The conflict that dominates Crime and Punishment stems from the internal growth of Raskolnikov. Raskolnikov is battling two opposing personalities in his mind, both of which are trying to control him. The murderer, whose egoism and poverty are the driving forces behind his actions, is brought out on one side. In the other, his conscience is motivated by his love of others. The conflict is ongoing throughout the entire book. Raskolnikov finally accepts his sin, acknowledges that he was wrong, and gives his life to Sonia, God, and his conscience. Dostoevsky, in Crime and punishment, tries to capture the complexity and growth of Raskolnikov. Irony is a literary device that Dostoevsky uses to accomplish this goal. Irony is a contrast in what people say and what they mean, or between the actual and expected. In verbal humor, the characters say something opposite to what is meant. Situational irony is when the unexpected occurs. As it reveals the pivotal turning points in Raskolnikov’s life, Crime and Punishment contains both verbal and scene irony.
Marmeladov’s ramblings are the first to use irony. Marmeledov’s statement, “Crucify, judge…He Is…He Will Forgive My Sonia” is ironic. Marmeladov, who is drunk, is introducing a central Christian message to the novel. Sonia also has an ironic side. The novel portrays her as the epitome purity and innocence, even though she’s a prostitute. Raskolnikov undergoes a radical transformation when these two concepts come into play. They reveal Dostoevsky’s deep faith in Christianity.
Raskolnikov uses irony to his advantage in the first part of his plot. Raskolnikov has a hard time making a decision. Raskolnikov vacillates over his decision. Two ironic events eliminate his indecision. “My God!” he exclaims immediately after the dream. I couldn’t make myself do it…I didn’t want to do that…I just couldn’t! Raskolnikov hears a man say at a bar, “I can kill that old woman, and I’ll make off with all her money. I promise you. Without the slightest conscience prick.” The irony of the statement shocks Raskolnikov because he also had the same idea. It is this statement which gives Raskolnikov the justification to murder the pawnbroker, believing it will be beneficial for others. Raskolnikov is influenced by this ironic incident, which has a “significant influence” on his actions.
Raskolnikov is guilty of irony from the beginning. Raskolnikov’s guilt is triggered by situational irony when he hears a knock at the door of the apartment where the pawnbroker lives. Raskolnikov also experiences situational irony when he is summoned to the police department. He panics immediately and feels immense guilt. He doesn’t feel remorse for his crime because he thinks it was wrong. Instead, he feels remorse that he didn’t commit the murder perfectly. Ironically, the summons was not issued for the murder of Raskolnikov but rather because he has not paid any debts. Raskolnikov’s relief at discovering that his crime was justified is overwhelming. Raskolnikov’s mental illness is exposed by this ironic situation. Raskolnikov’s guilt comes from his cold, egoistical side. The guilt is then eliminated when Raskolnikov realizes that he has not been caught. The book ends with this form of guilt, which supports Dostoevsky’s message that it is only constructive when the benevolent part feels guilt for doing wrong.
Dostoevsky uses an ironic exchange between Raskolnikov & Zametov in order to highlight Raskolnikov duality, as well as the mental illness that is brought on by crime. Raskolnikov’s question in the pub after Zametov asks him insane questions regarding murder is ironic. Zametov knows nothing about Raskolnikov and Raskolnikov risked being caught for revealing this information. Dostoevsky employs irony here to show how guilt is creating great pain for Raskolnikov and making him feel the need confess. This reinforces Raskolnikov’s struggle with his dualities and adds suspense to the novel’s ending.
Nikolay confessing to the murder is also a significant irony. Porifry is trying to get Raskolnikov confess, but Nikolay breaks into the room and says “I Am Guilty… I Am the Murderer!” Dostoevsky uses this suspense to allow Raskolnikov some time before his confession. Raskolnikov wouldn’t have confessed if he had been forced to. Raskolnikov is also not guilty of Nikolay’s confession. It shows Raskolnikov’s dominance on the dark side.
Irony can also be found in Sonia’s conversation with Raskolnikov at the end of Chapter Four in Part Four. Raskolnikov calls Sonia “crazy” and suggests she commit suicide in this scene. However, he becomes intrigued by her strong religious beliefs and asks her about the murder of Lizaveta and the pawnbroker. He tells her he’s “broken (his family) totally.” This dramatic irony confuses Sonia because she doesn’t know that Raskolnikov was the murderer. Dostoevsky takes advantage of this irony to let Raskolnikov know that Sonia will forgive him and show an interest to Sonia’s faith. Raskolnikov is forced to confess and becomes a Christian.
Dostoevsky then uses irony to convey his message about the importance of companionship in life. Svidrigailov describes how he feels about Dounia. Ironically, this description mirrors Raskolnikov’s love affair with Sonia. Svidriagailov and Dounia’s relationship is different from Raskolnikov and Sonia’s because Dounia dislikes Svidrigailov. Svidriagailov dies alone and abandoned, but Raskolnikov survives. Svidriagailov’s suicide would have been prevented if Dounia was in love with him. Raskolnikov may have committed suicide as well if Sonia has abandoned him. The contrast between the two resolutions shows that love and companionship are important in life.
Irony is a major factor in Raskolnikov’s confession. Svidrigailov, the only person to have known about Raskolnikov, has now shot himself. Raskolnikov is free to walk home. Sonia was standing at the front door when he turned away. Raskolnikov confesses to the crime, demonstrating his warm and kind side, which is in need of Sonia’s loving embrace. Raskolnikov is still struggling with his duality, because he confesses for Sonia only, not out of guilt. Raskolnikov will still convert to Christianity despite the fact that he confessed.
Raskolnikov receives a seven-year sentence due to ironic convictions based upon “his abnormal psychological condition” as well as his Siberian term, which is where the novel’s pivotal point takes place. Raskolnikov has a bitter attitude in jail. He is tortured and treated rudely by other prisoners because he does not believe in God. Raskolnikov has an ironic change of heart when he sees in a nightmare a world where everyone is convinced that his theory must be true. Raskolnikov was able to see the error of his theories when he dreamed about a world where everyone believed in it. Raskolnikov is finally defeated by his evil, compassionate side when he chooses to live a Christian lifestyle with Sonia. Dostoevsky used this ironic vision to criticize abstract theory and its devastating effects.
Crime and Punishment follows the fight between Raskolnikov’s intellect and his conscience. He tries to escape his conscience, but it is impossible. Raskolnikov is forced to confront his conflict by ironic events. Dostoevsky uses the device of the irony to explain the conflict within Raskolnikov. He then reveals the message he wants to convey to humanity: that everyone can be reformed through acceptance of suffering and guilt. Raskolnikov kills, but he is still saved because of his guilt and other people’s love.
