and suffering of others,” as a result of brutally murdering his victims, followed by “greed and ambition.” Once failing to follow through with his entire plan beyond murdering Ivanovna, the weight of his ambition becomes heavy as it never had a chance at being attained. This dissatisfaction with himself contributes more to his depression than the fact that he is a murderer.

The last three prisms of the divine are “lack of faith,” “pride,” and the “inability to love.” Here, it is important to note Chapple’s perspective on how pride stems into all categories of suffering. Chapple discussed concepts such as clothing, a previously mentioned symbol, and how its relation to pride can be interpreted. He states, “The proud often suffer because of poverty or other seemingly external circumstances such as name, clothing and position. Pride generates a façade, and characters wear masks to conceal an inner reality…” (1983, p. 97). While Raskolnikov’s hubris is his biggest torment, Raskolnikov suffers for all of these reasons, and these intersections are where Sonya tries to ease his pain. When Raskolnikov is in his apartment with Sonya and is attempting to explain his crimes, she reassures him that she will not forsake him as he believes she will, going as far as to promise to follow him wherever he goes, even to prison. When he asks her what he should do, she advises him to go back to where he committed these atrocities, kiss the earth and kneel on the ground, then confess aloud that he is a murderer. By doing so, he is confessing to God and has a chance of being forgiven for his sins.

While religion plays a big role in Crime and Punishment , Dostoevsky’s implementation of Lazarus is predominately referencing the song rather than the biblical story- though that is mentioned. The Lazarus song [7] is a song that encapsulates the belief that the relationship between the rich and the poor should include the rich helping those in poverty by almsgiving. When Raskolnikov is preparing to face Porfiry Petrovich, a detective in the case of Ivanovna and Lizaveta’s murders, he says to himself “I’ll have to play the part of Lazarus for him too,” ( Crime and Punishment , 237). When Raskolnikov says this, he means that he is going to have to embrace his situation as a poor, college dropout, as a way to appear more innocent to Petrovich. This manipulation is seen from the side of poor people such as Raskolnikov, but also from those of wealth.

Raskolnikov’s sister, Dunya, was engaged to a man of the name Luzhin who expected her to marry him out of desperation. When Dunya backs out of the marriage, Luzhin scolds himself for not using his money to manipulate her into staying by purchasing expensive gifts, as opposed for thinking he should have treated her better. It is through secondary characters like these when many underlying messages are being portrayed. While Raskolnikov is the central character of Crime and Punishment , Dostoevsky uses secondary characters as a way to reflect certain aspects that Raskolnikov may be lacking, such as consciousness and an ability to recognize and admit to one’s mistakes. With Sonya, she was a part of a family that forced her into prostitution because they were too poor to provide for her, with a father who was too drunk to care. Marmeladov was the father’s name, and he is who Raskolnikov first meets in a bar and confesses to his shame about the situation he has put his daughter in. Similarly, Raskolnikov’s mother reduces his sister to working in uncomfortable scenarios in order to be able to send Raskolnikov to college. She feels guilt at this when Dunya becomes the center of town drama, after the husband in the family she works for begins to lust after her. These characters have made mistakes, but what parallels them to Raskolnikov is the fact that they acknowledge their wrongs, whereas he has to find the courage to do so .

Raskolnikov’s struggles with admitting that he can make mistakes like anybody else stem from his beliefs that there are two types of people in the world. He references Napoleon throughout the novel, because he believes him to be an example of how things considered to be bad have to happen in order for progress to be made. Pearl Niemi defines this as “power-cult [ 8] ,” the part of Raskolnikov believing in certain people’s superiority to regular laws. The part of Raskolnikov that cripples him once he tries exercising this belief can be referred to as “child-cult.” The child-cult is Raskolnikov’s emotions and thoughts that challenge the power-cult and ultimately overtake it. This duality within Raskolnikov has an interesting relation with his name. “Raskolot,” is the Russian verb meaning division, or split. When analyzing the schism between Raskolnikov’s feelings and actions, it gives his name a greater meaning and shows how Dostoevsky was very intentional with his work.

Considering what makes a novel notable, Hugh Curtler [9] elaborated on the idea that a novel which can be widely interpreted is what makes it memorable. Curtler referred to the part of the writer that allows for this to happen as the “poet,” because they write without clarification. In this respect, they acknowledge how Dostoevsky was successful at this throughout the majority of Crime and Punishment. Where Curtler thought Dostoevsky failed with this novel is in the epilogue. Instead of leaving the audience to gather their own opinions about certain aspects, he writes an epilogue that confirms what would have been better left unsaid, specifically Raskolnikov’s ability to feel emotions such as sadness, love, regret,etc .

In retrospect, Dostoevsky’s use of time, symbolism, and philosophical aspects in Crime and Punishment each provide different levels of meaning to the story. When incorporating the concept of time in terms of context and story progression, it allows the reader to grasp the importance of the events being foreshadowed, in addition to understanding the influences on decisions of characters. His attention to detail using motifs to communicate underlying emotions and intentions of his characters creates another layer of meaning for this novel, as the interpretation of these motifs make Crime and Punishment different for every reader. And lastly, Dostoevsky’s novel embraces different philosophies, while simultaneously maintaining its individuality from any one ideology. He writes this novel in a way where it applies to different ideals, wherein itself it is exclusive from being categorized, due to its unique central message. This message is one that can be applied to many time periods in history, including the 21 st century. The inevitable progression of societies tends to commonly leave those who are underprivileged to fend for themselves. When this isolation persists, is it unexpected to have people who attempt to create a life for themselves trying to prove that they are worth something, when their government treats them like nothing? Crime and Punishment provides a variety of perspectives for the audience’s consideration. Despite the many ways that this novel can be read and interpreted, one thing is clear, Crime and Punishment is illustrious.

Bourgeois, P. (1980). Dostoevsky and Existentialism: An Experiment in Hermeneutics. Journal of Thought, 15(2), 29-37. Retrieved May 8, 2021, from http://www.jstor.org/stable/42588842

Chapple, R. (1983). A Catalogue of Suffering in the Works of Dostoevsky: His Christian Foundation. The South Central Bulletin, 43(4), 94-99. doi:10.2307/3187246

Curtler, H. (2004). The Artistic Failure of Crime and Punishment.  Journal of Aesthetic Education,   38 (1), 1-11. doi:10.2307/3527358

Dostoevsky, F. (1866). Crime and Punishment. Signet Classics.

Gibian, G. (1955). Traditional Symbolism in Crime and Punishment.  PMLA,   70 (5), 979-996. doi:10.2307/459881

Harrison, L. (2013). THE NUMINOUS EXPERIENCE OF EGO TRANSCENDENCE IN DOSTOEVSKY. The Slavic and East European Journal, 57(3), 388-402. Retrieved May 8, 2021, from http://www.jstor.org/stable/43857534

Ivanits, L. (2002). The Other Lazarus in Crime and Punishment.  The Russian Review,   61 (3), 341-357. Retrieved May 8, 2021, from http://www.jstor.org/stable/3664132

Kohlberg, L. (1963). Psychological Analysis and Literary Form: A Study of the Doubles in Dostoevsky. Daedalus, 92(2), 345-362. Retrieved May 8, 2021, from http://www.jstor.org/stable/20026782

Niemi, P. (1963). THE ART OF “CRIME AND PUNISHMENT”.  Modern Fiction Studies,   9 (4), 291-313. Retrieved May 8, 2021, from http://www.jstor.org/stable/26278717

Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

Tucker, J. (2000). The Religious Symbolism of Clothing in Dostoevsky’s Crime and Punishment. The Slavic and East European Journal, 44(2), 253-265. doi:10.2307/309952

[1] Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

[2] Gibian, G. (1955). Traditional Symbolism in Crime and Punishment. PMLA, 70(5), 979-996. doi:10.2307/459881

[3] Tucker, J. (2009). Dostoevsky’s “Crime and Punishment”: Stopping History’s Clock. Russian History, 36(3), 443-453. Retrieved May 8, 2021, from http://www.jstor.org/stable/24664577

[4] Bourgeois, P. (1980). Dostoevsky and Existentialism: An Experiment in Hermeneutics. Journal of Thought, 15(2), 29-37. Retrieved May 8, 2021, from http://www.jstor.org/stable/42588842

[5] Harrison, L. (2013). THE NUMINOUS EXPERIENCE OF EGO TRANSCENDENCE IN DOSTOEVSKY. The Slavic and East European Journal, 57(3), 388-402. Retrieved May 8, 2021, from http://www.jstor.org/stable/43857534

[6] Chapple, R. (1983). A Catalogue of Suffering in the Works of Dostoevsky: His Christian Foundation. The South Central Bulletin, 43(4), 94-99. doi:10.2307/3187246

[7 ] Ivanits, L. (2002). The Other Lazarus in Crime and Punishment. The Russian Review, 61(3), 341-357. Retrieved May 8, 2021, from http://www.jstor.org/stable/3664132

[8 ] Niemi, P. (1963). THE ART OF “CRIME AND PUNISHMENT”. Modern Fiction Studies, 9(4), 291-313. Retrieved May 8, 2021, from http://www.jstor.org/stable/26278717

[9] Curtler, H. (2004). The Artistic Failure of Crime and Punishment. Journal of Aesthetic Education, 38(1), 1-11. doi:10.2307/3527358

Citation style: APA 6 th edition

Essay on Crime And Punishment

Students are often asked to write an essay on Crime And Punishment in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Crime And Punishment

Understanding crime.

Crime is an act that breaks the law. It can be small, like stealing candy, or big, like robbing a bank. Some people commit crimes because they are poor, others because they want power or excitement. No matter the reason, crime harms others and disrupts peace in society.

Purpose of Punishment

Punishment is given to people who commit crimes. It serves two main purposes. First, it discourages the person from committing the crime again. Second, it warns others that crime leads to unpleasant consequences.

Types of Punishment

Punishments can be different based on the crime. For small crimes, punishments can be fines or community service. For serious crimes, punishments can be jail time or even the death penalty in some places.

Effectiveness of Punishment

Punishment can stop people from committing crimes, but it’s not always effective. Sometimes, people commit crimes again after being punished. This shows that we need to find better ways to prevent crime, like education and providing opportunities.

250 Words Essay on Crime And Punishment

Understanding crime and punishment.

Crime refers to acts that break the law. These are actions that society and law consider wrong. For example, stealing or hurting someone physically. Punishment, on the other hand, is what happens when someone commits a crime. It could be a fine, jail time, or community service.

Why Crimes Happen

People commit crimes for many reasons. Some do it out of need, like stealing food to eat. Others might do it because they think it’s fun or exciting. Sometimes, people commit crimes because they are angry or upset. Understanding these reasons can help us stop crimes before they happen.

Punishments are given based on the crime. Small crimes, like stealing a candy bar, might result in a small fine. Bigger crimes, like hurting someone, could lead to jail time. Some punishments aim to help the person learn from their mistakes, like community service.

Effect of Punishment

The goal of punishment is to stop people from committing crimes. It makes people think twice before doing something wrong. Yet, sometimes, punishment doesn’t work. Some people continue to commit crimes even after being punished. This shows that we need to find better ways to stop crime.

In conclusion, crime and punishment are important aspects of our society. They help keep order and ensure safety. By understanding the reasons behind crime and the effects of punishment, we can work towards a safer and more peaceful society.

500 Words Essay on Crime And Punishment

What is punishment.

Punishment is what happens when someone is found guilty of a crime. It’s a way for society to show that breaking the law is not okay. Punishments can also be different based on the crime. For example, if someone steals, they might have to give back what they stole and spend some time in jail. If someone hurts another person, they might have to go to jail for a long time.

The Purpose of Punishment

Punishment serves several important roles. First, it helps to teach the person who committed the crime that what they did was wrong. This is called deterrence. The idea is that if the punishment is tough, people will think twice before committing a crime.

Finally, punishment can also help the person who committed the crime to become a better person. This is called rehabilitation. The idea is to help them understand why what they did was wrong and how they can avoid doing it in the future.

The Balance Between Crime and Punishment

It’s important to make sure the punishment fits the crime. This means that the punishment should be just right – not too harsh, not too light. If the punishment is too harsh, it’s not fair to the person who committed the crime. If it’s too light, it might not stop them or others from committing more crimes.

Final Thoughts

Crime and punishment are important parts of our society. They help keep order and teach people the difference between right and wrong. It’s a complex system, but it’s necessary to ensure that we can all live in peace and safety. It’s also a system that is always changing and evolving, as we learn more about what works best to deter crime and rehabilitate those who have committed crimes.

Remember, the goal is not just to punish, but also to prevent future crimes and help those who have committed crimes to become better people. This way, we can all live in a safer and more peaceful society.

That’s it! I hope the essay helped you.

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78 Crime and Punishment Essay Topic Ideas & Examples

🏆 best crime and punishment topic ideas & essay examples, ✏️ good research topics about crime and punishment, 📌 interesting topics to write about crime and punishment, ❓ questions about crime and punishment.

• Is the Murder in Dostoyevsky’s Novel “Crime and Punishment” Justified? In the same way, the greed and avarice of the old Alyona Ivanovna do not justify the commission of such a violent and severe crime.
• Utilitarianists’ Ideology in “Crime and Punishment” by Fyodor Dostoyevsky The main character of the novel Crime and Punishment by Dostoyevsky was influenced by the ideas of West European utilitarianism, based on the theories of correct actions and values.”New, “strange, unfinished ideas’ ‘ of Western […]
• The Long Way to Confession in Fyodor Dostoevsky’s Crime and Punishment The act of confession is one of the central themes in Crime and Punishment, since it is the climax point of the novel signifying crucial changes in Raskolnikov’s mental and physical state.
• Reading “Crime and Punishment” by Dostoevsky The most important moments from the first part occur in the second chapter, when Raskolnikov, in a conversation with Marmeladov, expresses his opinion that poverty is not a vice it is the truth, while severe […]
• Raskolnikov’s Crime: The Novel Crime and Punishment It is possible to dream in such places, but hardly to live, as the physical and spiritual health of Dostoevsky’s characters plainly testifies.
• The Victim Is Always Guilty: “Crime and Punishment” by F. Dostoyevsky Dostoyevsky explores a variety of issues that concern the aspects of crime and the relation between the criminal and his victim.
• Raskolnikov’s Crime in Dostoevsky’s “Crime and Punishment” Using the ingenuity of Fyodor Dostoevsky and his eternal masterpiece Crime and Punishment, the paper is going to prove the idea that the actual crime committed by Rodion Raskolnikov was the arrogance he had towards […]
• Part IV of Fyodor Dostoevsky’ “Crime and Punishment” Bearing in mind Svidrigailov’s motives, we can say that he is a man of honor, as he wants to compensate his fault in Dunya’s eyes and worries about her future.
• Female Images in the Novel “Crime and Punishment”
• The Discussion of Duality of the Characters in “Crime and Punishment”
• Tracing Inequality in “Crime and Punishment”
• Existentialism in “Demian” and “Crime and Punishment”
• The Criticism of Socialism in the Novel “Crime and Punishment”
• Religious Symbolism in “Crime and Punishment”
• Fyodor Dostoyevsky’s Extraordinary Man Theory in “Crime and Punishment”
• The Use of Crime as a Device in “Crime and Punishment”
• Physical and Mental Suffering in Fyodor Dostoevsky’s “Crime and Punishment”
• Comparing Moral Systems in “Lord of the Flies,” “Crime and Punishment,” “Scarlet Letter,” and “Pygmalion”
• The Theme of Madness and Mental Delusion in Fyodor Dostoevsky’s “Crime and Punishment”
• The Limitations of Reason Exposed in “Crime and Punishment”
• Ethical Transformation of Self in Fyodor Dostoevsky’s “Crime and Punishment”
• An Overview of the Realism in “Crime and Punishment” by Dostoevsky
• A Literary Analysis and a Comparison of “Crime and Punishment” by Fyodor Dostoyevsky and “A Doll’s House” by Henrik Ibsen
• The Dismal Society That Traps Russians in Dostoevsky’s “Crime and Punishment”
• The Bolshevik Revolution and Its Relation to “Crime and Punishment”
• The Importance of Minor Characters in “Crime and Punishment”
• Utilitarianism in Dostoevsky’s “Crime and Punishment”
• Christianity in “Crime and Punishment” by Fyodor Dostoyevsky
• Comparing Suffering in “Crime and Punishment” and “One Day in the Life”
• The Symbolism of the Cross in “Crime and Punishment”
• A Comparison of the “Crime and Punishment” by Dostoevsky and “Othello” by Shakespeare
• Psychoanalysis in Dostoevsky’s “Crime and Punishment”
• Depiction of Social Issues in the “Brothers Karamazov” and “Crime and Punishment” by Fyodor Dostoyevsky
• The Protagonist and Antagonist of “Crime and Punishment”
• The Motif of Poverty Throughout “Crime and Punishment” by Dostoyevsky
• The Complexity of Characters in Dostoyevsky’s Novel “Crime and Punishment”
• Application of Psychoanalysis on Dreams in Dostoevsky’s “Crime and Punishment”
• Comparisons Between “A Hero of Our Times” by Lermontov and “Crime and Punishment” by Dostoevsky
• A Character Analysis on Raskolnikov in “Crime and Punishment”
• Rationalizing Radicalism in “Crime and Punishment” vs. “Demons” by Dostoevsky
• An Analysis of the Theme of Alienation in “Crime and Punishment” by Fyodor Dostoyevsky
• Kindness and Cruelty in “Crime and Punishment”
• The Theory of Duality of Personality in Dostoevsky’s “Crime and Punishment”
• The Influence of the Environment on the Profession of Sonia in “Crime and Punishment” by Fyodor Dostoevsky
• Motivation of Raskolnikov’s in Fyodor Dostoevsky’s “Crime and Punishment”
• The Underlying Message in “Crime and Punishment” by Fyodor Dostoyevsky
• The Questions Raised in the Novel “Crime and Punishment”
• How Would You Describe the Protagonist and Antagonist of “Crime and Punishment”?
• What Is the Main Idea of “Crime and Punishment” by Fyodor Dostoyevsky?
• When Was the “Crime and Punishment” Written?
• What Is the List of “Crime and Punishment” Characters?
• Who Are the Main Characters of “Crime and Punishment”?
• How a Real-Life French Serial Killer Inspired Dostoyevsky to Write “Crime and Punishment”?
• What Is the Nature of Sonia’s Kindness in “Crime and Punishment”?
• What Are Some Interesting Facts About the Book “Crime and Punishment”?
• Why Are the Names Blanked Out in “Crime and Punishment”?
• What Is the Value System in “Crime and Punishment”?
• What Were the Conditions of Raskolnikov’s Life From “Crime and Punishment”?
• Is Raskolnikov From “Crime and Punishment” a Spiritual Person?
• Is “Crime and Punishment” an Example of an Empirical View of Utilitarianism?
• How Is the Theme of Nihilism Described in “Crime and Punishment”?
• What Is the Role of Dreams in “Crime and Punishment”?
• How Do the Main Characters of “Crime and Punishment” Cope With Their Suffering?
• What Time Period Does “Crime and Punishment” Take Place In?
• How Would You Refute the Statement That Raskolnikov in “Crime and Punishment” Kills for Financial Gain?
• Which View of Poverty, Pride, and Suffering in the Novel “Crime and Punishment”?
• Why Sonya Is an Extraordinary Woman in the Novel “Crime and Punishment”?
• Is There a Connection Between the Bolshevik Revolution and “Crime and Punishment”?
• What Are Raskolnikov’s Main Motives in “Crime and Punishment”?
• How St. Petersburg Life Is Depicted in Fyodor Dostoevsky’s Novel “Crime and Punishment”?
• What Literary Devices Are Used in “Crime and Punishment”?
• How Many Pages Is “Crime and Punishment”?
• What Was the Philosophy and Ideology of Raskolnikov From “Crime and Punishment”?
• What Is the Moral Lesson of “Crime and Punishment”?
• Does Raskolnikov From “Crime and Punishment” Have a Mental Illness?
• What Happened to Raskolnikov in the End of “Crime and Punishment”?
• Why Does Raskolnikov From “Crime and Punishment” Decide to Confess His Crime?
• Catcher in the Rye Topics
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Themes and Analysis

Crime and punishment, by fyodor dostoevsky.

“Crime and Punishment” features salient themes that are relevant today as they were in Dostoevsky's Russia.

Main Themes

• Dangerous Effects Of Nihilism: Using dangerous idea to commit crimes in guise of service.
• Alienation: A man's pride and guilt caused his disconnection from society.
• Helplessness: Humanity in a tussle with fate, leaving morality thoroughly defeated.
• Realism: Accurate portrayal of St. Petersburg's harsh reality.
• Symbolism: Objects and characters reflect abstract ideas and connotations.
• Psychological fiction: Deep exploration of characters' thoughts and feelings.
• The Axe: The axe is a representation of Razkolnikov's violent and destructive tendencies, signalling his deep-seated turmoil and the weapon of his crime.
• The Yellow House: This is a reflection of Razkolnikov's dark, oppressive and cramped inner world, hinting on the setting of his crime and overall mental state.
• Sonya's Cross: An embodiment of spiritual renewal, sacrifice and redemption — highlighting Sonya's role as not just a symbol of hope, but a key to Raskolnikov's salvation.

The beginning of this novel introduces us to Rodion Raskolnikov who stormed many scenes painted in daring antagonistic colors, as he moved holding a terrible philosophical theory that justifies the inherent superiority of some individuals over others, where crimes against humanity are committed in the guise that they benefit the society. A pawnbroker would die in this case, causing Raskolnikov to be faced with guilt. The coming of a detective intensifies the storyline.

The progression of the story would show Raskolnikov's deteriorating mental state, as he has to deal with Porfiry, who has sworn to uncover the truth at the best possible cost. On the other end, his family members are plunged into worry from his strange behavior. This would take a sudden turn when his interaction with a certain Sonya would have him see reasons to question his actions and face the corresponding consequences.

In the final stage, the antagonist, Raskolnikov, kowtows to the weight of his sins, leading to a transformative journey to redemption, where his spiritual renewal made him understand the value for human life. The ending of the book raised many questions, especially as it concerns the subject of crime and punishment in the truest sense of it, and the vanity of life in its mundaneness.

Continue down for complete analysis to Crime and Punishment

Article written by Israel Njoku

Degree in M.C.M with focus on Literature from the University of Nigeria, Nsukka.

A stagnant and an oppressive atmosphere hover and sets the tune for the exploration of the morality of human nature, as well as the consequences of actions.

As the story unfolds, it gives rise to conflict and tension, gearing towards the climaxing of chaos and thick darkness, as morality, justice and redemption all peep from a few meters.

It Is a rollercoaster of intense events, constituting of investigation, crime and trial, creating a chance for an end where the truth is made bare to spark sober reflections.

With the use of different themes, Dostoevsky painted a clear canvass of the human condition, laying bare the destructive claws of Nihilism, the choking hold of alienation, and the caustic side effects of egoism. With an unmatched insight, he lit up the darkest dungeon of the human heart, exposing the fact that true punishment is not dependent on external punishment, but the inner torment that eats our very soul, bit by bit.

The Dangerous Effects of Nihilism

One of the key themes of “Crime and Punishment ” is the effect of harmful ideologies. The problem here is not simply that an individual comes to wholly believe in a dangerous idea and so carries it out, it is also about the parasitic effects of these dangerous ideas as they slowly corrupt our minds and subtly strip us of control and autonomy, pulling us towards the actualization of its destiny even when our hold of and understandings of these ideas are incomplete and tenuous. 

The theme of Alienation is a prominent this book, as Raskolnikov’s alienation from society as a result of his haughty ideals, as well as his overpowering guilt as a result of his murders, is one of the plot points that move the book. Raskolnikov’s ideas separate him from most of the rest of humanity in theory and principle. His conviction that society is divided between a few superior men and a mass of inferior men sets him on a proud and arrogant path that alienates him from most people whom he views as inferior. 

Although poor and near destitute, Raskolnikov still manages to feel disgusted at the surrounding poverty in his area of St Petersburg. After committing the murders, he is overpowered with guilt and a strong sense that he did not belong with society and with the pure people around him, who are far removed from his destructive and tortured state of mind. His guilt makes him believe he cannot bear to continue to interact and coexist normally with his family and friends, who are good people. 

Helplessness

The theme of helplessness is also featured in this book, as Raskolnikov is a very poor student who is dependent on sacrifices from his mother and sister to be able to sustain himself. Given that his family has high hopes for him and views him as a potential breadwinner, Raskolnikov finds himself under great pressure. 

This sense of hopelessness contributes to driving Raskolnikov towards the robbery and murders. Other characters in the novel also find themselves in helpless situations. Marmeledov cannot conquer his addiction and bring himself to stop drinking away the little money the family is able to procure, largely out of Sonia’s prostitution. Sonia herself is helpless against the forces that drove her into a life of prostitution against her will.

A much less pronounced, but definitely evident, theme in the book is that of Egoism. This is an idea espoused to different degrees by a number of characters in the book-namely the likes of Raskolnikov, Svidrigailov, and Luzhin. It can express itself in a direct, undisguised form in service of evil aims, as we see in Svidrigailov’s behaviors. 

Svidrigailov lives for his pleasures and base desires and is not embarrassed by them. He speaks freely to Raskolnikov about desiring and relishing the effort to get these desires. He lives entirely for his own pleasures and is not concerned about others until the very end.

The competing forces of natural good and learned evil

In this book, Raskolnikov seems to struggle with the moral demands of his conscience and that of his adopted nihilistic and rational egoistic philosophical outlook. Possibly resulting from his Christian background or a naturally altruistic and humanistic disposition, Raskolnikov seemed to have a basic constitution that has molded a conscience that inspires him to do good. We see this sentiment in his acts of charity towards the Marmeladovs as well as towards the young girl he saves from the lecherous individual stalking her on the streets. 

The philosophy of the extraordinary emphasizes his elevation over the troubles of the common people. It encourages a cold, statistical approach to life that sees the common people not as individuals but as numbers.

Punishment and Suffering

The theme of suffering and punishment is predominant in the book. The book seems to advance the idea that only commensurate punishment and suffering can put the condemned and guilty on the path to redemption. Repentance is not enough and must be backed by a genuine willingness to pay for one’s sins. After Raskolnikov murders the old pawnbroker, his punishment begins almost immediately after. He suffers from crushing guilt, illness, and self-loathing. He cannot master his conscience, and in the end, he succumbs to it.

His guilt and the triumph of his conscience mean he cannot get away with his crime. He betrays himself and therefore leads himself to be suspected by the authorities.

Analysis of Key Moments

The key moments in this novel are the moments of reckoning. They pierce through the skin of the mind like the cracked part of a thorny whip lashing fiercely on a soft Asian skin — some take a slow penetration, yet sharp and searing. These moments reveal the souls of the characters and the messy complexity into which they are submerged.

1. Raskolnikov witnesses a young student argue with an army officer over the morality of killing the old, detestable pawnbroker, Alyona. This is a key moment as it gives Raskolnikov an idea that led to his crime, making him to ponder on nihilism and justification.

2. Raskolnikov has a dream where he tries to prevent some peasants from heartlessly maltreating a mare. As a key moment, this shows Raskolnikov’s compassionate side which is a stark contrast of his inner mind — a battle between idealogy and empathy.

3. Raskolnikov receives a letter from his mother outlining the interesting events happening at home with his family. As A key moment, this was the letter that humanized Raskolnikov to show compassion for family which is contrary to his darkening worldview and isolation.

4. Raskolnikov kills Alyona the pawnbroker and her sister Lizaveta. With this, the motion for the novel’s central conflict was set, pushing other plots and opening up Raskolnikov’s psychological downfall.

5. The police begin to suspect Raskolnikov due to his strange behavior at the station after his landlady reports him over unpaid rent. This moment further pushed Raskolnikov’s fall, as it served as the window through which his inner turmoil and sense of doom was seen.

6. Luzhin makes the unfavorable acquaintance of Raskolnikov — when this happened, it set the pace for subsequent happenings that unraveled the characters’ hidden motivation, leading to the a dramatic turnaround in the story.

7. Dunya and Pulcharia arrive in Saint Petersburg. They are shocked at Raskolnikov’s cold and erratic behavior. The coming of this reunion served as the highlight of Raskolnikov’s emotional disintegration, opening up the terribleness of his crime on his relationship and sorry mental state.

8. breaks off the engagement with Luzhin; A spiteful Luzhin blames Raskolnikov and plans his revenge. This moment served as the ignitor of vengeful events, enclasping Raskolnikov in the thorny claws of guilt, shame and ultimately, redemption

9. Svidrigailov tries and fails to rape Dunya. With this occurrence, Svidrigailov’s true nature became known, further intensifying the suspense of the story, as it forshadowed the tragic confrontation with Raskolnikov.

10. Porfiry encourages Raskolnikov to confess and accept his suffering in a heart-to-heart talk. As a significant moment, the words of Porfiry pierced through Raskolnikov’s soul, propelling him towards redemption when he stood face to face with the depth of his guilt and humanity.

11. Raskolnikov confesses his crime to Sonia, thn the Police. Hence, the turning point of his moral journey and the biggest step towards personal rebirth.

12. Raskolnikov repents for real in a Siberian prison and acknowledges the defectiveness of his ideas. A genuine repentance that became the hallmark of his transformative shift, making him to see the flaw of his idealogy so that he embraced a newfound sense of humility.

Style, Tone And Figurative Language

The tone, style and figurative language in Crime and Punishment subtly speak to the souls of the readers aside the obvious messages contained herein. Dostoevsky used them to pass abstract messages and succinctly so. 

Many styles were used in this book, however, three stand out as mentioned earlier — realism, symbolism and psychological fiction . In the 19th century, realism was the movement, hence it is no wonder seeing that this book take that path. Realism aims to depict life as it truly is, giving detailed description of ordinary people like the vivid picture of St. Petersburg slums shown, when used to describe the squalor of Raskolnikov’s surrounding. Besides, the characters themselves are not romanticized heroes, but ordinary people who passed through the hurdles of an everyday life.

Symbolism was also one of the styles, as sbolic elements were used to subtly pass messages deeper than their ordinary meanings. For instance, the Yellow wallpaper in Raskolnikov’s cramped room can passes for the deterioration of his mental state and isolation. Also, the dream of the mare being beaten to death symbolizes not just the violence of his act, but also the guilt that comes after.

Psycological fiction as a style came into play when the story explored deeply into the inner minds of the characters — this was seen in the areas of their thoughts, motivation, aspiration, emotional breakdown and sober reflections. We saw Raskolnikov struggled with paranoia and regret, as he faced the consequences of his crime. We peeped through the window of his internal battles and how he philosophically justifies murder as a psychological mechanism for mental escape, and all through the slow process of the unraveling of his mental sanity.

Key Symbols

Beyond literal interpretation, some key symbols convey deeper meanings that connect with readers’ minds on a subconscious level — giving the book an added layer of depth and complexity, evoking strong emotions that keep readers glued to the fleeting flipping of pages.

The Hay Market

A section of St. Petersburg that is reserved for the very poor. This area is the symbol of poverty, and of the common destitute that Raskolnikov feels himself above. There is a distinct sense of filth and wretchedness that Raskolnikov comes to be all too aware of when he passes by. By making Raskolnikov come here to confess, Sonia makes sure Raskolnikov gets the fullest possible punishment for his murders. This is because the hay market is populated by a mass of people whom Raskolnikov despises and thinks are inferior to himself. Confessing here accentuates his humiliation but at the same time fast tracks his redemption.

Sonya’s Cross

The cross is a symbol of wilful suffering in service of pious and redemptive aims. Raskolnikov goes to take Sonia’s cross only when he is ready to confess publicly for his sins as mentioned earlier in the key symbols of the book, this means for Raskolnikov, the cross has become a symbol of the acceptance of punishment. Also, as a Christian symbol of faith redemption, the cross symbolizes the path to these places, offered by Sonya to Raskolnikov. In a way also, the cross is a connection of love between them, as her faith and love became the path that set the pace for him for a better future.

Saint Petersburg

The city of Saint Petersburg was often sen as the most Westernized Russian city, therefore for Slavophiles, or people with slavophilic sentiments in post-Petrine Russia, Saint Petersburg was the most corrupt of Western cities, the city that has strayed farthest from traditional Russian values. The city is depicted this way in this book. Raskolnikov’s descent into the dark extremities of radical ideals begins only after he abandons the conservative society of rural Russia for corrupting Saint Petersburg. The city disgusts Raskolnikov, too, with its stench of filth and poverty and cynical residents. It is infested by “foolish” ideologues, too.

The axe is one of the key symbols in this book used to connote a couple of meanings. It is Raskolnikov’s immediate instrument of crime. The axe’s physical weight is a symbol of the psychological burden he is faced with. It also symbolizes the elements of brutality and agony. In the area of severance, the exe didn’t only severs Alyona Ivanovna’s life, but also a connection tool between Raskolnikov and the society with salvaging to a decaying moral sense. It is unknown to Raskolnikov that the act of weilding the axe is a representation of his splintering identity; he thinks he is above societal laws, but it is only a fractured identity of self.

The Yellow House

Yellow color was used on other objects throughout the novel, but the color in the houses of prominent figures was used to symbolize moral decay, poverty of reason and the deep-seated illness amongst the elite class despite their seeming abundance. The color is even a reflection of Raskolnikov’s own internal state in the guise of isolation and confinement, as he felt trapped within the confines of mental deterioration and crime, even though he didn’t outrightly admitted this. A close looks also tells that the yellow houses has a connection with immorality and vice, especially the presence of prostitutes.

Reading through this book left me breathless. The story took me by the hand and forced me to run through the grimy street of St Petersburg in almost real-time. Dostoevsky doesn’t just tell a story, he throws you into the suffocating heat of the rollercoaster of happenings. Reasoning Raskolnikov’s justification of murder left me in mental stitches. I like not just how the book doesn’t bother to shy away from brutality, but how it also forces you to see the desperation that fuels it, and how the world at large is devoid of genuine meaning. To me, Crime And Punishment is more than just some cool psychological thriller, it is a valuable pack of life lessons, especially as it concerns the fight for redemption in the face of immense darkness. Although there were moments where the book got a little too dense for my liking; especially in pages of Raskolnikov’s many internal monologues — a bit redundant, but I like to say that I saw the necessity. Hold on please, Dostoevsky is a genius! Because how can a book be centered around a murderer and leave you with a deep sense of humanity? 

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About Israel Njoku

Israel loves to delve into rigorous analysis of themes with broader implications. As a passionate book lover and reviewer, Israel aims to contribute meaningful insights into broader discussions.

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Crime and Punishment Fyodor Dostoevsky

Crime and Punishment essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Crime and Punishment by Fyodor Dostoevsky.

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Crime and Punishment Essays

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