Crime and Punishment - Full Audiobook (Fyodor Dostoevsky) | Part 3 of 3 - Crime and Punishment [Deluxe Edition]

Episode Transcript
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Speaker 1 (00:00):
She could not control herself and began crying bitterly. He
looked at her in gloomy misery. Five minutes passed. Of course,
you're right, Sonya, he said softly. At last, he changed. Suddenly,
his tone of assumed arrogance and helpless defiance was gone.

(00:21):
Even his voice was suddenly weak. I told you yesterday
that I was not coming to ask for your forgiveness,
and almost the first thing I've said is to ask
for your forgiveness. I said that about Lusin in providence
for my own sake. I was asking for your forgiveness, Sonya.
He tried to smile, but there was something helpless and

(00:43):
incomplete in his pale smile. He bowed his head and
hid his face in his hands, and suddenly estrange surprising
sensation of a sort of bitter hatred for Sonya passed
through his heart as it were. Wondering and Frightened of
this sensation, he raised his head and looked intently at her.
But he met her uneasy and painfully anxious eyes fixed

(01:04):
on him. There was love in them. His hatred vanished
like a phantom. It was not the real feeling. He
had mistaken one feeling for the other, It only meant
that the time had come. He hid his face in
his hands again and bowed his head. Suddenly, he turned pale,
got up from his chair, looked at Sonya, and without

(01:26):
uttering a word, sat down mechanically on her bed. His
sensations that moment were terribly like the moment when he
had stood over the old woman with the axe in
his hand and felt that he must not lose another minute.
What's the matter? Asked Sonya, dreadfully frightened, he could not
utter a word. This was not at all, not at

(01:48):
all the way he had intended to tell, and he
did not understand what was happening to him now. She
went up to him softly, sat down on the bed
beside him, and waited, not taking her eyes off him.
Her heart throbbed and sank. It was unendurable. He turned
his deadly pale face to her. His lips worked helplessly,

(02:10):
struggling to utter something. A pang of terror passed through
Sonia's heart. What's the matter, she repeated, drawing a little
away from him. Nothing, Sonya, don't be frightened. It's nonsense.
It really is nonsense, if you think of it, he muttered,
like a man in delirium. Why have I come to

(02:33):
torture you, he added, suddenly, looking at her. Why really
I keep asking myself that question, Sonya? He had perhaps
been asking himself that question a quarter of an hour before,
but now he spoke helplessly, hardly knowing what he said,
and feeling a continual tremor all over. Oh, how you

(02:54):
are suffering, she muttered in distress, looking intently at him.
It's all nonsense. Listen, Sonia. He suddenly smiled, a pale,
helpless smile for two seconds. You remember what I meant
to tell you yesterday, Sonia waited, uneasily. I said as

(03:16):
I went away that perhaps I was saying goodbye forever,
but that if I came today, I would tell you
who killed Lizaveta. She began trembling all over. Well here
I've come to tell you. Then you really meant it yesterday,
she whispered with difficulty. How do you know, she asked quickly,

(03:37):
as though she were suddenly regaining her reason. Sonya's face
grew paler and paler, and she breathed painfully. I know,
She paused a minute. Have they found him? She asked, timidly. No, then,
how do you know about it, she asked again, hardly audibly,

(03:59):
and again, after a minute's pause, he turned to her
and looked very intently at her. Guess, he said, with
the same distorted, helpless smile. A shudder passed over her.
But you, why do you frighten me like this? She said,
smiling like a child. I must be a great friend

(04:21):
of his, since I know. Raskolnikov went on, still gazing
into her face, as though he could not turn his
eyes away. He did not mean to kill that Lizaveta.
He killed her accidentally. He meant to kill the old
woman when she was alone, and he went there, and
then Lizaveta came in. He killed her too. Another awful

(04:41):
moment passed, both still gazed at one another. You can't guess, then,
he asked, suddenly feeling as though he were flinging himself
down from a steeple, and no whispered, sonya take a
good look. As soon as he had said this again,
the same familiar sensation froze his heart. He looked at

(05:05):
her and all at once seemed to see in her
face the face of Lizaveta. He remembered clearly the expression
in Lizaveta's face when he approached her with the axe,
and she stepped back to the wall, putting out her
hand with childish terror in her face, looking like little
children do when they begin to be frightened of something,
looking intently and uneasily at what frightens them, shrinking back

(05:26):
and holding out their little hands on the verge of tears.
Almost the same thing happened now to Sonia, with the
same helplessness and the same terror. She looked at him
for a while, and suddenly, putting out her left hand,
pressed her fingers faintly against his breast, and slowly began
to get up from the bed, moving further from him,
and keeping her eyes fixed even more immovably on him.

(05:49):
Her terror infected him. The same fear showed itself on
his face in the same way he stared at her,
and almost with the same childish smile. Have you guessed,
he whispered at last, Good God, broken an awful wail
from her chest. She sank helplessly on the bed, with

(06:10):
her face in the pillows, but a moment later she
got up, moved quickly to him, seized both his hands
and gripping them tight in her thin fingers began looking
into his face again with the same intense are. In
this last desperate look, she tried to look into him
and catch some last hope, But there was no hope.
There was no doubt remaining. It was all true. Later on, indeed,

(06:33):
when she recalled that moment, she thought it was strange
and wondered why she had seen at once that there
was no doubt. She could not have said, for instance,
that she had foreseen something of the sort. And yet now,
as soon as he told her, she suddenly imagined that
she had really foreseen this very thing. Stop Sonia, enough,

(06:54):
don't torture me, he begged her, miserably. It was not
at all, not at all like this, that he had
thought of telling her. But this is how it happened.
She jumped up, seeming not to know what she was doing,
and wringing her hands, walked into the middle of the room,
but quickly went back and sat down again beside him,
her shoulder almost touching his. All of a sudden, she

(07:17):
started as though she had been stabbed, uttered a cry,
and fell on her knees before him. She did not
know why, what have you done? What have you done
to yourself? She said in despair, and jumping up, she
flung herself on his neck, threw her arms round him,
and held him tight. Raskolnikov drew back and looked at
her with a mournful smile. You are a strange girl, Sonya.

(07:40):
You kiss me and hugged me. When I tell you
about that, you're not thinking about what you're doing. There
is no one, no one in the whole world now
who was as unhappy as you, she cried in a frenzy,
not hearing what he said, and she suddenly broke into violent,
hysterical weeping. A feeling long unfamiliar to him flooded his

(08:01):
heart and softened it at once. He did not struggle
against it. Two tears started into his eyes and hung
on his eyelashes. Then you won't leave me, Sonya, he said,
looking at her, almost with hope. No, no, never nowhere,
cried Sonya. I will follow you. I will follow you everywhere.

(08:24):
Oh my god, Oh how miserable I am. Why Why
didn't I know you before? Why didn't you come before?
Oh dear, and now I have come. Yes, now what's
to be done? Now? Together together? She repeated as it

(08:47):
were unconsciously, and she hugged him again, I'll follow you
to Siberia. He recoiled at this, and the same hostile,
almost haughty smile came to his lips. Perhaps I don't
want to go to Siberia yet, Sonya, he said. Sonya
looked at him quickly again. After her first passionate agonizing

(09:10):
sympathy for the unhappy man, the terrible idea of the
murder overwhelmed her. In his changed tone, she seemed to
hear the murderer speaking. She looked at him bewildered. She
knew nothing as yet, Why, how with what aimed? The
crime had been committed? Now all these questions rushed at
once into her mind, and again she could not believe it.

(09:34):
He he is a murderer? Could it be true? What's
the meaning of it? Where am i? She asked, in
complete bewilderment, as though still unable to recover herself. How
could you you, a man like you? How could you
bring yourself to it? What does it mean to plunder?

(09:57):
Perhaps leave off, Sonya? He answered wearily, almost with vexation.
Sonya stood as though she had been struck dumb. But
suddenly she cried, you were hungry. It was to help
your mother, Yes, no, Sonya, No, he muttered, turning away

(10:17):
and hanging his head. I was not as hungry as that.
I certainly did want to help my mother, but that's
not the real reason either. Don't torture me, Sonya. Sonya
clasped her hands. Could it? Could it all be true?
Could God? What a truth? Who could believe it? And

(10:42):
how could you give away your last penny and still
rob and murder? Ah? She cried suddenly. That money you
gave Katerina Ivanovna, that money? Can that money? No, Sonya,
he broke in, hurriedly. That money was not it. Don't
worry yourself. That money my mother sent me, and it

(11:03):
came when I was ill. The day I gave it
to you. Razumikin saw it, he took it for me.
That money was mind my own. Sonia listened to him
in bewilderment and did her utmost to understand him and
that money. I don't even really know whether there was
any money, he added, softly, as though reflecting. I took

(11:26):
a purse off her neck made of chammi leather, a
purse stuffed full of something. But I didn't look in it.
I suppose I didn't have time and the things, chains
and trinkets. I buried under a stone with the purse
next morning, in a yard off the v prospect. They
are all there now, Sonia strained every nerve to listen.

(11:47):
Then why why you said you did it to rob
but you took nothing, she asked, quickly catching at a straw.
I don't know. I haven't yet decided whether to take
that money or not, he said, musing again, and seeming
to wake up with a start. He gave a brief
ironic smile. Ah, what nonsense I'm talking? Eh, The thought

(12:10):
flashed through Sonia's mind. Wasn't he mad? But she dismissed
it at once. No, it was something else. She could
make nothing of it. Nothing do you know, Sonya, he
said suddenly, with conviction. Let me tell you something. If
I'd simply killed someone because I was hungry, laying stress

(12:30):
on every word and looking enigmatically but sincerely at her,
I would be happy. Now you must believe that. What
would it matter to you? He cried a moment later,
with a sort of despair. What would it matter to
you if I were to confess that I did wrong?
What do you gain by such a stupid triumph over me? Ah, Sonya,

(12:51):
was it for that I've come to you today again?
Sonia tried to say something, but did not speak. I
asked you to go with me yesterday, because you are
all I have left. Go where, asked Sonia timidly. Not
to steal and not to murder. Don't be anxious, he
smiled bitterly. We are so different, and you know, Sonia,

(13:15):
it's only now, only at this moment that I understand
where I asked you to go with me yesterday. Yesterday,
when I said it, I did not know where. I
asked you for one thing. I came to you for
one thing, not to leave me. You won't leave me, Sonya,
She squeezed his hand. And why why did I tell her?

(13:39):
Why did I let her know? He cried a minute later,
in despair, looking with infinite anguish at her. Here you
expect an explanation from me, Sonya, you are sitting and
waiting for it. I can see that, But what can
I tell you? You won't understand and will only suffer
misery on my account? Well, you are crying and embracing

(14:03):
me again. Why do you do it? Because I couldn't
bear my burden and have come to throw it on another,
you suffer too, and I shall feel better? And can
you love such a mean wretch? But aren't you suffering too?
Cried Sonya. Again, a wave of the same feeling surged
into his heart, and again for an instant softened it. Sonya,

(14:28):
I have a bad heart. Take note of that. It
may explain a great deal. I have come because I
am bad. There are people who wouldn't have come. But
I am a coward and an evil wretch. But never mind,
that's not the point. I must speak now, but I

(14:49):
don't know how to begin. He paused and sank into thought. Ah,
we are so different, he cried again. We are not alike.
And why why did I come? I shall never forgive
myself for that. No, no, it was a good thing
you came, cried Sonya. It's better. I should know far better.

(15:14):
He looked at her with anguish. What if it were
really that, he said, as though reaching a conclusion. Yes,
that's what it was. I wanted to become a Napoleon.
That is why I killed her. Do you understand now?
And no, Sonya whispered naively and timidly. Just tell me,

(15:36):
tell me, I shall understand. I shall understand it. Myself,
she kept begging him. You'll understand very well. We shall
see he paused and was for some time lost in meditation.
It was like this. I asked myself this question one day,
What if Napoleon, for instance, had happened to be in

(15:58):
my place, and if he had not had to Low,
or Egypt or the passage of Montblanc to start his career,
But instead of all those picturesque and monumental things, there
had simply been some ridiculous old hag, a pawnbroker, who
had to be murdered too to get money from her
trunk for his career. You understand, well, would he have
brought himself to that if there had been no other means?

(16:20):
Wouldn't he have felt a pang at its being so
far from monumental and and sinful? Too? Well? I must
tell you that I worried myself so terribly over that
question that I was extremely ashamed when I guessed at last,
all of a sudden, somehow, that it would not have
given him the least pang, that it would not even
have struck him, that it was not monumental, that he
would not have seen that there was anything in it

(16:42):
to pause over and that if he had had no
other way, he would have strangled her in a minute
without thinking about it. Well, I too, left off thinking
about it, murdered her following his example. And that's exactly
how it was. Do you think it's funny, yes, Sonya.
The funniest thing of all is that perhaps that's just

(17:04):
how it was. Sonya did not think it at all funny.
You had better tell me straight out, without examples, she begged,
even more timidly and scarcely audibly. He turned to her,
looked sadly at her, and took her hands. You are
right again, Sonya. Of course that's all nonsense. It's almost

(17:26):
all just talk, you see. You know, of course that
my mother has scarcely anything. My sister happened to have
a good education and was condemned to slave away as
a governess. All their hopes were centered on me. I
was a student, but I couldn't keep myself at the university,
and was forced for a time to leave it. Even

(17:47):
if I had lingered on like that in ten or
twelve years, I might, with luck hope to be some
sort of teacher or clerk with a salary of a
thousand roubles. He repeated it as though it were a lesson.
And by that time my mother would be worn out
with grief and aim anxiety, and I could not succeed
in keeping her in comfort, while my sister, well, my
sister might well have fared worse. And it's a hard

(18:07):
thing to pass everything by all your life, to turn
your back upon everything, to forget your mother and politely
accept the insults inflicted on your sister. Why should you,
when you have buried them, to burden yourself with others,
wife and children, and to leave them again without a penny.
So I resolved to gain possession of the old woman's money,

(18:28):
and to use it for my first years without worrying
my mother, to keep myself at the university and for
a little while after leaving it, And to do this
all on a broad, thorough scale, so as to build
up a completely new career and enter upon a new
life of independence. Well that's all. Well, of course, in

(18:50):
killing the old woman I did wrong. Well, that's enough.
He struggled to the end of his speech in exhaustion
and let his head sink. Oh that's not it, That's
not it, Sonya cried in distress. How could one no
that's not right, not right. You see yourself that it's

(19:12):
not right. But I've spoken truly, it's the truth. As
though that could be the truth. Good God, I've only
killed a louse, Sonya, A useless loathsome harmful creature, a
human being. Alause, I know too that it wasn't a louse,

(19:33):
he answered, looking strangely at her. But I am talking nonsense, Sonya,
he added, I've been talking nonsense for a long time.
That's not it. You are right there, there were quite
quite different causes for it. I haven't talked to anyone
for so long, Sonya. My head aches dreadfully. Now. His

(19:57):
eyes shone with feverish brilliance. He was almost delirious and uneasy,
smile straight on his lips. His terrible exhaustion could be
seen through his excitement. Sonya saw how he was suffering.
She too was growing dizzy, and he talked so strangely
it seemed somehow comprehensible. But yet, but how how good God?

(20:24):
And she wrung her hands in despair. No, Sonya, that's
not it, he began again, suddenly raising his head, as
though a new and sudden train of thought had struck
and as it were, roused him. That's not it. Better imagine, yes,
it's certainly better. Imagine that I am vain, envious, malicious, base, vindictive,
and well, perhaps with a tendency to insanity. Let's have

(20:48):
it all out at once. They've talked of madness already.
I noticed. I told you just now I could not
keep myself at the university. But do you know that
perhaps I might have done. My mother would have sent
me what I needed for the fees, and I could
have earned enough for clothes, boots and food. No doubt

(21:09):
lessons had turned up at half a rouble razumikin works.
But I turned sulky and wouldn't Yes, sulkiness, that's the
right word for it. I sat in my room like
a spider. You've been in my den, You've seen it.
And do you know, Sonia, that low ceilings and tiny

(21:31):
rooms cramped the soul and the mind. Ah? How I
hated that closet, and yet I wouldn't leave it. I
wouldn't on purpose. I didn't go out for days on end,
and I wouldn't work. I wouldn't even eat. I just
lay there doing nothing. If Mustazia brought me anything, I
ate it. If she didn't. I went all day without food.

(21:53):
I wouldn't ask on purpose because of my sulkiness. At night,
I had no light. I lay in the and I
wouldn't earn money for candles. I ought to have studied,
but I sold my books. And the dust is lying
an inch thick on the notebooks on my table. I
preferred lying still in thinking, and I kept thinking. And

(22:15):
I had dreams all the time, strange dreams of all sorts,
no need to describe them. Only then I began to
imagine that, no, that's not it again, I'm getting it wrong.
You see, I kept asking myself, then, why am I
so stupid that if others are stupid, and I know
they are, I still won't be any wiser. Then I saw, Sonya,

(22:38):
that if you wait for everyone to get wiser, it'll
take too long. Afterwards, I understood that that would never happen,
that people won't change, and that nobody can alter it,
and that it's not worth wasting effort over it. Yes,
that's true, that's the law of their nature, Sonya, that's true.
And I know now, Sonya, that whoever is strong in

(23:01):
mind and spirit will have power over them. Anyone who
is very daring is right in their eyes. He who
despises most things will be a logiver among them, and
he who dares most of all will be most in
the right. That's how it has been until now, and
that's how it will always be. A person has to
be blind not to see it. Though Raskolnikov looked at

(23:24):
Sonya as he said this, he no longer cared whether
she understood or not. The fever had complete hold of him.
He was in a sort of glooming ecstasy. He certainly
had gone too long without talking to anyone. Sonya felt
that his gloomy creed had become his faith and code.
Then I understood, Sonya, he went on, eagerly, that power

(23:46):
is only entrusted to the person who dares to bend
down and pick it up. There is only one thing,
one thing which is required. You just have to dare. Then,
for the first time in my life, an idea took
shape in my mind which no one had ever thought
of before me, no one. I saw clear as day,
how strange it is that not a single person living

(24:06):
in this man world has had the daring to go
straight for it all and send it flying to the devil.
I I wanted to have the daring, and I killed her.
I only wanted to have the daring, Sonya. That was
the whole cause of it. Oh, hush, hush, cried Sonya,
clasping her hands. You turned away from God, and God

(24:29):
has smitten you, has given you over to the devil. Then, Sonya,
when I used to lie there in the dark and
all this became clear to me, was it a temptation
of the devil? Eh, hush, don't laugh, you blasphemer. You
don't understand. You don't understand. Oh God, he won't understand. Hush, Sonya,

(24:55):
I am not laughing. I know myself that it was
the devil leading me. Hush, Sonya, hush, he repeated with
gloomy insistence. I know it all. I have thought it
all over and over and whispered it all over to
myself lying there in the dark. I've argued it all
over with myself, every point of it, and I know

(25:16):
it all all. And how sick, how sick I was
then of going over it all. I've kept wanting to
forget it and make a fresh start, Sonya, and leave
off thinking. And you don't suppose that I went into
it headlong like a fool. I went into it like
a wise man, and that was just my destruction. And

(25:36):
you mustn't think I didn't know, for instance, that if
I began to question myself as to whether I had
the right to gain power, I certainly didn't have the right,
or that if I asked myself whether a human being
is a louse, it proved that it wasn't true for me,
though it might be for a man who would go
straight to his goal without asking questions. If I worried
myself all day long wondering whether Napoleon would have done

(25:59):
it or not, I felt clearly, of course, that I
wasn't Napoleon. I had to endure all the agony of
that battle of ideas Sonya, and I longed to throw
it off. I wanted to murder without casuistry, to murder
for my own sake, for myself alone. I didn't want
to lie about it, even to myself. It wasn't to
help my mother. I did the murder, that's nonsense. I

(26:21):
didn't do the murder to gain wealth and power and
to become a benefactor of mankind. Nonsense. I just did it.
I did the murder for myself, for myself alone. And
whether I became a benefactor to others or spent my
life like a spider, catching men in my web and
sucking the life out of men. I couldn't have cared
at that moment. And it was not the money I wanted, Sonya.

(26:44):
When I did it. It was not so much the
money I wanted, but something else. I know it all
now understand me. Perhaps I should never have committed a
murder again. I wanted to find out something else. It
was something else which led me on. I wanted to
find out then and there whether I was a louse

(27:06):
like everybody else or a man, whether I can overstep
barriers or not, whether I dare bend down to pick
up or not, whether I am a trembling creature, or
whether I have the right to kill, have the right
to kill? Sonya clasped her hands. Ah, Sonya, He cried

(27:27):
irritably and seemed about to make some retort, but was
contemptuously silent. Don't interrupt me, Sonya. I want to prove
one thing only that the devil led me on then,
and he has shown me since that I did not
have the right to take that path, because I am
just a lous like all the rest, he was mocking me.
And look I've come to you. Now, welcome your guest.

(27:51):
If I weren't a louse, would I have come to you? Listen?
When I went then to the old woman's I only
went to try. You may be sure of that. And
you murdered her. But how did I murder her? Is that?
How men do murders? Do men go to commit a murder?

(28:11):
As I went? Then? I'll tell you some day how
I went? Did I murder the old woman? I murdered myself,
not her. I crushed myself once and for all forever.
But it was the devil that killed that old woman.
Not I enough enough, Sonya enough, let me be, he cried,

(28:33):
in a sudden spasm of agony. Let me be. He
leaned his elbows on his knees and squeezed his head
in his hands, as if in a vice. What's suffering?
A wail of anguish broke from Sonya. Well, what should
I do now, he asked, suddenly raising his head and
looking at her with a face hideously distorted by despair.

(28:56):
What should you do? She cried, jumping up, and her
eyes that had been full of tears suddenly began to shine.
Stand up. She seized him by the shoulder. He got up,
looking at her, almost bewildered. Go at once this minute,
stand at the cross roads. Bowdown, first kiss the earth
which you have defiled, and then bow down to all

(29:17):
the world and say to all men aloud, I am
a murderer. Then God will send you life again. Will
you go? Will you go? She asked him, trembling all over,
snatching his two hands, squeezing them tight in hers, and
gazing at him with eyes full of fire. He was
amazed at her sudden ecstasy. You mean Siberia, Sonya. I

(29:41):
must give myself up, he asked, gloomily. Suffer and a
tone for your sin by it. That's what you must do. No,
I am not going to them, Sonya. But how will
you go on living? What will you live for? Cried Sonya?
How is it possible now? Why? How can you talk

(30:04):
to your mother? Oh? What will become of them now?
But what am I saying? You have abandoned your mother
and your sister already? He has abandoned them already, Oh God,
she cried. Why he knows it all himself? How how
can he live by himself? What will become of you now?

(30:29):
Don't be a child, Sonya, he said, softly. What wrong
have I done them? Why should I go to them?
What should I say to them? That's only a phantom?
They destroy millions themselves and look on it as a virtue.
They are crooks and scoundrels, Sonya. I am not going

(30:51):
to them. And what should I say to them? That
I murdered her but did not dare to take the
money and hid it under a stone? He added, with
a bitter smile. They would laugh at me and would
call me a fool for not getting it, A coward
and a fool. They wouldn't understand, and they don't deserve
to understand. Why should I go to them? I won't.

(31:16):
Don't be a child, Sonya. It will be too much
for you to bear. Too much, she repeated, holding out
her hands in despairing supplication. Perhaps I've been unfair to myself,
he observed, gloomily, pondering, perhaps, after all, I am a
man and not allowson. I've been in too great a
hurry to condemn myself. I'll make another fight for it.

(31:39):
A haughty smile appeared on his lips. What a burden
to bear, and your whole life, your whole life. I
shall get used to it, he said grimly and thoughtfully. Listen,
he began a minute later. Stop crying. It's time to
discuss the facts. I've come to tell you that the
police are after me on my trail. Ah Sonia cried

(32:04):
in terror. Well why are you upset? You want me
to go to Siberia and now you are frightened. But
let me tell you, I shan't give myself up. I
shall make a struggle for it, and they won't do
anything to me. They've no real evidence. Yesterday I was

(32:24):
in great danger and believed I was lost, but today
things are going better. All the facts they know can
be explained two ways. That's to say, I can turn
their accusations to my credit. Do you understand? And I shall,
for I've learnt my lesson. But they will certainly arrest me.
If it had not been for something that happened, they

(32:46):
would have done so today for certain Perhaps even now,
they will arrest me today. But it doesn't matter, Sonya.
They'll let me out again because there isn't any real
proof against me, and there won't be. I give you
my word for it, and they can't convict a man
on what they have against me enough. I only tell

(33:06):
you that you may know. I will try to manage
somehow to put it to my mother and sister so
that they won't be frightened. My sister's future is secure, however,
now I believe, and my mother's must be too. Well.
That's all. Be careful, though, Will you come and see
me in prison when I am there? Oh? I will,

(33:30):
I will. They sat side by side, both mournful and dejected,
as though they had been cast up by the tempest
alone on some deserted shore. He looked at Sonya and
felt how great her love was for him, and strange
to say, he felt it suddenly burdensome and painful to
be loved so much. Yes, it was a strange and

(33:50):
awful sensation. On his way to see Sonia, he had
felt that all his hopes rested on her. He expected
to be rid of at least part of his suffering,
And now, when all her heart turned towards him, he
suddenly felt that he was immeasurably unhappier than before. Sonya,
he said, you'd better not come and see me when
I am in prison. Sonya did not answer. She was

(34:14):
crying several minutes passed. Do you have you a cross
on you? She asked, as though she was suddenly thinking
of it. He did not at first understand the question. No,
of course, not here, take this one of Cyprus wood.

(34:34):
I have another, a copper one that belonged to Lizaveta.
I changed with Lizaveta. She gave me her cross, and
I gave her my little icon. I will wear lizavetas
now and give you this. Take it. It's mine. It's mine,
you know, she begged him. We will go to suffer together,

(34:54):
and together we will bear our cross. Give it to me,
said rascal Nikov. He did not want to hurt her feelings,
but immediately he drew back the hand he held out
for the cross. Not now, Sonya, better, later, he added
to comfort her. Yes, yes, better, she repeated with conviction.

(35:19):
When you go to meet your suffering, then put it
on you will come to me. I'll put it on you.
We will pray and go together. At that moment, someone
knocked three times at the door. Sophia Semyonovna, may I
come in, they heard in a very familiar and polite voice.
Sonya rushed to the door in affright. The flaxen head

(35:42):
of mister Lebeziatnikov appeared at the door. Chapter five. Lebiziatnikov
looked anxious. I've come to you, Sofia Semyonovna, he began,
Excuse me. I thought I would find you, he said,
addressing Raskolnikov. Suddenly, that is, I didn't mean anything of

(36:05):
that sort, but I just thought Katerina Ivanovna has gone
out of her mind, he blurted out, suddenly, turning from
Raskolnikov to Sonya. Sonya screamed, at least it seems so,
but we don't know what to do. You see, she
came back. She seems to have been turned out somewhere,

(36:28):
perhaps even beaten. So it seems at least she had
run to your father's former boss. She didn't find him
at home. He was dining at some other generals. Only
imagine this. She rushed off there to the other generals,
and she was so persistent that she managed to get
the chief to see her, had him fetched out in
the middle of his dinner. It seems you can imagine

(36:51):
what happened. She was turned out, of course, but according
to her own story, she abused him and threw something
at him. You could well believe it. How she wasn't arrested.
I can't understand now she's telling everyone, including Amalia Ivanovna,
but it's difficult to understand her. She is screaming and

(37:13):
flinging herself about oh yes. She is shouting that since
everyone has abandoned her, she will take the children and
go into the street with a barrel organ, and the
children will sing and dance, and she too, and collect money,
and will go every day under the General's window to
let everyone see well born children whose father was an
official begging in the street. She keeps beating the children

(37:37):
and they are all crying. She is teaching Lida to
sing my village, the boy to dance Palenka the same.
She is tearing up all the clothes and making them
little caps like actors. She intends to carry a tin
basin and make it tinkle instead of music. She won't
listen to anything. Imagine the state of things. It's be

(38:00):
beyond anything. Lebeziatnikov would have gone on, but Sonya, who
had hurt him, almost breathless, snatched up her cloak and
hat and ran out of the room, putting on her
things as she went Raskolnikov followed her, and Lebeziatnikov came
after him. She's gone mad for sure, he said to
Raskolnikov as they went out into the street. I didn't

(38:23):
want to frighten Sophia Semyonovna, so I said it seemed
like it. But there isn't a doubt. They say that
in tuberculosis the tubercles sometimes occur in the brain. It's
a pity. I know nothing about medicine. I did try
to persuade her, but she wouldn't listen. Did you talk
to her about the tubercles? Not precisely. Besides, she wouldn't

(38:48):
have understood. But what I say is that if you
convince a person logically that they have nothing to cry about,
they'll stop crying. That's clear, Is it your caviction that
they won't? Life would be too easy if that were so,
answered Raskolnikov. Excuse me, excuse me. Of course, it would

(39:10):
be rather difficult for Katerina Ivanovna to understand. But do
you know that in Paris they have been conducting serious
experiments as to the possibility of curing the insane simply
by logical argument. One professor there a scientific man of
standing who died recently, believed in the possibility of such treatment.

(39:30):
His idea was that there's nothing really wrong with the
physical organism of the insane, and that insanity is, so
to say, a logical mistake, an error of judgment, and
incorrect view of things. He gradually showed the madman his error,
and would you believe it? They say he was successful,
But as he made use of douches too, how far

(39:51):
his success was due to that treatment remains uncertain. So
it seems at least Raskolnikov had stopped listen long ago.
Reaching the house where he lived, he nodded to LEBEZIATNIKV
and went in. At the gate. Lebeziatnikov woke up with
a start, looked around him, and hurried on. Raskolnikov went

(40:14):
into his little room and stood still in the middle
of it. Why had he come back here? He looked
at the yellow, tattered paper, at the dust at his sofa.
From the yard came a loud, continuous knocking. Someone seemed
to be hammering. He went to the window, rose on
tiptoe and looked out into the yard for a long

(40:34):
time with an air of absorbed attention. But the yard
was empty, and he could not see who was hammering.
In the house on the left, he saw some open windows.
On the window sills were pots of sickly looking geraniums.
Linen was hanging out of the windows. He knew it
all by heart. He turned away and sat down on

(40:56):
the sofa. Never never had he felt so terribly alone. Yes,
he felt once more that he would perhaps come to
hate Sonya, now that he had made her more miserable.
Why had he gone to her to beg for her tears?
What need had he to poison her life? Oh, the

(41:17):
meanness of it. I'll remain alone, he said resolutely, and
she won't come to the prison. Five minutes later he
raised his head with a strange smile. That was a
strange thought. Perhaps it really would be better in Siberia,
he thought. Suddenly. He could not have said how long

(41:38):
He sat there, with vague thoughts surging through his mind.
All at once the door opened and Dounia came in.
At first, she stood still and looked at him from
the doorway, just as he had done it Sonya. Then
she came in and sat down in the same place
as yesterday, on the chair, facing him. He looked silently
and almost vacantly at her. Don't be angry, brother, I've

(42:02):
only come for a minute, said Dounia. Her face looked thoughtful,
but not stern. Her eyes were bright and soft. He
saw that she too would come to him with love. Rodia,
Now I know everything. Everything Dmitri Prokofk has explained and
told me about all of it. They are worrying and

(42:24):
persecuting you with a stupid and contemptible suspicion. Dmitri Prokofik
told me that there is no danger and that you
are wrong in looking at it with such horror. I
don't think so, and I fully understand how indignant you
must be, and that that indignation may have a permanent
effect on you. That's what I am afraid of. As

(42:46):
for your proposal to cut yourself off from us, I'm
not judging you. I'm not going to judge you, and
forgive me for having blamed you for it. I feel
that if I had a difficulty as great as that,
I too would keep away from everyone. I shall tell
mother nothing of this, but I shall talk about you continually,
and shall tell her from you that you will come

(43:06):
very soon. Don't worry about her. I will set her
mind at rest, But don't you try her too much.
Come once at least remember that she is your mother.
And now I have come simply to say. Dounia began
to get up that if you should need me, or
should need all my life or anything, call me and
I'll come. Good Bye. She turned abruptly and went towards

(43:29):
the door. Dounia Raskolnikov stopped her and went towards her.
That Razumikin Dmitri Prokofik is a very good person. Dounia
flushed slightly. Well, she asked, waiting a moment. He is competent,

(43:49):
hard working, honest and capable of real love. Good Bye, Dounia.
Dounia flushed. Crimson then suddenly became alarmed. But what does
that mean, Rodia? Are we really parting forever so you
can give me such a parting message? Never mind? Good bye.

(44:14):
He turned away and walked to the window. She stood
for a moment, looked at him uneasily, and went out troubled. No,
he was not cold to her. There was an instant,
the very last one, when he had longed to take
her in his arms and say goodbye to her, and
even to tell her, but he had not dared even
to touch her hand. Afterwards, she may shudder when she

(44:38):
remembers that I embraced her, and will feel that I
stole her kiss. And would she stand that test? He
went on a few minutes later to himself, No, she wouldn't.
Girls like that can't stand things they never do, And
he thought of Sonia. There was a breath of fresh

(44:58):
air from the window. The daylight was fading. He took
up his cap and went out. He could not, of course,
and would not consider how well he was. But all
this continual anxiety and agony of mind could not but
affect him. And if he were not lying in high fever,
it was perhaps just because this continual inner strain helped

(45:22):
to keep him on his legs and in possession of
his faculties. But this artificial excitement could not last long.
He wandered aimlessly. The sun was setting. A special form
of misery had begun to oppress him recently. There was
nothing poignant, nothing acute about it, but there was a

(45:43):
feeling of permanence, of eternity about it. It brought a
foretaste of hopeless years of this cold leaden misery, A
foretaste of an eternity on a square yard of space.
Towards evening, this sensation usually began to weigh on him
more heavily. With this idiotic, purely physical weakness. Depending on
the sunset or something, you can't help doing something stupid.

(46:06):
You'll go to Dounia's as well as Sonya's, he muttered bitterly.
He heard his name called. He looked round. Lebeziatnikov rushed
up to him. Just imagine, I've been to your room
looking for you. Imagine she's carried out her plan and
taken away the children. Sofia Semyonovna and I have had

(46:30):
a difficult time finding them. She is wrapping on a
frying pan and making the children dance. The children are crying.
They keep stopping at the crossroads and in front of
the stores. There's a crowd of fools running after them.
Come along, and Sonya Raskolnikov asked anxiously, hurrying after Lebeziatnikov.

(46:55):
Just frantic, that is, it's not Sophia Semyonovna who's friend,
but Katerina Ivanovna. Though, Sofia Semionovna's frantic too, But Katerina
Ivanovna is absolutely frantic. I'm telling you, she's completely mad.
They'll be taken to the police. You can imagine what

(47:17):
an effect that'll have. They are on the canal bank
near the bridge, now, not far from Sofia Semionovna's quite
close on the canal bank near the bridge, and not
even two houses away from the one where Sonia lodged.
There was a crowd of people, consisting principally of street urchins.
The horse broken voice of Katerina Ivanovna could be heard

(47:39):
from the bridge, and it certainly was a strange spectacle
likely to attract a street crowd. Katerina Ivanovna, in her
old dress with the green shawl, wearing a torn straw
hat crushed in a hideous way on one side, was
really frantic. She was exhausted and breathless. Her wasted, tubercular
face looked more more long suffering than ever, and in fact,

(48:02):
out of doors in the sunshine, a tubercular person always
looks worse than at home. But her excitement did not flag,
and every moment her irritation grew more intense. She rushed
at the children, shouted at them, coaxed them, told them
in front of the crowd how to dance and what
to sing, began explaining to them why it was necessary, and,

(48:22):
driven to desperation by their lack of understanding, beat them.
Then she would make a rush at the crowd. If
she noticed any decently dressed person stopping to look, she
immediately appealed to them to see what these children from
a genteel one may say, aristocratic house had been brought to.
If she heard laughter or jeering in the crowd, she

(48:42):
would rush at once at the scoffers and begin squabbling
with them. Some people laughed, others shook their heads, but
everyone felt curious at the sight of the mad woman
with the frightened children. The frying pan which Lbiziatnikov had
mentioned was not there, at least Raskolnikov did not see it,
but instead of wrapping on the pan, Katerina Ivanovna began

(49:05):
clapping her wasted hands when she made Rida and Kolia
dance and Polenka sing. She too joined in the singing,
but broke down at the second note with a terrible cough,
which made her curse in despair and even shed tears.
What made her most furious was the weeping and terror
of Kolia and Lida. Some effort had been made to

(49:25):
dress the children up as street singers are dressed. The
boy had on a turban made of something red and
white to make him look like a turk. There had
been no costume for Lyda. She just had a red
knitted cap, or rather a nightcap that had belonged to Marmaladov,
decorated with a broken piece of white Ostrich feather, which
had been Katerina Ivanovna's grandmother's and had been preserved as

(49:48):
a family possession. Polenka was in her everyday dress. She
looked in timid perplexity at her mother and kept at
her side, hiding her tears. She dimly realized her mother
condition and looked uneasily about her. She was extremely frightened
of the street and the crowd. Sonya followed Katerina Ivanovna,

(50:10):
weeping and beseeching her to return home. But Katerina Ivanovna
was not to be persuaded. Leave off, Sonya, Leave off,
she shouted, speaking fast, panting and coughing. You don't know
what you're asking me to do. You're like a child.
I've told you before that I am not going back
to that drunken German. Let everyone, Let all of Petersburg

(50:35):
see the children begging in the streets. Though their father
was an honorable man who served all his life in
truth and fidelity, and you might say died in service.
Katerina Ivanovna had by now invented this fantastic story and
thoroughly believed it. Let that wretch of a general see it,
and Sonya, you're being silly. What do we have to eat?

(50:58):
Tell me that we have worried you enough. I won't
go on. Ah rodeyon Romanovitch, is that you? She cried,
seeing Raskolnikov and rushing up to him. Explain to this
silly girl, please, that nothing better could be done. Even
organ grinders earn their living. And every one will see

(51:18):
at once that we are different, that we are an
honorable and bereaved family reduced to beggary, And that general
will lose his post. You'll see. We shall perform under
his windows every day, And if the tsar drives by,
I'll fall on my knees. Put the children before me,
show them to him and say, defend us. Father. He

(51:39):
is the father of the fatherless. He is merciful, He'll
protect us you'll see, and that wretch of a.

Speaker 2 (51:44):
General Lida tunisvudwat fifty.

Speaker 1 (51:49):
One kolia, you'll be dancing again. Why are you whimpering?
Whimpering again? What are you afraid of? Stupid goodness? What
should I do with them? Wrought Ion Romanovitch. If you
only knew how stupid they are? What can you do
with such children? And she almost crying herself, which did

(52:13):
not stop her uninterrupted rapid flow of talk. Pointed to
the crying children. Raskolnikov tried to persuade her to go home,
and even said, hoping to work on her vanity, that
it was unseemly for her to be wandering about the
streets like an organ grinder, as she was intending to
become the principal of a boarding school.

Speaker 2 (52:33):
A boarding school.

Speaker 1 (52:34):
Ah, a castle in the air, cried Katerina Ivanovna, her
laugh ending in a cough. No, wrought Ion Romanovitch, that
dream is over. Everyone has abandoned us, and that general
you know, wrought Ion Romanovitch. I threw an ink spot
at him. It happened to be standing in the waiting

(52:56):
room by the paper where you sign your name. I
wrote my name, threw it at him and ran away.
Oh the scoundrels, the scoundrels. But enough of them now.
I'll provide for the children myself. I won't bow down
to anybody. She has had to bear enough for us.
She pointed to Sonia, Polenka, how much have you got?

(53:19):
Show me what? Only two farthings? Oh, the mean wretches.
They give us nothing, only run after us, putting their
tongues out there. What is that blockhead laughing at She
pointed to a man in the crowd. It's all because
Colia here is so stupid. I have such problems with him.

(53:43):
What do you want, Polenka? Tell me in French parley
moi france a point fifty two. But I've taught you,
you know some phrases. How else are you going to
show that you are from a good family, that you're
well bred children, and not at all like other organ grinders.
We are going to have a punch and judy show
in the street. We're going to sing a genteel song. Ah, yes,

(54:07):
what are we going to sing? You keep putting me out,
But you see we are standing here rodayan romanovitch to
find something to sing and get money. Something Kolia can
dance to because as you can imagine, our performance is
all improvised. We must talk it over and rehearse it
all thoroughly, and then we shall go to Nevsky, where

(54:29):
there are far more people from fine society, and we
shall be noticed at once. Leda only knows my village,
nothing apart from my village, and everyone sings that we
must sing something far more genteel. Well have you thought
of anything, Polenka, If only you'd help your mother, My

(54:50):
memory's completely gone, or I would have thought of something.
We really can't sing in husar Ah, Let's sing in French,
sing Sue fifty three. I have taught it to you.
I have taught at you, And as it is in French,
people will see at once that you are children from
a good family, and that will be much more touching.

(55:11):
You might sing Marlboroughs and viadien ghere fifty four, for
that's quite a child's song, and his sung as a lullaby,
and all the aristocratic houses.

Speaker 2 (55:18):
Dot mar sancon sanksch bogon sat gene.

Speaker 1 (55:27):
But no better sing singh Sue. Now, Colia, your hands
on your hips, make haste, and you Lida, keep turning
the other way, and Polenka and I will sing and
clap our hands.

Speaker 2 (55:40):
Sansu, sansu, san concis.

Speaker 1 (55:47):
Cough, cough, cough. Put your dress straight, Polenka, it slipped
down on your shoulders, she observed, panting from coughing. Now
it's particularly necessary to behave nicely and genteelly, so that
everyone will see that you are well born children. I
said at the time that the bodice should be cut
longer and made of two wits. It was your fault, Sonya,

(56:10):
with your advice to make it shorter, and now you
see the child as seriously deformed by it. Why you're
all crying again? What's the matter? Stupids? Come, Colia begin,
hurry up, hurry up. Oh what an unbearable child? Sansup,

(56:31):
Sansupoin a policeman again, what do you want? A policeman
was indeed forcing his way through the crowd, but at
that moment, a gentleman in civilian uniform and an overcoat,
a solid looking official of about fifty with a decoration
on his neck which delighted Katerina Ivanovna and had its

(56:52):
effect on the policeman, approached and wordlessly handed her a
green three rouble note his face wore a look of
gin and sympathy. Katerina Ivanovna took it and gave him
a polite, even ceremonious fal I thank you, honored sir.
She began, loftily, the causes that have induced us take

(57:13):
the money, Polenka. You see, there are generous and honorable
people who are ready to help a poor gentlewoman in distress.
You see, honored sir, These orphans of good family, I
might even say, of aristocratic connections. And that wretch of
a genarol sat eating rouse and stamped at my disturbing him.
Your excellency, I said, protect the orphans. You knew my

(57:37):
late husband see me in Zakarovitch. And on the very
day of his death, the basist of scoundrels slandered his
only daughter. That policeman again, protect me, she cried to
the official. Why is that policeman edging up to me?
We have only just run away from one of them.
What do you want, fool, It's for bidden in the streets.

(58:02):
You mustn't make a disturbance. It's you who are making
a disturbance. It's just as if I were grinding an organ.
What business is it of yours. You have to get
a license for an organ and you haven't got one,
And that way you collect a crowd. Where do you live?

(58:23):
What a license? Wailed Katerina Ivanovna. I buried my husband today.
Why do I need a license? Calm yourself, madam, calm yourself,
began the official. Come along, I will escort you. This
is no place for you in the crowd. You are ill, honored, sir,

(58:46):
honored sir. You don't know, screamed Katerina Ivanovna. We are
going to the Nevsky Sonya, Sonya. Where is she? She
is crying too. What's the matter with you all? Coolia, Lida,
where are you going? She cried suddenly in alarm. Oh,

(59:08):
silly children, Coolia, Lida, where are they off to? Colia
and Lida, scared out of their wits by the crowd
and their mother's mad pranks, suddenly seized each other by
the hand and ran off at the sight of the policeman,
who wanted to take them away somewhere. Weeping and wailing,
poor Katerina Ivanovna ran after them. She was a pitiful

(59:31):
and indecent spectacle when she ran, weeping and panting for breath,
Sonya and Polenka rushed after them. Bring them back, Bring
them back, Sonya, Oh, stupid, ungrateful children. Polenka, catch them.
It's for your sake's eye, she stumbled as she ran

(59:55):
and fell down. She's cut herself. She's bleeding, Oh dear,
cried Sonya, bending over her. All ran up and crowded round.
Raskolnikov and Lebeziatnikov were the first at her side. The official, too,
hastened up and behind him the policeman, who muttered bother

(01:00:15):
with a gesture of impatience, feeling that the job was
going to be a troublesome one. Pass on, pass on,
he said to the crowd that pressed forward. She's dying.
Someone shouted. She's gone out of her mind, said another. Lord,
have mercy on us, said a woman, crossing herself. Have

(01:00:38):
they caught the little girl and the boy? Their being
brought back? The elder ones got them, Ah, the wicked
little things. When they examined Katerina Ivanovna carefully, they saw
that she had not cut herself against a stone, as
Sonya thought, but that the blood that stained the pavement
read was from her chest. We've seen that before, muttered

(01:01:01):
the official to Raskolnikov and Lebeziatnikov, that's tuberculosis. The blood
flows and chokes the patient. I saw the same thing
with a relative of my own not long ago, nearly
a pint of blood, all in a minute. What's to
be done? Though? She is dying? This way, this way

(01:01:21):
to my room, Sonya implored, I live here, see that
house the second from here, come to me, Make haste.
She turned from one to the other. Send for the doctor,
oh dear. Thanks to the official's efforts, this plan was adopted,

(01:01:43):
the policeman even helping to carry Katerina Ivanovna. She was
carried to Sonia's room, almost unconscious and laid on the bed.
The blood was still flowing, but she seemed to be
coming round. Raskolnikov, Lebeziatnika and the official accompanied Sonya into
the room and were followed by the policeman, who first

(01:02:05):
drove back the crowd, which followed right up to the door.
Polenka came in holding Kolia and Leda, who were trembling
and weeping. Several people came in, two from the Kapernamov's room.
The landlord, a lame, one eyed man of strange appearance
with whiskers and hair that stood up like a brush,
his wife, a woman with a constantly scared expression, and

(01:02:25):
several open mouthed children with wonder struck faces. Among these,
Svidrigailov suddenly made his appearance. Raskolnikov looked at him with surprise,
not understanding where he had come from and not having
noticed him in the crowd. A doctor and priest war
spoken of the official whispered to Raskolnikov that he thought

(01:02:46):
it was too late now for the doctor, but he
ordered him to be sent for Kapernamov ran himself. Meanwhile,
Katerina Ivanovna had regained her breath, the bleeding ceased for
a day time. She looked with sick but intent and
penetrating eyes at Sonya, who stood pale and trembling, wiping

(01:03:06):
the sweat from her brow with a handkerchief. At last,
she asked to be raised. They sat her up on
the bed, supporting her on both sides. Where are the children,
she said, in a faint voice. You've brought them, Polenka, Oh,
the silly idiots. Why did you run away? Oh? Once more,

(01:03:31):
her parched lips were covered with blood. She moved her eyes,
looking around her. So that's how you live, Sonya. Never
once have I been in your room. She looked at
her with a face of suffering. We have been your ruin, Sonya.
Polenka Lida Kolia. Come here, well, here they are, Sonya.

(01:03:56):
Take them all. I hand them over to you. I've
had a The ball is over. Cough, lay me down,
Let me die in peace. They laid her back on
the pillow. What the priest, I don't want him. You

(01:04:16):
haven't got a rouble to spare. I have no sins.
God must forgive me without that. He knows how I
have suffered. And if he won't forgive me, I don't care.
She sank more and more into uneasy delirium. At times
she shuddered, turned her eyes from side to side, recognized

(01:04:39):
everyone for a minute, but at once sank into delirium again.
Her breathing was hoarse and difficult, and there was a
sort of a rattle in her throat. I said to him,
your excellency, she forced out, gasping after each word, that
Amalia Ludwigovna ah Lyda Kolia, hands on your hid.

Speaker 2 (01:05:00):
Hurry up, Glisse bliss.

Speaker 1 (01:05:05):
Fifty seven potted basque tap with your heels, be a
graceful child.

Speaker 2 (01:05:12):
Du haastiaman acht on fenzich.

Speaker 1 (01:05:16):
What next? That's what we should sing? Nott dou hostishunsna
metien vas viztumiyain on fenzich. What an idea was? Whilst
do mayre? What things the fool invents? Ah? Yes, in
the heat of midday, in the veil of da Gistan,

(01:05:37):
dot ah, how I loved it? I loved that song
to distraction Polenka. Your father, you know, used to sing
it when we were engaged all those days. Oh that's
the thing for us to sing. How does it go?
I've forgotten? Remind me? How was it? She was violently

(01:06:04):
excited and tried to sit up. At last, in a
horribly hoarse, broken voice, she began shrieking and gasping at
every word with a look of growing terror. In the
heat of midday, in the veil of Dagistan, with lead
in my breast. Sixty, your excellency, she wailed suddenly, with

(01:06:25):
a heartrending scream and a flood of tears. Protect the orphans.
You have been their father's guest. Aristocratic, you might say.
She started regaining consciousness and gazed at everyone with a
sort of terror, but at once recognized Sonya, Sonya, Sonya.
She articulated softly and caressingly, as though surprised to find

(01:06:47):
her there. Sonya, darling, are you here too? They lifted
her up again. Enough, it's over, farewell, poor thing, I
am done for, I am broken. She cried with vindictive despair,
and her head fell heavily back on the pillow. She

(01:07:11):
sank into unconsciousness again, but this time it did not
last long. Her pale, yellow, wasted face dropped back, her
mouth fell open, her leg moved convulsively. She gave a deep,
deep sigh and died. Sonia fell upon her, flung her
arms around her, and remained motionless with her head pressed
to the dead woman's waisted chest. Paulenka threw herself at

(01:07:34):
her mother's feet, kissing them and weeping violently. Though Kolia
and Leeda did not understand what had happened, they had
a feeling that it was something terrible. They put their
hands on each other's little shoulders, stared straight at one another,
and both at once opened their mouths and began screaming.
They were both still in their fancy dress, one in
a turban, the other in the cap with the ostrich feather.

(01:07:58):
And how did the certificate of merit come to be
on the bed beside Katerina Ivanovna. It lay there by
the pillow. Raskolnikov saw it. He walked away to the window.
Lebiziyatnikov skipped up to him. She is dead, he said,
wrought Ion Romanovitch. I must have a word with you,

(01:08:20):
said Svidrigailov, coming up to them. Lebiziyatnikov had once made
room for him, and delicately withdrew Svidrigailov drew Raskolnikov further away.
I will undertake all the arrangements, the funeral and all that.
You know, it's a question of money, and as I
told you, I have plenty to spare. I will put

(01:08:43):
those two little ones in Polenka into some good orphanage,
and I will settle fifteen hundred roubles to be paid
to each on coming of age, so that Sofia Semyonovna
need not worry about them. And I will pull her
out of the mud too, for she is a good girl,
isn't she. So tell Avdosha Romanovna that that is how
I am spending her ten thousand What is your motive

(01:09:06):
for such benevolence, asked Raskolnikov. Ah, you skeptical person, laughed Svidrigailov.
I told you I had no need of that money.
Won't you admit that I'm just doing it for the
sake of human kindness. She wasn't a lause, you know.
He pointed to the corner where the dead woman lay.

(01:09:28):
Was she like some old pawnbroker woman? Come, you'll agree?
Is losing to go on living and doing wicked things?
Or is she to die? And if I didn't help them,
Polenka would go the same way. He said this with
an air of a sort of gay, winking slyness, keeping
his eyes fixed on Raskolnikov, who turned white and cold

(01:09:49):
hearing the phrases which he had used with Sonya. He
quickly stepped back and looked wildly at Svidrigailov. How do
you know, he whispered, hardly able to to breathe. I
live here at Madame Reslich's the other side of the wall,
here is Kapernamov, and there lives Madame Reslich, an old

(01:10:09):
and devoted friend of mine. I am a neighbor, you yes,
continued Svidrigailov, shaking with laughter. I assure you, on my honor,
dear wrod Ayan Romanovitch, that you have interested me enormously.
I told you we've become friends. I predicted it. Well,

(01:10:33):
here we have, and you will see what an accommodating
person I am. You'll see you can get on with me.
Part six, Chapter one. A strange period began for Raskolikov.
It was as though a fog had fallen upon him
and wrapped him in a dreary solitude from which there

(01:10:54):
was no escape. Recalling that period long afterwards, he believed
that his mind had been clouded at times, and that
it had continued so with intervals until the final catastrophe.
He was convinced that he had been mistaken about many
things at that time, for instance, about the date of
certain events. Anyway, when he tried later on to piece

(01:11:16):
his recollections together, he learned a great deal about himself
from what other people told him. He had mixed up
incidents and had explained events as due to circumstances which
existed only in his imagination. At times, he was a
prey to agonies of morbid uneasiness, amounting sometimes to panic,
but he remembered two moments, hours, perhaps whole days of

(01:11:39):
complete apathy, which came upon him as a reaction to
his previous terror, and might be compared with the abnormal
insensibility which is sometimes seen in the dying. He seemed
to be trying, in that latter stage to escape from
a full and clear understanding of his position. Certain essential
facts which required immediate consideration were particularly irritating to him.

(01:12:02):
How glad he would have been to be free from
some of his worries, which, if he had neglected them,
would have threatened him with complete inevitable ruin. He was
particularly worried about Svidrigailov. He might be said to be
permanently thinking of Svidrigailov from the time of Svidrigailov's excessively
menacing and unmistakable words in Sonia's room. At the moment

(01:12:24):
of Katerina Ivanova's death, the normal working of his mind
seemed to break down. But although this new fact caused
him extreme uneasiness, Raskolnikov was in no hurry to explain it.
At times, finding himself in a solitary and remote part
of the town, in some wretched eating house, sitting alone
lost in thought, hardly knowing how he had come there,

(01:12:45):
He suddenly thought of Svidrigailov. He recognized, suddenly, clearly and
with dismay, that he ought at once to come to
an understanding with that man and to make what terms
he could. Walking outside the city gates one day, he
actually imagined that they had fixed a meeting there, that
he was waiting for Svidrigalov. Another time, he woke up

(01:13:06):
before daybreak, lying on the ground under some bushes, and
could not at first understand how he had come there.
But during the two or three days after Katerina Ivanov's
death he had two or three times met Spidrigalev in
the building where Sonia lived, to which he had gone
aimlessly for a moment. They exchanged a few words and
made no reference to the vital subject, as though they

(01:13:28):
had tacitly agreed not to speak of it for a period.
Katerina Ivanova's body was still lying in the coffin, Svidrigalov
was busy making arrangements for the funeral. Sonia, too, was
very busy. At their last meeting, Svidrigalov informed Raskolnikov that
he had made an arrangement, and a very satisfactory one

(01:13:49):
for Katerina Ivanov's children. That he had, through certain connections,
succeeded in getting hold of certain people, with whose help
the three orphans could be at once placed in very
suitable institutions. That the money he had given them had
been of great assistance, as it is much easier to
place orphans who have some kind of property than destitute ones.
He said something too about Sonya, and promised to come

(01:14:11):
himself in a day or two to see Raskolnikov, mentioning
that he would like to consult with him, that there
were things they must talk over. This conversation took place
in the passage on the stairs. Svidrigailov looked intently at Raskolnikov,
and suddenly, after a brief pause, dropping his voice, asked,
but how is it, wrought Ion Romanovitch, you don't seem yourself.

(01:14:35):
You look and you listen, but you don't seem to understand.
Sheer up, we'll talk things over. I'm just sorry, I've
so much of my own business and of other peoples
to do, Ah, wrought Ion Romanovitch. He added, suddenly, what
everyone needs is fresh air, fresh air more than anything.
He moved to one side to make way for the

(01:14:57):
priest and server who were coming up the stairs. They
had come for the requiem service on Svidrigailov's orders. It
was sung twice a day punctually. Svidrigailov went his way.
Raskalnikov stood still for a moment, thought, and followed the
priest into Sonya's room. He stood at the door. They

(01:15:20):
began to sing the service quietly, slowly and mournfully. From
his childhood, the thought of death and the presence of
death had been something oppressive and mysteriously awful. And it
was a long time since he had heard the requiem service.
And there was something else here as well, too, awful
and disturbing. He looked at the children. They were all

(01:15:41):
kneeling by the coffin. Polenka was weeping behind them. Sonya
prayed softly and as it were, timidly weeping for the
last two days. She hasn't said a word to me,
She hasn't glanced at me, Raskolnikov thought. Suddenly. The sunlight
was bright in the room, the inn since rosen clouds.
The priest read, give rest o. Lord. Raskolnikov stayed throughout

(01:16:06):
the service. As he blessed them and took his leave,
the priest looked round strangely. After the service, Raskolnikov went
up to Sonya. She took both his hands and let
her head sink on his shoulder. This slight, friendly gesture
bewildered Raskolnikov. It seemed strange to him that there was

(01:16:27):
no trace of repugnance, no trace of disgust, no tremor
in her hand. It was the furthest limit of self abnegation,
at least so he interpreted it. Sonya said nothing. Raskolnikov
pressed her hand and went out. He felt very miserable.
If it had been possible to escape to some solitude,

(01:16:50):
he would have considered himself lucky, even if he had
to spend his whole life there. But although he had
almost always been by himself, recently, he had never been
able to feel alone. Sometimes he walked out of the
town onto the high road. Once he had even reached
a little wood, But the lonelier the place was, the
more he seemed to be aware of an uneasy presence

(01:17:10):
near him. It did not frighten him, but greatly annoyed him.
So he made haste to return to the town, to
mingle with the crowd, to go into restaurants and taverns,
to walk in busy streets. There he felt easier and
even more solitary. One day, at dusk, he sat for
an hour listening to songs in a tavern, and he
remembered that he actually enjoyed it. But at last he

(01:17:34):
had suddenly felt the same uneasiness again, as though his
conscience was smiting him. Here I sit listening to singing.
Is that what I ought to be doing? He thought?
Yet he felt at once that that was not the
only cause of his uneasiness. There was something requiring immediate decision,
But it was something he could not clearly understand or
put into words. It was a hopeless tangle. No, better

(01:17:59):
have this struggle again, Better have Porphyry again, or Spidergalov.
Better have some challenge again, some attack, Yes, yes, he thought.
He went out of the tavern and rushed away, almost
at a run. The thought of Dounia and his mother
suddenly reduced him almost to a panic. That night, he

(01:18:22):
woke up before morning among some bushes in Kristovsky Island,
trembling all over with fever. He walked home, and it
was early morning when he arrived. After some hours sleep,
the fever left him, but he woke up late at
two o'clock in the afternoon. He remembered that Katerina Ivanova's
funeral had been fixed for that day, and was glad

(01:18:42):
that he was not present at it. Nastasia brought him
some food. He ate and drank with appetite, almost with greediness.
His head was fresher, and he was calmer than he
had been for the last three days. He even felt
a passing sense of amazement at his previous panic attacks.
The door opened and Razumikin came in. Ah, he's eating, then,

(01:19:07):
he's not ill, said Razumikin. He took a chair and
sat down at the table opposite Raskolnikov. He was troubled
and did not attempt to conceal it. He spoke with
evident annoyance, but without hurrying or raising his voice. He
looked as though he had some special fixed determination. Listen,

(01:19:29):
he began resolutely. As far as I'm concerned, you can
all go to hell. But from what I see, it's
clear to me that I can't make head or tail
of it. Please don't think I've come to ask you questions.
I don't want to know. Damn it, If you begin
telling me your secrets, I don't think i'd stayed to listen.
I go away cursing. I have only come to find

(01:19:51):
out once for all, whether it's a fact that you
are mad. There is a conviction in the air that
you are mad or very nearly so. I admit I've
been disposed to that opinion myself, judging from your stupid, repulsive,
and quite inexplicable actions, and from your recent behavior to
your mother and sister. Only a monster or a madman

(01:20:12):
could treat them as you have, So you must be mad.
When did you see them last? Just now? Haven't you
seen them since then? What have you been doing with yourself?
Tell me, please, I've been to see you three times already.

(01:20:35):
Your mother has been seriously ill since yesterday. She had
made up her mind to come to you. Avdosha Romanovna
tried to prevent her. She wouldn't hear a word. If
he is ill, if his mind is giving way, who
can look after him like his mother can?

Speaker 2 (01:20:50):
She said?

Speaker 1 (01:20:52):
We all came here together. We couldn't let her come alone.
All the way, we kept begging her to be calm.
We came in, you weren't here. She sat down and
stayed ten minutes while we stood waiting in silence. She
got up and said, if he's got out, that is,
if he is well and has forgotten his mother. It's
humiliating and unseemly for his mother to stand at his

(01:21:14):
door begging for kindness. She returned home and took to
her bed. Now she is in a fever. I see.
She said that he has time for his girl. She
means by your girl. Sofia Semionovna, your betrothed or your mistress,
I don't know. I went at once to Sophia Semionovna's
because I wanted to know what was going on. I

(01:21:37):
looked round. I saw the coffin, the children crying, and
Sophia Semionovna getting them to try on morning dresses. No
sign of you. I apologized, went away and reported it
all to Avdosha Romanovna. So that's all nonsense, and you
haven't got a girl. The most likely thing is that
you are mad. But here you sit guzling boiled beef

(01:22:01):
as though you'd not had a bite for three days.
Though as far as that goes mad, many too, But
though you have not said a word to me yet,
you are not mad that I'd swear above all you
are not mad. So you can go to hell, all
of you, because there's some mystery, some secret about it,
and I don't intend to worry my brains over your secrets.

(01:22:24):
So I've just come to swear at you, he finished,
getting up, to relieve my mind, And I know what
to do. Now, what do you intend to do? Now?
What business is it of yours? What I intend to do?
You are going out for a drinking bout? How how
did you know? Well, it's pretty clear, Razumikin paused for

(01:22:49):
a minute. You've always been a very rational person, and
you've never been mad, never, he observed suddenly with warmth.
You're right. I shall drink goodbye, and he moved to
go out. I was talking with my sister the day
before yesterday. I think it was about you, Razumikin, about me.

(01:23:14):
But where can you have seen her the day before yesterday?
Razumikin stopped short and even turned a little pale. His
heart was throbbing slowly and violently. She came here by herself,
sat there and talked to me. She did, yes, what

(01:23:35):
did you say to her, I mean about me. I
told her you were a very good, honest and industrious man.
I didn't tell her you love her, because she knows
that herself. She knows that herself. Well, it's pretty clear
wherever I go, whatever happens to me, you will remain

(01:23:58):
to look after them. I so to speak, give them
into your keeping, Razumikin. I say this because I know
quite well how you love her, and am convinced of
the purity of your heart. I know that she too
may love you, and perhaps does love you already. Now
decide for yourself, as you know best, whether you need

(01:24:19):
go in for a drinking bout or not. Rodia, you see, well, ah,
damn it. But where do you intend to go? Of course,
if it's all a secret, never mind. But I I
shall find out the secret, and I am sure that

(01:24:39):
it must be some ridiculous nonsense and that you've made
it all up. Anyway, you are a wonderful person, a
wonderful person. That was just what I wanted to add,
only you interrupted that that was a very good decision
of yours. Not to find out these secrets lead it
to time. Don't worry about it. You'll know it in time,

(01:25:00):
when it's all revealed. Yesterday a man said to me
that what a man needs is fresh air, fresh air,
fresh air. I intend to go to him directly to
find out what he meant by that. Razumikin stood lost
in thought an excitement, making a silent conclusion. He's a
political conspirator, he must be, And he's on the eve

(01:25:25):
of some desperate step. That's certain. It can only be that.
And and Dounia knows, he thought. Suddenly, so Avdosha Romanovna
comes to see you, he said, weighing each syllable, And
you're going to see a man who says we need
more air. And so, of course that letter, that two
must have something to do with it, he concluded to himself.

(01:25:47):
What letter? She got a letter today? It upset her
very much, very much, indeed too much. So I started
talking about you me not to Then then she said
that perhaps we should very soon have to part. Then
she began warmly thanking me for something. Then she went

(01:26:08):
to her room and locked herself in. She got a letter,
Raskolnikov asked, thoughtfully, yes, and you didn't know h M.
They were both silent. Goodbye, wrought ion. There was a time,
my friend, when iye, never mind, goodbye, you see there

(01:26:33):
was a time. Well goodbye. I must be off too.
I am not going to drink. There's no need now,
that's all stupid. He hurried out, But when he had
almost closed the door behind him, he suddenly opened it
again and said, looking away, Oh, by the way, do

(01:26:56):
you remember that murder? You know, Porphreys, that old woman.
Do you know the murderer has been found? He has
confessed and given the proofs. It's one of those workmen,
the painter. Just imagine, do you remember I defended them here?
Would you believe it? The whole scene of fighting and
laughing with his companion on the stairs while the porter

(01:27:18):
and the two witnesses were going up he put on
deliberately to disarm suspicion. The cunning, the presence of mind
that little dog had it can hardly be credited. But
it's his own explanation. He has confessed at all, And
what a fool I was about it? Well, he's simply
a genius of hypocrisy and resourcefulness in disarming the suspicions

(01:27:41):
of the lawyers. So there's nothing much to wonder at.
I suppose, of course, people like that are always possible,
and the fact that he couldn't keep up the character
but confessed makes him easier to believe in. But what
a fool I was. I was frantically supporting them. Tell me, please,

(01:28:02):
who did you hear that from? And why does it
interest you so much? Raskolnikov asked, with unmistakable agitation, What next,
you ask me why it interests me? Well, I heard
it from Porphyry, among others, it was from him. I
heard almost everything about it from Porphyry. From Porphyry, what

(01:28:29):
what did he say, Raskolnikov asked, in dismay. He gave
me a brilliant explanation of it psychologically, after his fashion,
he explained it, explained it himself. Yes, yes, goodbye. I'll

(01:28:49):
tell you all about it another time, But now I'm busy.
There was a time when I imagined, but no matter
another time. What need is there for me to drink? Now?
You have made me drunk without wine? I am drunk, Rodia. Goodbye,
I'm going I'll come again very soon, he went out.

(01:29:16):
He's a political conspirator, There's no doubt about it, Razumikin decided,
as he slowly descended the stairs, and he's drawn his
sister in. That's entirely, entirely in keeping with Avdosia Romanovna's character.
There are meetings between them. She hinted at it too,

(01:29:36):
So many of her words and hints have implied that.
And how else can this whole tangle be explained? Hm?
And I was almost thinking, goodness, what was I thinking? Yes,
I took leave of my senses, and I wronged him.
It was his doing under the lamp in the corridor

(01:29:57):
that day. Fo. What a crude, nasty, vile idea on
my part. Nikolay is a real godsend for confessing, And
how clear everything is now his illness, then, all his
strange actions before this in the university, how pessimistic he
used to be, how gloomy? But what's the meaning now

(01:30:21):
of that letter? There's something in that too, Perhaps who
was it from? I suspect? No, I must find out,
he thought of Dounia. Realizing everything he had heard in
his heart throbbed and he suddenly broke into a run.
As soon as Razumikin went out, Raskolnikov got up, turned

(01:30:44):
to the window, walked from one corner to another, as
though forgetting the smallness of his room, and sat down
again on the sofa. He felt, so to speak, renewed
again the struggle. So a means of escape had come. Yes,
a means of escape had come. It had been too stifling,
too cramping. The burden had been too agonizing, a lethargy

(01:31:07):
had come upon him at times. From the moment of
the scene with Nikolay at Porphyry's he had been suffocating,
penned in without any hope of escape. After Nikolay's confession
on that very day had come the scene with Sonya.
His behavior, in his last words, had been utterly unlike
anything he could have imagined beforehand. He had grown feebler

(01:31:28):
instantly and fundamentally, And he had agreed at the time
with Sonya. He had agreed in his heart he could
not go on living alone with such a thing on
his mind. And Spidragalov was a riddle. He worried him.
That was true, but somehow not on the same point,
he might still have a struggle to come with Spidrigalov.

(01:31:50):
Spidrigailov too might be a means of escape, But Porphyry
was a different matter, and so Porphyry himself had explained
it to Razumikin had ex explained it psychologically, he had
started bringing in his damned psychology again, Porfiry. But to
think that Porphyry should for a moment believe that Nikolai

(01:32:12):
was guilty after what had passed between them before Nikolay's appearance,
after that one on one interview, which could have only
one explanation. During those days, Raskolnikov had often recalled passages
in that scene with Porphyry. He could not bear to
let his mind rest on it. Such words, such gestures
had passed between them, They had exchanged such glances, things

(01:32:33):
had been said in such a tone, and had reached
such a pass that Nikolay, whom Porphyry had seen through
at the first word, at the first gesture, could not
have shaken his conviction. And to think that even Razumikin
had begun to suspect the scene in the corridor under
the lamp had produced its effect. Then he had rushed

(01:32:53):
to Porphyry. But what had induced the latter to receive
him like that? What had been his aim in putting
Razumikin off with Nikolay. He must have some plan, There
was some design, but what was it? It was true
that a long time had passed since that morning. Too
long a time, and no sight or sound of Porphyry. Well,

(01:33:15):
that was a bad sign. Raskolnikov took his cap and
went out of the room, still pondering. It was the
first time for a long while that he had felt
clear in his mind. At least I must settle Svidrigailov,
he thought, And as soon as possible, he too, seems
to be waiting for me to come to him of
my own accord. And at that moment there was such

(01:33:38):
a rush of hate in his weary heart that he
might have killed either of those two, Porphyry or Svidrigailov.
At least he felt that he would be capable of
doing it later. If not now, we shall see. We
shall see, he repeated to himself. But no sooner had
he opened the door than he stumbled upon Porphyry himself

(01:33:58):
in the passage he was coming in to see him.
Raskolnikov was dumbfounded for a minute, but only for a minute.
Strange to say, he was not very astonished to see Porfhry,
and was scarcely even afraid of him. He was simply startled,
but was quickly instantly on his guard. Perhaps this will

(01:34:20):
mean the end. But how could Porfiry have approached so
quietly like a cat, so if you would hear nothing?
Could he have been listening at the door. You didn't
expect a visitor, wrought Iyon Romanovitch. Porfiry explained, laughing, I've
been meaning to look in for a long time. I
was passing by and thought, why not go in for

(01:34:41):
five minutes? Are you going out? I won't keep you long,
Just let me have one cigarette. Sit down, Porfiry, Petrovitch,
sit down. Raskolnikov gave his visitor a seat with so
pleased and friendly an expression that he have marveled at
himself if he could have seen it. The final moment

(01:35:04):
had come. The last drops had to be drained. So
a man will sometimes go through half an hour of
mortal terror with a brigand yet when the knife is
at his throat at last, he feels no fear. Raskolnikov
seated himself directly facing Porphyry and looked at him without flinching.
Porphyry screwed up his eyes and began lighting a cigarette.

(01:35:27):
Say something, Say something seemed as though it would burst
from Raskolnikov's heart. Come on, why aren't you saying anything?
Chapter two. O h, these cigarettes, porfry Petrovitch said, at last,
having lit one. They are pernicious, absolutely pernicious, and yet

(01:35:49):
I can't give them up. I cough, I begin to
have a tickle in my throat in difficulty breathing. You know,
I am a coward. I went recently to doctor Bien
sixty one. He always gives at least half an hour
to each patient. He really laughed looking at me. He
gave me an inspection. Tobacco's bad for you, he said,
your lungs are affected. But how am I going to

(01:36:12):
give it up? What is there to take its place?
I don't drink, that's the problem, he he he that
I don't. Everything is relative, wrought iyon Romanovitch. Everything is relative.
He's playing his professional tricks again. Raskolnikov thought, with disgust.
All the circumstances of their last interviews suddenly came back

(01:36:36):
to him, and he felt a rush of the feeling
that had come upon him. Then I came to see
you the day before yesterday, in the evening. You didn't know,
porfry Petrovitch went on, looking round the room. I came
into this very room. I was passing by, just as
I did today, and I thought i'd return your call.

(01:36:58):
I walked in as your door was wide open. I
looked round, waited, and went out without leaving my name
with your servant. Don't you lock your door? Raskolnikov's face
grew more and more gloomy. Porphyry seemed to guess his
state of mind. I've come to have it out with you,
wrought Ion Romanovitch, my dear friend. I owe you an explanation,

(01:37:21):
and I must give it to you. He continued with
a slight smile, just patting Raskolnikov's knee, but almost at
the same instant as serious and careworn look came into
his face. To a surprise, Raskolnikov saw a touch of
sadness in it. He had never seen and never suspected
such an expression on his face. A strange scene passed

(01:37:43):
between us last time we met rod Ion Romanovitch. Our
first interview too was a strange one. But then and
one thing after another. This is the point I have
perhaps acted unfairly to you. I feel it. Do you
remember how we part? Hearded your nerves were unhinged, and
your knees were shaking, and so were mine. And you

(01:38:06):
know our behavior was indecent, even ungentlemanly, And yet we
are gentlemen above all. In any case, gentlemen, that must
be understood. Do you remember what we came to. It
was absolutely indecent. What is he up to? What does
he take me for? Raskolnikov asked himself in amazement, raising

(01:38:30):
his head and looking with open eyes at Porphyry. I've
decided openness is better between us Porfiry. Petrovitch went on,
turning his head away and dropping his eyes, as though
unwilling to disconcert his former victim, and as though he
were setting aside his former cunning. Yes, such suspicions and
such scenes cannot continue for long, Nikolay, put a stop

(01:38:53):
to it, or I don't know what we might not
have come to. That damned workman was sitting at the
time in the next room. Do you realize that You
know that? Of course, and I am aware that he
came to see you afterwards. But what you supposed then
was not true. I had not sent for anyone, I
had made no kind of arrangements. You ask why I

(01:39:14):
hadn't what shall I say to you? It had all
come to me, so suddenly I had scarcely sent for
the porters. You noticed them as you went out. I
dare say an idea flashed upon me. I was firmly
convinced at the time. You see, wrought Ion Romanovitch, come on,
I thought, even if I let one thing slip for

(01:39:35):
a period, I shall get hold of something else. I
shan't lose what I want anyway. You are nervous and irritable,
wrought Ion Romanovitch, by temperament. It's out of proportion to
the other qualities of your heart and character. And I
flatter myself to think I have to some extent divine them.
Of course, I did reflect even then that it does
not always happen that a man gets up and blurts

(01:39:57):
out his whole story. It It does happen sometimes if
you make a man lose all his patience, though even
then it's rare. I was capable of realizing that if
I only had a fact, I thought the least little
fact to go upon something, I could lay hold of,
something tangible, not merely psychological. For if a man is guilty,

(01:40:19):
you must be able to get something substantial out of him.
You can count upon the most surprising results. I was
counting on your temperament, wrought Ion Romanovitch, on your temperament
above all, I had great hopes of you at that time.
But what are you driving at now? Raskolnikov muttered at last,

(01:40:40):
asking the question, without thinking, What is he talking about?
He wondered, distractedly, Does he really take me to be innocent?
What am I driving at? I've come to explain myself.
I consider it my duty, so to speak. I want
to make clear to you how the whole business, the
whole misunderstanding arose. I've caused you a great deal of suffering,

(01:41:05):
wrought Ion Romanovitch. I am not a monster. I understand
what it must mean for a man who has been unfortunate,
but who is proud, imperious, and above all impatient to
have to bear such treatment. I regard you, in any case,
as a man of noble character, and not without elements
of magnanimity. Though I don't agree with all your convictions,

(01:41:28):
I wanted to tell you this first, frankly and quite sincerely,
for above all, I don't want to deceive you. When
I made your acquaintance. I felt attracted by you. Perhaps
you will laugh at my saying so, you have a
right to. I know you disliked me from the first,
and in fact you've no reason to like me. You

(01:41:50):
may think what you like, but I now wish to
do all I can to erase that impression and to
show that I have a heart and a conscience. I
am saying this sincerely. Porfry Petrovitch made a dignified pause.
Raskolnikov felt a rush of renewed alarm. The thought that
Porfiry believed him to be innocent began to make him uneasy.

(01:42:15):
It's scarcely necessary to go over everything in detail, porfry
Petrovitch went on. Indeed, I could scarcely attempt it. To
begin with, there were rumors through whom, how and when
those rumors came to me, and how they affected you.
I need not explain. My suspicions were aroused by a

(01:42:38):
complete accident, which might just as easily not have happened.
What was it, h M. I believe there is no
need to go into that. Either. Those rumors and that
accident led to one idea in my mind. I admit
it openly. For one may as well be clear of it.

(01:43:00):
I was the first to pitch on you the old
woman's notes on the pledges and the rest of it,
that all came to nothing. Yours was one of a hundred.
I happened too to hear of the scene at the
office from a man who described it excellently, unconsciously reproducing
the scene with great vividness. It was just one thing

(01:43:23):
after another, wrought Ion Romanovitch, My dear fellow, how could
I avoid being brought to certain ideas from one hundred rabbits.
You can't make a horse. A hundred suspicions don't make
a proof, as the English proverb says. But that's only
from the rational point of view. You can't help being partial,

(01:43:44):
for after all, a lawyer is only human. I thought
too of your article in that journal. Do you remember
during your first visit we talked about it. I jeered
at you at the time, but that was only to
lead you on. I repeat, wrought Ion, Romanovitch, you are
ill and impatient. That you were bold, headstrong, in earnest

(01:44:09):
and had felt a great deal I recognized long before,
I too have felt the same. So your article seemed
familiar to me. It was conceived on sleepless nights with
a throbbing heart, in ecstasy and with suppressed enthusiasm, And
that proud suppressed enthusiasm in young people is dangerous. I

(01:44:33):
jeered at you then, But let me tell you that,
as a literary amateur, I am awfully fond of such
first essays full of the heat of youth. There is
a mistiness and a chord vibrating in the mist Your
article is absurd and fantastic, but there's a transparent sincerity,
a youthful, incorruptible pride, and the daring of despair in it.

(01:44:58):
It's a gloomy article, but that's what's good about it.
I read your article and put it aside, thinking as
I did so, that man won't go the common way. Well,
I ask you after that, as a preliminary how could
I help being carried away by what followed? Oh, dear,

(01:45:18):
I am not saying anything. I am not making any
statement now. I simply noted it at the time. What
is there in it? I reflected, There's nothing in it
that is really nothing, and perhaps absolutely nothing. And it's
not at all the thing for the prosecutor to let

(01:45:40):
himself be carried away by notions. Here I have Nikolay
on my hands with actual evidence against him. You may
think what you like of it, but it's evidence he
brings in his psychology too. You have to consider him too,
because it's a matter of life and death. Why am
I explaining this to you so that you will understand

(01:46:03):
and not blame my malicious behavior on that occasion. It
was not malicious, I assure you. He he Do you
suppose I didn't come to search your room at the
time I did? I did he he. I was here
when you were lying ill in bed, not officially, not

(01:46:23):
in person, but I was here. Your room was searched
to the last threat, at the first suspicion, but obsinsed.
I thought to myself, now that man will come, will
come of his own accord in quickly too. If he's guilty,
he's sure to come. Another man wouldn't, but he will.

(01:46:44):
And you remember how mister Razumikin began discussing the subject
with you. We arranged that to excite you, so we
spread rumors on purpose so that he might discuss the
case with you. And Razumikin is not a man to
restrain his indignation. Mister Zeyintov was tremendously struck by your

(01:47:05):
anger and your open daring think of blurting out in
a restaurant. I killed her. It was too daring, too reckless.
I thought so myself. If he is guilty, he will
be a formidable opponent. That was what I thought at
the time. I was expecting you. But you simply bowled

(01:47:28):
Zeintov over and well, you see this is where it
all lies. This damnable psychology can be taken two ways. Well,
I kept expecting you, and that was how it was
you came. My heart was really throbbing. Ah, now why
need you have come? Your laughter too? As you came in.

(01:47:53):
Do you remember I saw it all plain as day.
But if I hadn't expected you so specially, I should
not have noticed anything in your laughter. You see what
influence a mood has, mister Razumikin. Then Ah, that stone,
that's stone under which the things were hidden. I seemed

(01:48:14):
to see it somewhere in a kitchen garden. It was
in a kitchen garden, you told Zantav, And afterwards you
repeated that in my office. And when we began picking
your article to pieces, how you explained it? One could
take every word of yours in two senses, as though
there were another meaning hidden. So in this way wrought

(01:48:39):
Ayon Romanovitch. I reached the furthest limit, and knocking my
head against a post, I pulled myself up, asking myself
what I was about. After all, I said, you can
take it all in another sense if you like, and
it's more natural to take it that way. In fact,
I couldn't help admitting it was more natural. I was bothered. No,

(01:49:04):
I'd better get hold of some little fact, I said. So,
when I heard of the bell ringing, I held my
breath and was all in a tremor. Here is my
little fact, I thought. And I didn't think it over.
I simply wouldn't. I would have given a thousand roubles
at that minute to have seen you with my own

(01:49:25):
eyes when you walked a hundred paces beside that workman,
after he had called you murderer to your face, and
you did not dare to ask him a question all
the way. And then what about your trembling, what about
your bell ringing, in your illness, in semi delirium, and
so Wroughteyon Romanovitch. Can you wonder that I played such pranks?

(01:49:47):
On you, and what made you come at that very minute?
Someone seemed to have sent you by jove, and if
Nikolay had not parted us? And do you re remember
Nikolay at the time? Do you remember him clearly? It
was a thunderbolt, a regular thunderbolt, And how I met him.

(01:50:12):
I didn't believe in the thunderbolt, not for a minute.
You could see it for yourself, and how could I?
Even afterwards when you had gone, and he began making
very very plausible answers on certain points, so plausible that
I was surprised at him myself. Even then I didn't
believe his story. You see what it is to be

(01:50:35):
as firm as a rock, No thought, I moudenfret, What
has Nikolay got to do with it? Razumikin told me
just now that you think Nikolay is guilty and had
assured him of it yourself. His voice failed him and
he broke off. He had been listening in indescribable agitation

(01:51:00):
as this man who had seen through him went back
upon himself. He was afraid of believing it, and did
not believe it. In those words, which were still ambiguous,
He kept eagerly looking for something more definite and conclusive.
Mister Razumikin cried, Porfiry Petrovitch, seeming glad of a question

(01:51:22):
from Raskolnikov, who had until then been silent. E e he.
But I had to put mister Razumikin off. Two is company,
three is none. Mister Razumikin is not the right man. Besides,
he is an outsider. He came running to me with

(01:51:43):
a pale face. But never mind him. Why bring him
into it? To return to Nikolay, would you like to
know what sort of a type he is? How I
understand him? That is, to begin with, he is still
a child, and not exactly a coward, but something of
an artist. Really, do laugh at my describing him like that.

(01:52:07):
He is innocent and open to influence. He has a heart.
He is a fantastic fellow. He sings and dances. He
tells stories. They say so while that people come from
other villages to hear him. He attends school too, and
laughs until he cries. If you hold up a finger
to him. He will drink himself senseless, not as a

(01:52:30):
regular vice, but at times when people treat him like
a child, and he stole too then without knowing it
himself for how can it be stealing if you pick
it up? And do you know he is an old
believer sixty two, or rather a dissenter. There have been
wanderers sixty three in his family, and for two years

(01:52:53):
in his village he was under the spiritual guidance of
an elder. I learned all this from Nikol and his
fellow villagers. And what's more, he wanted to run into
the wilderness. He was full of fervor. Prayed Knight read
the old books, the true ones, and read himself crazy.

(01:53:15):
Petersburg had a great effect upon him, especially the women
and the wine. He responds to everything, and he forgot
the elder and all that. I learned that an artist
here took a fancy to him and used to go
and see him. And now this business came along. Well.
He was frightened. He tried to hang himself. He ran away.

(01:53:41):
How can you get over the idea the people have
of Russian legal proceedings. The very word trial frightens some
of them. Whose fault is it? We shall see what
the new juries will do. God grant they do good
well in prison. It seems he remembered the venerable elder,

(01:54:04):
the Bible too, made its appearance again. Do you know,
wrought Aan Romanovitch the force of the word suffering among
some of these people. It's not a question of suffering
for someone's benefit, but simply you must suffer. If they
suffer at the hands of the authorities, so much the better.

(01:54:26):
In my time there was a very meek and mild
prisoner who spent a whole year in prison, always reading
his Bible on the stoved night, and he read himself
crazy and so crazy. Do you know that one day,
apropos of nothing, he seized a brick and flung it
at the governor, though we had done him no harm.
And the way he threw it too, aimed at a

(01:54:47):
yard on one side on purpose for fear of hurting him. Well,
we know what happens to a prisoner who assaults an
officer with a weapon. So he took his suffering. So
I suspect now that Nikolay wants to take his suffering
or something of the sort. I even know it for

(01:55:08):
certain from the facts. Only he doesn't know that I
know what. You don't admit that there are such fantastic
people among the peasants, lots of them. The elder now
has begun influencing him, especially since he tried to hang himself.

(01:55:29):
But he'll come and tell me everything himself. You think
he'll hold out, wait a bit, he'll take his words back.
I am waiting hour by hour for him to come
and swear in his evidence. I have come to like
that Nikolay, and am studying him in detail. And what

(01:55:50):
do you think he he? He answered me very plausibly.
On some points he obviously had collected some evidence and
pre paired himself cleverly. But on other points he is
simply at sea, knows nothing, and doesn't even suspect that
he doesn't know. No wrought Ion Romanovitch Nikolay doesn't come

(01:56:13):
into it. This is a fantastic gloomy business, a modern case,
an incident of our time. When the heart of man
is troubled when the phrase is quoted that blood renews
when comfort is preached as the aim of life. Here
we have bookish dreams, a heart unhinged by theories. Here

(01:56:34):
we see resolution in the first stage, but resolution of
a special kind. He resolved to do it like jumping
over a precipice or from a bell tower, and his
legs shook as he went to the crime. He forgot
to shut the door after him and murdered two people.
For a theory. He committed the murder and couldn't take

(01:56:55):
the money, and what he did managed to snatch up,
he hid under a stone. It wasn't enough for him
to suffer agony behind the door while they battered at
the door and rung the bell. No, he had to
go to the empty lodging, half delirious to recall the
bell ringing. He wanted to feel the cold shiver over again. Well,

(01:57:16):
that we grant was through illness. But consider this. He
is a murderer, but looks upon himself as an honest man,
despises others poses as an injured innocent No, that's not
the work of a Nikolay My dear rod Ion Romanovitch.
All that had been said before had sounded so like

(01:57:36):
a recantation that these words were too great a shock.
Raskolnikov shuddered as though he had been stabbed. Then, who
then is the murderer? He asked in a breathless voice,
unable to restrain himself. Porfry Petrovitch sank back in his
chair as though he were amazed at the question. Who

(01:58:00):
is the murderer, he repeated, as though unable to believe
his ears. You wrought Ion Romanovitch, You are the murderer,
he added, almost in a whisper, In a voice of
genuine conviction, Raskolnikov leapt from the sofa, stood up for
a few seconds, and sat down again without uttering a word.

(01:58:24):
His face twitched convulsively. Your lip is twitching, just as
it did before, Porfiry Petrovitch observed, almost sympathetically. You've been
misunderstanding me. I think wrought Ion Romanovitch, he added, after
a brief pause. That's why you are so surprised. I

(01:58:45):
came on purpose to tell you everything and deal openly
with you. It was not me who murdered her, Raskolnikov whispered,
like a frightened child caught in the act. No, it
was you, you Rodye Romanovitch, and no one else. Porfyry
whispered sternly with conviction. They were both silent, and the

(01:59:08):
silence lasted strangely long, about ten minutes. Raskolnikov put his
elbow on the table and passed his fingers through his hair.
Porfry Petrovitch sat quietly, waiting. Suddenly, Raskolnikov looked scornfully at Porphyry.
You are right, your old tricks again, Porfry, Petrovitch, your

(01:59:32):
old method again. I'm amazed you don't get sick of it?
Oh stop that, What does that matter? Now? It would
be a different matter if there were witnesses present, But
we are whispering alone. You see yourself that I have
not come to chase and capture you like a hare,

(01:59:55):
whether you confess it or not, as nothing to me now,
as far as I am concerned, I am convinced without it.
If so, what did you come for? Raskolnikov asked irritably,
I ask you the same question again. If you consider
me guilty, why don't you take me to prison? Oh

(02:00:17):
that's your question. I will answer you point for point. Firstly,
to arrest you so directly is not in my interest.
How so, if you are convinced you ought, ah, what
if I am convinced that's only my dream for the

(02:00:39):
time being, why should I put you in safety? You
know that's it, since you asked me to do it.
If I confront you with that workman, for instance, and
you say to him were you drunk or not? Who
saw me with you. I simply thought you were drunk,
and you were drunk. Two Well, what could I answer,

(02:01:03):
especially as your story is a more likely one than his,
For there's nothing but psychology to support his evidence that's
almost unseemly with his ugly mug, while you've hit the
mark exactly because that rascal is an inveterate drunkard, and
notoriously so. And I myself have frankly admitted several times
already that that psychology can be taken in two ways,

(02:01:26):
and that the second way is stronger and looks far
more probable. And not apart from that, I have as
yet nothing against you. And though I shall put you
in prison, and indeed have come quite contrary to etiquette
to inform you of it beforehand, yet I tell you, frankly,
also contrary to etiquette, that it won't be to my advantage. Well, secondly,

(02:01:49):
I've come to you because yes, yes, secondly, Raskolnikov was
listening breathless, because, as I told you just now, I
consider I owe you an explanation. I don't want you
to look upon me as a monster, as I have
a genuine liking for you. You may believe me or not,

(02:02:13):
and In the third place, I've come to you with
a direct and open proposition that you should surrender and confess.
It will be infinitely more to your advantage and to
my advantage too, for my task will be done. Well,
is this open on my part or not? Raskolnikov thought

(02:02:33):
a minute. Listen, Porfyry Petrovitch. You said, just now, you
have nothing but psychology to go on. Yet now you've
gone on mathematics. Well, what if you are mistaken yourself? Now, no,
wrought Ion Romanovitch, I am not mistaken. I have a

(02:02:55):
little fact. Even then, Providence said it to me, little fact.
I won't tell you what, rod Ion Romanovitch. And in
any case, I haven't got the right to put it
off any longer. I must arrest you. So think it over.
It makes no difference to me now, and so I

(02:03:16):
speak only for your sake. Believe me, it will be better,
rod Ion Romanovitch. Raskolnikov smiled malignantly. That's not just ridiculous,
it's absolutely shameless. Why even if I were guilty, which
I don't admit, what reason would I have to confess

(02:03:39):
when you tell me yourself that I shall be in
greater safety in prison, ah wrod Ion Romanovitch, don't put
too much faith in words. Perhaps prison will not be
an entirely RESTful place. That's only theory, in my theory.
And what authority am I for you? Perhaps even now

(02:03:59):
I am high something from you. I can't lay everything bare?
He and how can you ask? What advantage? Don't you
know how it would lessen your sentence? You would be
confessing at a moment when another man has taken the
crime on himself and has therefore muddled the whole case.

(02:04:21):
Consider that I swear before God that I will so
arrange for your confession to come as a complete surprise.
We will make a clean sweep of all these psychological
points of any suspicion against you, so that your crime
will appear to have been something like an aberration, for
in truth it was an aberration. I am an honest man,

(02:04:44):
wrought Ion Romanovitch, and I will keep my word. Raskolnikov
maintained a mournful silence and let his head sink dejectedly.
He pondered a long while, and at last smiled again.
But his smile was said, and gentle no, he said,
apparently abandoning all attempt to keep up appearances with Porphyry.

(02:05:09):
It's not worth it. I don't care about lessening the sentence.
That's just what I was afraid of. Porphyry cried warmly,
and as it seemed, involuntarily, That's just what I feared
that you wouldn't care about the mitigation of your sentence.

(02:05:30):
Raskolnikov looked sadly and expressively at him. Ah, don't disdain life,
Porphyry went on. You have a great deal of it
in front of you. How can you say you don't
want a mitigation of your sentence? You are an impatient person,

(02:05:52):
A great deal of what lies before me? Of life?
What sort of profit are you? Do you know much
about it? See? Can ye shall find? This? May be
God's means for bringing you to him. And it's not
forever the bondage. The time will be shortened, laughed Raskolnikov.

(02:06:18):
Why is it the bourgeois disgrace you are afraid of?
It may be that you are afraid of it without
knowing it because you are young, But anyway, you shouldn't
be afraid of giving yourself up and confessing. Oh damn it,
Raskolnikov whispered with loathing, and contempt, as though he did

(02:06:40):
not want to speak aloud. He got up again, as
though he meant to go away, but sat down again
in evident despair. Damn it if you like you've lost
faith and you think that I am grossly flattering you,
But how long has your life been? How much do
you understand? You made up a theory and then you

(02:07:04):
were ashamed that it broke down and turned out to
be not at all original. It turned out to be
something base. That's true, but you are not hopelessly base
by no means so base. At least you didn't deceive
yourself for long. You went straight to the furthest point
in one leap. How do I see you? I see

(02:07:28):
you as one of those men who would stand and
smile at their torturer while he cuts their entrails out.
If only they have found faith or God, find it
and you will live. You have long needed a change
of air. Suffering too, is a good thing. Suffer. Maybe

(02:07:49):
Nikolay is right in wanting to suffer. I know you
don't believe in it, but don't be over wise fling
yourself straight into life without deliberation. Don't be afraid the
flood will bring you to the bank and set you
safe on your feet again? What bank? How can I tell?

(02:08:09):
I only believe that you have a long life before you.
I know that you think all my words now are
a set speech prepared beforehand. But maybe you will remember
them afterwards. They may be of use sometime. That's why
I speak. It's as well that you only killed the

(02:08:29):
old woman. If you'd invented another theory, you might perhaps
have done something a thousand times more hideous. You ought
to thank God. Perhaps, how do you know? Perhaps God
is saving you for something. But keep your good heart
and have less fear. Are you afraid of the great

(02:08:53):
atonement before you? No, it would be shameful to be
afraid of it. Since tis you have taken such a step.
You must harden your heart. There is justice in it.
You must fulfill the demands of justice. I know that
you don't believe it, but life in fact will bring

(02:09:15):
you through. You will live it down in time. What
you need now is fresh air, fresh air, fresh air.
Raskolnikov shuddered. But who are you? What profit are you
from the height of what majestic serenity? Do you proclaim

(02:09:36):
these words of wisdom? Who am I? I am a
man with nothing to hope for, that's all, A man
perhaps of feeling and sympathy, may be of some knowledge too.
But my day is over. But you are a different matter.
There is life awaiting you, though who knows. Maybe your

(02:09:58):
life too will pass up and smoke and come to nothing.
Come on, what does it matter that you will leave
this class of men for another? It's not comfort you
regret with your heart? What of it that perhaps no
one will see you for so long? It's not time.

(02:10:18):
It's you that will decide. That be the sun, and
everyone will see you. The sun above all has to
be the sun. Why are you smiling again? Because I'm
such a shiller? I bet you're thinking I'm trying to
get round you by flattery. Well perhaps I am, he

(02:10:41):
he he. Perhaps you'd better not take my word for it.
Perhaps you'd better never believe it altogether. I made that way,
I confess. But let me add you can judge for yourself.
I think to what extent I am base? And to
what extent I am honest? When do you intend to

(02:11:01):
arrest me? Well? I can let you walk about another
day or two. Think it over, my dear fellow, and
pray to God, it's more in your interest, believe me.
And what if I run away, asked Raskolnikov with a
strange smile. No, you won't run away. A peasant would

(02:11:26):
run away, A fashionable dissenter would run away, the flunky
of another man's thought. For you've only to show him
the end of your little finger, and he'll be ready
to believe in anything for the rest of his life.
But you've ceased to believe in your theory already. What
will you run away with? And what would you do
in hiding? It would be hateful and difficult for you.

(02:11:50):
And what you need more than anything in life is
a definite position, an atmosphere to suit you. And what
sort of atmosphere would you have if you ran away?
You'd come back to yourself. You can't get along without us.
And if I put you in prison, say you've been

(02:12:12):
there a month or two or three, remember my word.
You'll confess of your own accord, and perhaps to your
own surprise, you won't know an hour beforehand that you
are coming to confess. I am convinced that you will
decide to take your suffering. You don't believe my words now,

(02:12:32):
but you'll come to the same realization by yourself. For suffering,
wrought eye on Romanovitch is a great thing. Never mind
the fact that I've got fat I know it anyway,
don't laugh at it. There's a fine idea in suffering.
Nikolay is right. No, you won't run away, Rodeyon Romanovitch.

(02:12:57):
Raskolnikov got up and took his cap Porfiry Petrovitch also rose,
are you going for a walk? The evening will be
beautiful as long as we don't have a storm, though
it would be a good thing to freshen the air.
He too took his cap Porfiry Petrovitch. Please don't think

(02:13:22):
I've confessed to you today, Raskolnikov pronounced, with sullen insistence.
You're a strange man, and I have listened to you
just from curiosity. But I've admitted nothing. Remember that, Oh,
I know that, I'll remember. Look at him. He's trembling.

(02:13:43):
Don't be uneasy, my dear fellow. Have it your own way.
Walk about a bit. You won't be able to walk
too far if anything happens. I have one request to
make of you, he added, dropping his voice. It's an
awkward one, but it's important. If anything were to happen,

(02:14:05):
though I don't believe it would, and I consider you
utterly incapable of it. In case you became fascinated during
these forty or fifty hours with the notion of putting
an end to the business in some other way, in
some fantastic way, laying hands on yourself. It's an absurd proposition,
but you must forgive me for it. To leave a
brief but precise note two lines only, and mention the stone.

(02:14:29):
It will be more generous. Come until we meet. I
wish you good thoughts and sound decisions. Porphyry went out,
stooping and avoiding Raskolnikov's gaze. The latter went to the
window and waited with irritable impatience until he calculated that

(02:14:49):
Porfyry had reached the street and moved away. Then he
too went hurriedly out of the room. Chapter three. He
hurried to Spidrigailov's What he had to hope from that
man he did not know, but Stidrigailov had some hidden
power over him. Having recognized this once, he could not rest,

(02:15:14):
and now the time had come on the way. One
question worried him, in particular, had Slidrigalov been to Porphyrey's.
As far as he could judge, he would swear that
he had not. He pondered again and again went over
Porphyy's visit. No, he hadn't been, of course he hadn't.

(02:15:37):
But if he had not been there yet would he
go Meanwhile? For the present, he fancied he couldn't. Why.
He could not have explained, but if he could, he
would not have wasted much thought over it. At the moment,
it all worried him, and at the same time he
could not attend to it. Strange to say, no one

(02:16:01):
would have believed it, perhaps, but only he felt a faint,
vague anxiety about his immediate future. Another, much more important
anxiety tormented him. It concerned himself, but in a different,
more vital way. Moreover, he was conscious of immense moral fatigue,
though his mind was working better that morning than it

(02:16:24):
had done of late. And was it worth while, after
all that had happened to contend with these new trivial difficulties.
Was it worth while, for instance, to perform some maneuvers
so that Sviidrigalov would not go to Porphyriys. Was it
worth while to investigate, to establish the facts, to waste

(02:16:46):
time over anyone like Svidrigalov. Oh, how sick he was
of it all, And yet he was hastening to Spidrigalov's
Could he be expecting something new from him? Information or
means of escape? People do clutch at straws. Was it
destiny or some instinct bringing them together? Perhaps it was

(02:17:10):
only fatigue despair. Perhaps it was not Spidrigailov but some
other person whom he needed, And Svidrigailov had simply presented
himself by chance Sonia. But what should he go to
Sonia for now? To beg for her tears? Again? He
was afraid of Sonia too. Sonia stood before him like

(02:17:35):
an irrevocable sentence. He must go his own way or hers.
At that moment especially, he did not feel strong enough
to see her. No, would it not be better to
try Spidrigailov, And he could not help inwardly admitting that
he had long felt that he must see him for

(02:17:56):
some reason. But what could they have in even their
evil doing? Could not be of the same kind. The
man moreover was very unpleasant, evidently depraved, undoubtedly cunning and deceitful,
possibly malignant. Such stories were told about him. It is

(02:18:19):
true he was befriending Katerina Ivanovna's children, but who could
tell with what motive and what it meant. The man
always had some scheme, some project. There was another thought
which had been continually hovering around Raskolnikov's mind recently, and
which was causing him great uneasiness. It was so painful

(02:18:42):
that he made evident efforts to get rid of it.
He sometimes thought that Svidrigailov was shadowing him. Svidrigailov had
found out his secret and had had intentions towards Dounia.
What if he had them? Still, wasn't it practically certain
that he had? And what if, having learned his secret

(02:19:06):
and gained power over him, he were to use it
as a weapon against Dounia. This idea sometimes even tormented
his dreams, But it had never presented itself so vividly
to him as on his way as Vidrigailov. Even the
thought of it moved him to gloomy rage. To begin with,

(02:19:26):
this would transform everything, even his own position. He would
have to confess his secret at once to Dounia. Would
he have to give himself up, perhaps to prevent Dounia
from taking some rash step the letter. This morning, Dounia
had received a letter from whom could she get letters

(02:19:48):
in Petersburg Luzen. Perhaps it's true Razumikin was there to
protect her, But Razumikin knew nothing of her position. Perhaps
it was his duty to tell Razumikin. The thought of
it repulsed him. In any case, he must see Spidrigliv

(02:20:10):
as soon as possible, he decided finally. Thank God, the
details of the interview would not have many consequences if
only he could get to the root of the matter.
But if Spidriglov were capable, if he were plotting against Dounia,
then Raskolnikov was so exhausted by what he had been

(02:20:30):
through that month that he could only decide this type
of question in one way. Then I shall kill him,
he thought, in cold despair. A sudden anguish oppressed his heart.
He stood still in the middle of the street and
began looking around to see where he was in which
way he was going. He found himself an ex prospect

(02:20:52):
thirty or forty yards from the haymarket through which he
had come. The whole second story of the house on
the left was used as a tavern. All the windows
were wide open. Judging from the figures moving at the windows,
the rooms were full to overflowing. There were sounds of
singing of clarinets and violins, and the boom of a

(02:21:15):
Turkish drum. He could hear women shrieking. He was about
to turn back, wondering why he had come to ex prospect,
when suddenly, at one of the end windows, he saw
Svidrigailov sitting at a tea table right in the open window,
with a pipe in his mouth. Raskolnikov was completely taken aback,

(02:21:37):
almost terrified. Svidrigailov was silently watching and scrutinizing him, and
what struck Raskolnikov at once was that he seemed to
be intending to get up and slip away unobserved. Raskolnikov
had once pretended not to have seen him, but to
be looking absent mindedly away while he watched him out

(02:21:58):
of the corner of his eye. His heart was beating violently,
yet it was evident that Svidrigailov did not want to
be seen.

Speaker 2 (02:22:09):
He took the.

Speaker 1 (02:22:09):
Pipe out of his mouth and was about to hide himself,
But as he got up and moved his chair back.
He seemed to have become suddenly aware that Raskolnikov had
seen him and was watching him. What had passed between
them was much the same as what happened at their
first meeting. In Raskolnikov's room. A sly smile came into

(02:22:30):
Spidrigailov's face and grew broader and broader. Both of them
knew that they had been seen and were being watched
by the other. At last, Sidrigailov broke into a loud laugh. Well, well,
come in if you want me, I am here, he
shouted from the window. Raskolnikov went up into the tavern.

(02:22:54):
He found Svidrigailov in a tiny back room next to
the saloon, in which merchants, clerks, and peace people of
all sorts were drinking tea at twenty little tables to
the desperate bawling of a chorus of singers. The click
of billiard balls could be heard in the distance. On
the table in front of Spidrigailov stood an open bottle

(02:23:15):
and a glass half full of champagne. In the room,
he also found a boy with a little hand organ,
A healthy looking, red cheeked eighteen year old girl wearing
a tucked up striped skirt and a tyrolese hat with ribbons.
In spite of the chorus. In the other room, she
was singing some servants hall song in a rather husky

(02:23:36):
contralto to the accompaniment of the organ. Come on, that's enough,
Spidrigailov stopped her at Raskolnikov's entrance. The girl at once
broke off and stood waiting respectfully. She had sung her
guttural rhymes too, with a serious and respectful expression on

(02:23:57):
her face. Hey, Philip, a glass, shouted Svidrigailov. I don't
want anything to drink, said Raskolnikov, as you wish. I
didn't intend it to be for you. Drink, Katya, I
don't want anything else today. You can go. He poured

(02:24:20):
her a full glass and laid out a yellow note.
Katia drank up her glass of wine as women do,
without putting it down in twenty gulps. Took the note
and kissed Spidrigailov's hand, which he allowed her to do
quite seriously. She went out of the room, and the
boy trailed after her with the organ. Both of them

(02:24:43):
had been brought in from the street Svidrigailov had not
even been in Petersburg a week, but everything about him
was already, so to speak, in patriarchal mode. The waiter
Philip was by now an old friend and had fallen
right under his thumb. The door leading to the saloon
had a lock on it. Svidrigalev was at home in

(02:25:07):
this room and perhaps spent whole days in it. The
tavern was dirty and wretched, not even second rate. I
was going to see you. I started looking for you,
Raskolnikov began. But I don't know what made me turn
out of the haymarket into X prospect just now. I
never take this turning. I turn right out of the haymarket,

(02:25:32):
and this isn't the way to your house. I just
turned and here you are strange. Why don't you say
straight off it's a miracle, because it may be only chance.
Oh that's the way with all you people, laughed Svidrigalov.

(02:25:54):
You won't admit it, even if you inwardly believe it's
a miracle. Here you say that it may only be chance.
And what cowards they all are here about having an
opinion of their own. You can't imagine wrought ion Romanovitch,
I don't mean you. You have an opinion of your own,
and you aren't afraid to have it. That's how you

(02:26:17):
attracted my curiosity. Nothing else. Well, that's enough, as you know,
Svidrigailov was obviously exhilarated, but only slightly. He had not
had more than half a glass of wine. I think
you came to see me before you knew that I
was capable of having what you call an opinion of

(02:26:39):
my own, observed Raskolnikov. Oh, well, that was a different matter.
Everyone has his own plans. And as for the miracle,
let me tell you. I think you have been asleep
for the last two or three days. I told you
about this tavern myself. There is there's no miracle in

(02:27:01):
your coming straight here. I explained the way myself told
you where it was, and the hours you could find
me here. Do you remember, I don't remember, answered Raskolnikov
with surprise. I believe you. I told you twice. The

(02:27:23):
address has been stamped mechanically on your memory. You turn
this way mechanically and yet precisely according to the directions,
though you aren't aware of it when I told you then,
I hardly hoped you understood me. You give yourself away
too much wrought iron Romanovitch and another thing. I'm convinced

(02:27:46):
there are lots of people in Petersburg who talk to
themselves as they walk. This is a town of crazy people.
If only we had scientists, doctors, lawyers and philosophers might
make some highly valuable investigations in Petersburg. There are few
places where there are so many gloomy, strong and strange

(02:28:08):
influences on the human soul as in Petersburg. The influence
of the climate alone means so much. And it's the
administrative center of all Russia, and its character must be
reflected on the whole country. But that is neither here
nor there now. The point is that I have watched

(02:28:29):
you several times. You walk out of your house, holding
your head high. Twenty paces from home. You let it
sink and fold your hands behind your back. You look
and evidently see nothing in front of you or beside you.
At last you begin moving your lips and talking to yourself,
and sometimes you wave one hand and declaim and at

(02:28:52):
last stands still in the middle of the road. That's
definitely not the thing to do. Someone may be watching you,
apart from me, and it won't do you any good.
It's nothing really to do with me, and I can't
cure you. But of course you understand me. Do you

(02:29:12):
know that I am being followed? Asked Raskolnikov, looking inquisitively
at him. No, I know nothing about it, said Svidrigailov,
seeming surprised. Well, then let's leave me out of it,
Raskolnikov muttered, frowning, very well, let's leave you out of it.

(02:29:35):
You had better tell me if you come here to drink,
and directed me twice to come here to see you,
Why did you hide and try to get away? Just now?
When I looked at the window from the street, I
saw it, he he, And why was it you lay
on your sofa with closed eyes and pretended to be asleep,

(02:29:56):
though you were wide awake. While I stood in your doorway,
I saw it. I may have had reasons, you know
that yourself, and I may have had my reasons, though
you don't know them. Raskolnikov dropped his right elbow on
the table, leaned his chin in the fingers of his

(02:30:18):
right hand, and stared intently at Svidrigailov for a full minute.
He scrutinized his face, which had impressed him before. It
was a strange face, like a mask, white and red,
with bright red lips, with a flaxen beard and flaxen
hair which was still thick. His eyes were somehow too

(02:30:40):
blue in their expression, somehow too heavy and fixed. There
was something extremely unpleasant in that handsome face, which looked
so wonderfully young for its age. Svidrigailov was smartly dressed
in light summer clothes and looked particularly refined in his linen.
He wore a you dring with a precious stone in it.

(02:31:03):
Have I got to bother myself now with you too?
Said Raskolnikov, suddenly coming straight to the point with nervous impatience.
Even though you might be the most dangerous if you
wanted to hurt me, I don't want to put myself
out anymore. I will show you at once that I
don't prize myself as much as you probably think I do.

(02:31:26):
I've come to tell you at once that if you
keep to your former intentions with regard to my sister,
and if you wish to derive any benefit in that
direction from what has been discovered of late, I will
kill you before you get me locked up. You can
count on my word. You know that I can keep it.
And secondly, if you want to tell me anything, because

(02:31:49):
I keep thinking all the time that you have something
to tell me, hurry up and tell it, because time
is precious and very likely it will soon be too late.
Why inside haste, asked Spidrigalov, looking at him curiously. Everyone
has his plans, Raskolnikov answered gloomily and impatiently. You urge

(02:32:12):
me yourself to be frank just now, and you refuse
to answer the first question I put to you. Snidrigalob
observed with a smile. You keep imagining that I have
aims of my own, and so you look at me
with suspicion. Of course, it's perfectly natural in your position.
But though I would like to be friends with you,

(02:32:34):
I shan't trouble myself to convince you of the opposite.
The game isn't worth the candle, and I wasn't intending
to talk to you about anything special. What did you
want me for? Then it was you who came hanging
around me just as an interesting subject for observation. I

(02:32:57):
like the fantastic nature of your position that's what it was. Besides,
you are the brother of a person who greatly interested me,
and from that person I had in the past heard
a very great deal about you, from which I gathered
that you had a great influence over her. Isn't that enough? Ah? Still,

(02:33:19):
I must admit that your question is rather complex. It
is difficult for me to answer here. You, for instance,
have come to me not only with a definite purpose,
but also for the sake of hearing something new. Isn't
that so? Isn't that so? Persisted Spibrigalev, with a sly smile.

(02:33:42):
Well can't you imagine then, that on my way here
in the train, I too was counting on you, on
the fact that you would tell me something new, and
on the fact that I would make some profit out
of you. You see what rich men we are? What
profit could you make? How can I tell you? How

(02:34:03):
do I know? You see the tavern in which I
spend all my time, and it's my enjoyment. That's to say,
it's no great enjoyment. But I have to sit somewhere
that poor Cotty announce you saw her? If only I
had been a glutton, now a club gourmand. But you
see I can eat this. He pointed to a little

(02:34:24):
table in the corner, where the remnants of a terrible
looking beefsteak and potatoes lay on a tin dish. Have
you had dinner, by the way, I've had something, and
I don't want anything else. I don't drink, for instance,
at all, except for champagne. I never touch anything, and

(02:34:46):
not more than a glass of that all evening, and
even that is enough to make my headache. I ordered
it just now to wine myself up. I am just
going off somewhere, and you see, I am in a
strange state of mind. That was why I hid myself
just now, like a schoolboy, because I was afraid you
would get in my way. But I believe he pulled

(02:35:08):
out his watch. I can spend an hour with you.
It's half past four now. If only I'd been something,
a landowner, a father, a cavalry officer, a photographer, a journalist.
I am nothing, no specialty, and sometimes I am positively bored.

(02:35:29):
I really thought you would tell me something new. But
what are you and why have you come here? What
am I? You know, a gentleman. I served for two
years in the cavalry that I knocked about here in Petersburg.
Then I married Marfa Petrovna and lived in the country.

(02:35:50):
There you have my biography. You're a gambler, I believe, No,
a poor sort of gambler, A card cheat, not a gambler.
You've been a card cheat, then, yes, I've been a
card cheat too. Didn't you get thrashed sometimes? It did happen? Why?

(02:36:18):
Because you might have challenged them? All in all, it
must have been lively. I won't contradict you. And besides,
I am no good at philosophy. I confess that I
hurried here because of the women. As soon as you
buried Marfa Petrovna quite so. Svidrigailov smiled with engaging candor.

(02:36:43):
What does it matter? You seem to find something wrong
in my speaking like that about women? Are you asking
whether I find anything wrong in vice? Vice? Oh? That's
what you're after. But I'll answer you in order. First
about women in general. You know I am fond of talking.

(02:37:07):
Tell me what should I restrain myself for? Why should
I give up women? Since I have a passion for them?
It's an occupation anyway. So you hope for nothing here
but vice? Oh, very well for vice. Then you insist

(02:37:28):
that it's vice. But anyway, I like a direct question.
In this vice, at least there is something permanent, founded
upon nature and not dependent on fantasy, something present in
the blood, like an ever burning ember, forever setting one
on fire, and possibly not to be quickly extinguished even

(02:37:48):
with years. You'll agree it's an occupation of a sort
that's nothing to rejoice it. It's a disease, and a
dangerous one. Oh that's what you think, is it? I
agree that it is a disease, like everything that exceeds moderation.

(02:38:09):
And of course in this you must exceed moderation. But firstly,
everybody does so in one way or another. And secondly,
of course you ought to be moderate and prudent, however
mean it may be. But what am I to do?
If I hadn't got this, I might have to shoot myself.

(02:38:29):
I am ready to admit that a decent man ought
to put up with being bored. But yet, and could
you shoot yourself? Oh? Come on, Svidrigailoff parried with disgust.
Please don't talk about it, he added, hurriedly, and with
none of the bragging tone he had shown in the

(02:38:51):
whole of the previous conversation. His face changed completely. I
admit it's an unforgivable way, but I can't help it.
I am afraid of death, and I don't like it
when people talk about it. Do you know that I am,
to a certain extent a mystic? Ah? The apparitions of

(02:39:14):
Marfa Petrovna. Do they still go on visiting you? Oh?
Don't talk of them. There have been no more in Petersburg.
Damn them, he cried with an air of irritation. Let's
talk about that instead of though, Hm, I haven't got
much time and I can't stay long with you. It's

(02:39:37):
a pity. I would have found plenty to tell you.
What's your engagement? A woman? Yes, a woman? A casual incident? No,
that's not what I want to talk of. And the hideousness,
the filthiness of all your surroundings. Doesn't that affect you?

(02:40:01):
Have you lost the strength to stop yourself? And do
you pretend to have strength to?

Speaker 2 (02:40:09):
He? He he.

Speaker 1 (02:40:11):
You surprised me just now, wrought Ion Romanovitch. Though I
knew beforehand it would be so you preach to me
about vice and esthetics. You a schiller, you an idealist.
Of course, that's all as it should be, and it
would be surprising if it were not so. Yet it
is strange in reality. Ah, what a pity, I have

(02:40:35):
no time. You're an extremely interesting type. And by the way,
are you fond of Schiller? I am extremely fond of him.
But what a braggart you are, Raskolnikov said, with some disgust.
I'm not, I swear it, answered Svidrigalov, laughing. However, I

(02:40:58):
won't dispute it. Let me be a braggart. Why not
brag if it doesn't hurt anyone. I spent seven years
in the country with Marfa Petrovna. So now when I
come across an intelligent person like you, intelligent and highly interesting,
I am simply glad to talk. And besides, I've drunk
that half glass of champagne and it's gone to my

(02:41:19):
head a little. And besides, there's a certain fact that
has wound me up tremendously, But about that I will
keep quiet. Where are you off to? He asked in alarm.
Raskolnikov had begun getting up. He felt oppressed and stifled,
and as it were, ill at ease at having come here.

(02:41:43):
He felt convinced that Svidrigailov was the most worthless scoundrel
on the face of the earth. A ah, sit down,
stay a little, Svidrigailov begged, let them bring you some tea. Anyway,
stay a little. I won't talk nonsense about myself. I mean,

(02:42:06):
I'll tell you something if you like. I'll tell you
how a woman tried to save me. As you'd put it,
it'll be an answer to your first question. In fact,
because the woman was your sister. May I tell you
it will help to pass the time? Tell me, but

(02:42:28):
I trust that you. Oh, don't be uneasy. Besides, even
in a worthless, low person like me, Avdosha Romanovna can
only arouse the deepest respect Chapter four. You know, perhaps yes,
I told you myself, began Svidrigalov, that I was in

(02:42:50):
the debtors prison here for an immensum of money and
had no expectation of being able to pay it. There's
no need to go into the particulars of how Marfa
Petrovna bought me out. Do you know how insanely a
woman can sometimes love? She was an honest woman and
very sensible, although completely uneducated. Would you believe that this

(02:43:14):
honest and jealous woman after many scenes of hysterics and
reproaches condescended to enter into a kind of contract with me,
which she kept throughout our married life. She was considerably
older than I was, and besides, she always kept a
clove or something in her mouth. There was so much
swinishness in my soul, and honesty too, of a sort,

(02:43:37):
that I told her straight out I couldn't be absolutely
faithful to her. This confession drove her to frenzy. But
yet she seems in a way to have liked my
brutal frankness. She thought it showed I was unwilling to
deceive her if I warned her like this beforehand, And
for a jealous woman, you know, that's the first consideration.

(02:43:59):
After many tears, an unwritten contract was drawn up between us,
first that I would never leave Marfa Petrovna and would
always be her husband. Secondly, that I would never go
off without her permission. Thirdly, that I would never have
a permanent mistress. Fourthly, in return for this, Marfa Petrovna
gave me a free hand with the maids, but only

(02:44:20):
with her secret knowledge. Fifthly, God forbid my falling in
love with a woman of our class. Sixthly, in case
I God forbid, should have a serious passion, I was
obliged to reveal it to Marfa Petrovna. On this last score, however,
Marfa Petrovna was fairly at ease. She was a sensible woman,

(02:44:43):
and so she could not help looking upon me as
a dissolute womanizer, incapable of real love. But a sensible
woman and a jealous woman are two very different things,
and that's where the trouble came in. But to judge
some people impartially, we I must renounce certain preconceived opinions
and our habitual attitude to the ordinary people about us.

(02:45:07):
I have reason to have faith in your judgment rather
than in anyone else's. Perhaps you have already heard a
great deal that was ridiculous and absurd about Marfa Petrovna.
She certainly had some very ridiculous ways. But I tell
you frankly that I feel really sorry for the innumerable
sufferings which I caused. Well that's enough, I think, for

(02:45:32):
a decorous ories in Funebris sixty four, for the most
tender wife of a most tender husband. When we quarreled,
I usually held my tongue and did not irritate her,
And that gentlemanly conduct rarely failed to fulfill its aim.
It influenced her, it pleased her. In fact, these were
times when she was truly proud of me. But your

(02:45:55):
sisters she couldn't put up with anyway. And how she
came to taking such a beautiful creature into her house
as a governess. My explanation is that Marfa Petrovna was
an ardent and impressionable woman and simply fell in love herself,
literally fell in love with your sister. Well, little wonder,

(02:46:19):
look at Avdosha Romanovna. I saw the danger at first sight,
And what do you know? I resolved not to look
at her even but Avdosha Romanovna herself made the first step.
Would you believe it? Would you believe it too, that
Marfa Petrovna was actually angry with me at first, for

(02:46:39):
my persistent silence about your sister, for my careless reception
of her continual adoring praises of Avdosha Romanovna. I don't
know what it was she wanted. Well, of course, Marfa
Petrovna told Avdosha Romanovna every detail about me. She had
the unfortunate happen, But of telling literally everyone all our

(02:47:02):
family secrets and continually complaining about me. How could she
fail to confide in such a delightful new friend. I
expect they talked of nothing else but me, and no
doubt Avdosha Romanovna heard all those dark, mysterious rumors that
were current about me. I don't mind betting that you
too have heard something of the sort already. I have

(02:47:27):
Luzin charged you with having caused the death of a child.
Is that true? Don't refer to those vulgar tales. I
beg you, said Svidrigalav, with disgust and annoyance. If you
insist on wanting to know about all that idiocy, I
will tell you one day. But now I was told

(02:47:50):
too about some footmen of yours in the country whom
you treated badly. I beg you to drop the subject.
Sidragalav interrupted again, with obvious impatience. Was that the footman
who came to you after death to fill your pipe?
You told me about it yourself. Raskolnikov felt more and

(02:48:10):
more irritated. Svidrigailov looked at him attentively, and Raskolnikov thought
he caught a flash of spiteful mockery in that look.
But Svidrigailov restrained himself and answered very civilly, yes it was.
I see that you too are extremely interested, and I

(02:48:32):
shall feel it my duty to satisfy your curiosity at
the first opportunity upon my soul. I see that I
really might pass for a romantic figure with some people.
Judge how grateful I must be to Marfa Petrovna for
having repeated to Avdosha Romanovna's such mysterious and interesting gossip

(02:48:54):
about me. I dare not guess what impression it made
on her, but in any case, it worked in my interests.
With all Avdosha Romanovna's natural aversion, and in spite of
my invariably gloomy and repellent aspect, she did at least
feel pity for me, pity for a lost soul. And

(02:49:15):
once a girl's heart has moved to pity, it's more
dangerous than anything. She is bound to want to save him,
to bring into his senses and lift him up, and
draw him to nobler rains, and restore him to new
life and usefulness. Well, we all know how far such
dreams can go. I saw it once that the bird

(02:49:35):
was flying into the cage of her own accord, and
I too prepared myself. I think you're frowning wrought iron Romanovitch.
There's no need, as you know, it all ended in smoke.
Damn it all? What a lot I am drinking, do

(02:49:55):
you know? I always, from the very beginning, regretted that
it wasn't your her sister's fate to be born in
the second or third century a d as the daughter
of a reigning prince or some governor or proconsul in
Asia Minor. She would undoubtedly have been one of those
who would endure martyrdom, and would have smiled when they
branded her bosom with hot pincers, and she would have

(02:50:19):
gone to it of her own accord. And in the
fourth or fifth century she would have walked away into
the Egyptian desert sixty five and would have stayed there
thirty years, living on roots and ecstasies and visions. She
is simply thirsting to face some torture for someone, and
if she can't get her torture, she'll throw herself out

(02:50:39):
of a window. I've heard something of a mister Razumikin.
He's said to be a sensible fellow. His surname suggests it.
In fact, he's probably a divinity student. Well, he'd better
look after your sister. I believe I understand her, and
I am out of it. But at the beginning of

(02:51:02):
an acquaintance, as you know, people tend to be more
careless and stupid. They don't see clearly. Damn it all,
Why is she so beautiful? It's not my fault. In fact,
it began on my side with a most irresistible physical desire.

(02:51:23):
Avdosha Romanovna is awfully chased, incredibly and phenomenally, so take
note I tell you this about your sister as a fact,
she is almost morbidly chased in spite of her broad intelligence,
and it will stand in her way. There happened to
be a girl in the house then, Parasha, a black

(02:51:45):
eyed wench whom I had never seen before. She had
just come from another village, very pretty, but incredibly stupid.
She burst into tears, wailed so that she could be
heard all over the place, and caused scandal. One day,
after dinner at Doosha, Romanovna followed me into an avenue
in the garden and with flashing eyes, insisted that I

(02:52:06):
left poor Parasha alone. It was almost our first conversation
by ourselves. I of course, was only too pleased to
obey her wishes, tried to appear disconcerted and embarrassed, in fact,
played my part not badly. Then came interviews, mysterious conversations, exhortations, entreaties, supplications,

(02:52:30):
even tears. Would you believe it? Even tears? Think what
the passion for propaganda will bring some girls to I?
Of course, through it all on my destiny posed as
hungering and thirsting for light, and finally resorted to the
most powerful weapon in the subjection of the female heart,

(02:52:52):
a weapon which never fails. It's the well known resource flattery.
Nothing in the world is harder than speaking the truth,
and nothing easier than flattery. If there's the hundredth part
of a false note, in speaking the truth, it leads
to a discord, and that leads to trouble. But if

(02:53:13):
everything to the last note is false and flattery, it
is just as agreeable and is heard not without satisfaction.
It may be a coarse satisfaction, but still a satisfaction.
And however course the flattery, at least half will be
sure to seem true. That's so for all stages of

(02:53:34):
development and classes of society. A vestal virgin might be
seduced by flattery. I can never remember without laughter how
I once seduced a lady who was devoted to her husband,
her children, and her principles. What fun it was in
how little trouble, and the lady really had principles of

(02:53:57):
her own. Anyway, all my tactics lay in simply being
utterly annihilated and prostrate before her purity. I flattered her shamelessly,
and as soon as I succeeded in getting a pressure
of the hand even a glance from her, I would
reproach myself for having snatched it by force, and would
declare that she had resisted, so that I could never

(02:54:20):
have gained anything but for the fact that I was
so unprincipled. I maintained that she was so innocent that
she could not foresee my treachery, and yielded to me unconsciously, unawares,
and so on. In fact, I triumphed, while my lady
remained firmly convinced that she was innocent, chaste, and faithful

(02:54:41):
to all her duties and obligations, and had succumbed quite
by accident. And how angry she was with me when
I explained to her at last that it was my
sincere conviction that she was just as eager as I.
Poor Marfa Petrovna was extremely susceptible to flattery, and if
I had wanted to, I might have had had all
her properties settled on me during her lifetime. I am

(02:55:04):
drinking an awful lot of wine now and talking too much.
I hope you won't be angry if I mention now
that I was beginning to produce the same effect on
Avdosha Romanovna. But I was stupid and impatient and spoiled
it all. Avdosha Romanovna had several times, and one time

(02:55:25):
in particular, been greatly displeased by the expression of my eyes.
Would you believe it? There was sometimes a light in
them which frightened her, and grew stronger and stronger and
more unguarded, until it was hateful to her. No need
to go into detail, but we parted there. I acted

(02:55:45):
stupidly again. I started jeering in the coarsest way at
all such propaganda and efforts to convert me. Parasha came
onto the scene again, and not she alone. In fact,
there was a serious incident ah rod eye on Romanovitch.
If you could only see how your sister's eyes can
flash sometimes. Never mind the fact that I'm drunk at

(02:56:09):
the moment and have had a whole glass of wine.
I am speaking the truth. I assure you that this
glance has haunted my dreams. The very rustle of her
dress was more than I could eventually stand. I really
began to think that I might become epileptic. I could
never have believed that I could be moved to such

(02:56:31):
a frenzy. It was essential, indeed, to be reconciled, but
by then it was impossible. And imagine what I did
then to what a pitch of stupidity a man can
be brought by frenzy. Never undertake anything in a frenzy.
Rod eye On Romanovitch I reflected that Ivdosha Romanovna was,

(02:56:55):
after all a beggar. Ah excuse me, that's not the word.
But does it matter if it expresses the meaning that
she lived by her work, that she had her mother
and you to keep. Ah, damn it, you were frowning again,
and I resolved to offer her all my money, thirty
thousand roubles I could have made available then if she
would run away with me here to Petersburg. Of course,

(02:57:17):
I should have vowed eternal love, rapture and so on.
Do you know I was so wild about her at
that time that if she had told me to poison
Marfa Petrovna or to cut her throat and to marry her,
I would have done it at once. But it ended
in the catastrophe, which you know about already. You can

(02:57:38):
imagine how frantic I was when I heard that Marfa
Petrovna had got hold of that ghastly attorney losing and
had almost made a match between them, which would really
have been just the same thing as I was proposing,
wouldn't it, wouldn't it? I noticed that you've begun to
be very attentive, you interesting young men. Svidrigailov struck the

(02:58:03):
table with his fist impatiently. He was flushed. Raskolnikov saw
clearly that the glass or glass and a half of
champagne that he had sipped almost unconsciously, was affecting him,
and he resolved to take advantage of the opportunity. He
felt very suspicious of Svidrigailov. Well, after what you have said,

(02:58:27):
I am fully convinced that you have come to Petersburg
with designs on my sister. He said directly to Svidrigailov,
in order to irritate him further. Oh nonsense, said Svidrigailov,
seeming to rouse himself. Why I told you? Besides, your
sister can endure me. Yes, I am certain that she can't.

(02:58:50):
But that's not the point. Are you so sure that
she can't? Svidrigailov screwed up his eyes and smiled mockingly.
You are right, she doesn't love me. But you can
never be sure of what has passed between husband and
wife or lover and mistress. There's always a little corner

(02:59:11):
which remains a secret to the world and is only
known to those two. Will you answer for it? That?
Avdosha Romanovna regarded me with aversion from some words you've dropped.
I noticed that you still have designs, and of course
evil ones on Dounia, and intend to carry them out promptly.

(02:59:32):
What have I dropped words like that? Spidrigail Of asked
in naive dismay, taking not the slightest notice of the
epithet bestowed on his designs. But you're dropping them even now.
Why are you so frightened? What are you so afraid of? Now?

(02:59:53):
Me afraid afraid of? You. You should rather be afraid
of me, share Amy point sixty six. But what nonsense.
I've drunk too much, though I see that I was
almost saying too much again, Damn the wine. Hi there water?

(03:00:16):
He snatched up the champagne bottle and flung it without ceremony,
out of the window. Philip brought the water. That's all nonsense,
said SPIDRIGALEV, wetting a towel and putting it to his head.
But I can answer you in one word and annihilate
all your suspicions. Do you know that I am going

(03:00:38):
to get married? You told me so before, did I?
I've forgotten. But I couldn't have told you so for
certain because I hadn't even seen my fiance. I only
meant to. But now I really have a fiance, and

(03:00:59):
it's been settled. And if it weren't that I have
business that can't be put off, I would have taken
you to see them at once, because I would like
to ask your advice. Ah, damn, it only ten minutes left.
See look at the watch. But I must tell you
it's an interesting story, my marriage in its own way.

(03:01:22):
Where are you off to going again? No? I'm not
going away now, not at all. We shall see. I'll
take you there, I'll show you my betrothed, only not now.
Soon you'll have to be off. You have to go

(03:01:44):
right and I have to go left. Do you know
that Madame Reslich the woman I am lodging with now, eh,
I know what you're thinking. That she's the woman whose
girl they say drowned herself in the winter. Come on,
are you listening? She arranged it all for me. You're bored,

(03:02:06):
she said, you want something to fill up your time, since,
as you know, I am a depressed, gloomy person. Do
you think I'm light hearted? No, I'm bloomy. I do
no harm and sit in a corner without speaking a
word for three days at a time. And that restless

(03:02:27):
is a sly one. I tell you, I know what
she's got on her mind. She thinks I'll get sick
of it, abandon my wife and leave, and she'll get
hold of her and make a profit out of her.
In our class, of course or higher. She told me.
The father was a broken down retired official who has
been sitting in a chair for the last three years

(03:02:49):
with his legs paralyzed. The mama, she said, was a
sensible woman. There is a son serving in the provinces,
but he doesn't help. There is a daughter who is married,
but she doesn't visit them. And they've got two little
nephews on their hands, as though their own children were
not enough. And they've taken their youngest daughter out of school,

(03:03:13):
a girl who'll be sixteen in another month, so that
she can be married. She was for me we went there.
How funny it was I present myself a landowner, a
widower with a well known name, with connections with a fortune.

(03:03:33):
What if I am fifty and she is not yet sixteen?
Who thinks about that? But it's fascinating, isn't it. It's fascinating. Ha,
You should have seen how I talked to the Papa
and mamma. It was worth paying to have seen me
at that moment. She comes in curtseys you can imagine,

(03:03:58):
still in a short frock and on Allen and bud,
blushing like a sunset. She had been told, no doubt.
I don't know how you feel about female faces, but
to my mind, these sixteen years, these childish eyes, shiness
in tears of bashfulness, are better than beauty. And she
is a perfect little picture too, fair hair, and little

(03:04:20):
curls like a lamb's full, little rosy lips, tiny feet,
a charmer. Well, we made friends. I told them I
was in a hurry because of domestic circumstances. And the
next day, that is, the day before yesterday, we were engaged.
When I go now, I take her on my knee

(03:04:42):
at once and keep her there. Well, she blushes like
a sunset, and I kiss her every minute. Her mama,
of course, impresses on her that this is her husband,
and that this is how it must be. It's just delicious.
The present can do of being engaged is perhaps better

(03:05:02):
than marriage. Here you have what is called law nature
Attila Verite sixty seven. Hah. I've talked to her twice.
She is far from a full Sometimes she steals a
look at me that absolutely scorches me. Her face is
like Rafael's Madonna, you know, the Sistine Madonna's face has

(03:05:26):
something fantastic in it, the face of mournful religious ecstasy.
Haven't you noticed it? Well, she's something in that line.
The day after we'd been engaged, I bought her presence
worth fifteen hundred roubles, a set of diamonds and another
of pearls in a silver dressing case as large as this,

(03:05:47):
with all sorts of things in it, so that even
my madonna's face glowed. I sat her on my knee yesterday,
and I suppose rather too unceremoniously. She flushed crimson and
the tears started, but she didn't want to show it.
We were left alone. She suddenly flung herself on my
neck for the first time of her own accord, put

(03:06:08):
her little arms round me, kissed me, and vowed that
she would be an obedient, faithful and good wife, would
make me happy, would devote all her life, every minute
of her life, would sacrifice everything, everything, and that all
she asks in return is my respect, and that she
wants nathai en g nothing more from me, no presence.

(03:06:30):
You'll admit that to hear such a confession alone from
an angel of sixteen in a muslin frock with little curls,
with a flush of maiden shyness in her cheeks and
tears of enthusiasm in her eyes is rather fascinating, isn't
it fascinating? It's worth paying for, isn't it. Well, listen,

(03:06:51):
we'll go to see my fiance, only not just now.
The fact is that this monstrous difference in age and
development and excites your sensuality. Will you really make such
a marriage. But of course everyone thinks of himself, and
the man who lives most gaily knows best how to

(03:07:13):
deceive himself. Ah. But why are you so keen on virtue?
Have mercy on me, my good friend. I am a
sinful man. Ah Ah, but you have provided for the
children of Katerina Ivanovna, though though you had your own reasons.

(03:07:41):
I understand it all now. I am always fond of children,
very fond of them, laughed Svidrigailov. I can tell you
one curious example of this. The first day I came here,
I visited various places. After seven years, I just rushed them.

(03:08:01):
You probably notice that I am not in a hurry
to renew my acquaintance with my old friends. I shall
do without them as long as I can do. You know,
when I was with Marfa Petrovna in the country, I
was haunted by the thought of these places, where anyone
who knows his way around can find a great deal. Yes,

(03:08:22):
I swear on my soul. The peasants have vodka. The
educated young people, shut out from activity, waste themselves in
impossible dreams and visions, and are crippled by theories. Jews
have sprung up and are amassing money, and all the
rest give themselves up to debauchery. From the first hour

(03:08:42):
the town reeked of its familiar odors. I happen to
be in a terrible den. I like my dens dirty.
It was a dance so called, and there was a
cancan such as I never saw in my day. Yes,
there you have progress. All of a sudden, when I
saw a little girl of thirteen, nicely dressed, dancing with

(03:09:04):
a specialist in that line with another one vissavus. Her
mother was sitting on a chair by the wall. You
can't fancy what a cancan that was. The girl was ashamed,
blushed at last, felt insulted, and began to cry. Her
partner seized her and began whirling her round and performing

(03:09:26):
before her. Everyone laughed, and I liked the public, even
the cancan public. They laughed and shouted. Serves her right,
serves her right, shouldn't bring children. Well, it's not my
business whether that consoling reflection was logical or not. I
at once fixed on my plan, sat down by her

(03:09:48):
mother and began by saying that I too was a stranger,
and that people here were ill bred, and that they
couldn't recognize decent people and treat them with respect. Let
her know that I had plenty of money and offered
to take the home in my carriage. I took them
home and got to know them. They were staying in
a miserable little hole and had only just arrived from

(03:10:09):
the country. She told me that she and her daughter
could only regard my acquaintance as an honor. I found
out that they had nothing of their own and had
come to town on some legal business. I offered my
services in money. I learned that they had gone to
the dancing saloon by mistake, believing that it was a

(03:10:32):
genuine dancing class. I offered to assist in the young
girl's education in French and dancing. My offer was accepted
with enthusiasm as an honor, and we are still friendly.
If you like, we'll go and see them, only not
just now. Stop enough of your disgusting, nasty anecdotes, you vile,

(03:10:57):
depraved man Schiller. You are a regular shiller.

Speaker 2 (03:11:04):
Would a virtue of tellson she.

Speaker 1 (03:11:07):
Sixty eight, But you know I shall tell you these
things on purpose, for the pleasure of hearing your outcries.
I dare say, I can see I'm ridiculous myself, muttered
Raskolnikov angrily. Svidrigailov laughed heartily. Finally, he called Philip, paid

(03:11:27):
his bill and began getting up. Goodness, I am drunk,
a says cause sixty nine, he said, it's been a pleasure.
I should think it must be a pleasure, cried Raskolnikov,
getting up. No doubt, it is a pleasure for a
worn out profligate to describe such adventures with a monstrous

(03:11:50):
project of the same sort in his mind, especially under
such circumstances, and to a person like me, it's stimulating. Well,
if you come to that, Svidrigailov answered, scrutinizing Raskolnikov with
some surprise. If you come to that, you are a
thorough cynic yourself. You've plenty to make you so anyway.

(03:12:14):
You can understand a great deal, and you can do
a great deal too. But enough, I sincerely regret not
having talked to you more. But I shan't lose sight
of you. Just wait a bit. Svidrigailov walked out of
the restaurant, Raskolnikov walked out after him. Svidrigailov, however, was

(03:12:40):
not very drunk. The wine had affected him for a moment,
but it was wearing off every minute. He was preoccupied
with something of importance and was frowning. He was apparently
excited and uneasily anticipating something. His behavior towards Raskalolnikov had

(03:13:00):
changed during the last few minutes, and he was ruder
and more sneering every moment. Raskolnikov noticed all this, and
he too was uneasy. He became very suspicious of Spidriglov
and resolved to follow him. They came out on to
the pavement. You go right and I go left, or

(03:13:24):
if you like the other way only adieu monplazier seventy
May we meet again? And he walked right towards the haymarket.
Chapter five. Raskolnikov walked after him. What's this, cried Spidrigalov,

(03:13:44):
turning round. I thought, I said, it means that I
am not going to lose sight of you now what.
Both stood still and gazed at one another, as though
measuring their strength From all your half tipsy stories. Raskolnikov
observed harshly. I am convinced that you have not given

(03:14:07):
up your designs on my sister, but are pursuing them
more actively than ever. I have learnt that my sister
received a letter this morning. You have hardly been able
to sit still all this time. You may have unearthed
a wife on the way, but that means nothing. I
should like to make certain myself. Raskolnikov could hardly have

(03:14:32):
set himself what he wanted and what he wished to
make certain of my goodness, I'll call the police, Call
away again. They stood for a minute, facing each other.
At last, Svidrigailov's face changed, having satisfied himself that Raskolnikov

(03:14:56):
was not frightened at his threat, he assumed a mirthful
and friendly air. What a person. I purposely avoided referring
to your affair, though I am devoured by curiosity. It's fantastic.
I've put it off until another time, but you're enough

(03:15:16):
to rouse the dead. Well let us go, only I
warn you beforehand. I'm only going home for a moment
to get some money. Then I shall lock up the apartment,
take a cab and go to spend the evening at
the Islands. Now, now, are you going to follow me?
I'm coming to your house not to see you, but

(03:15:36):
Sophia Semionovna to say I'm sorry not to have been
at the funeral. That's as you like. But Sophia Semyonovna
is not at home. She has taken the three children
to an old lady of high rank, the patroness of
some morphan asylums, whom I used to know years ago.

(03:15:57):
I charmed the old lady by depositing as some of
the money with her to provide for the three children
of Katerina Ivanovna, and subscribing to the institution as well.
I also told her the story of Sophia Semionovna in
full detail, suppressing nothing. It produced an indescribable effect on her.

(03:16:19):
That's why Sophia Semionovna has been invited to call today
at the ex hotel where the lady is staying for
the time. It doesn't matter. I'll come all the same
as you like. It's nothing to me, but I won't
come with you here. We are at home. By the way,
I am convinced that you regard me with suspicion just

(03:16:42):
because I have shown such delicacy and have not troubled
you with questions. So far you understand it struck you
as extraordinary. I don't mind betting it's that well. It
teaches people to show delicacy and to listen at doors. Ah,

(03:17:02):
that's it, is it, laughed Svidrigalov. Yes, I would have
been surprised if you would let that pass after all
that has happened. Ah. Though I did understand something of
the pranks you had been up to and were telling
Sophia Semionovna about what was the meaning of it? Perhaps

(03:17:23):
I am quite behind the times and can't understand. For
goodness sake, explain it, my dear boy, expound the latest theories.
You couldn't have heard anything. You're making it all up.
But I'm not talking about that, though I did hear something. No,

(03:17:47):
I'm talking of the way you keep sighing and groaning. Now,
the schiller in you is in revolt every moment. And
now you tell me not to listen at doors. If
that's how you feel, go and inform the police that
you had this mischance. You made a little mistake in
your theory. But if you are convinced that people shouldn't

(03:18:08):
listen at doors, but that they may murder old women
at their pleasure. You'd better hurry off to America. Run,
young man, there may still be time. I'm being sincere.
Haven't you got the money? I'll give you the fair

(03:18:29):
I'm not thinking of that at all. Raskolnikov interrupted with disgust.
I understand, but don't put yourself out. Don't discuss it
if you don't want to. I understand the questions you
are worrying over moral ones, Aren't they duties of citizen
and man? Lay them all aside. They are nothing to

(03:18:54):
you now. Hah, you'll say you are still a man
and a citizen. If so, you ought not to have
got into this coil. It's no use taking up a
job you are not fit for. Well, you'd better shoot yourself,
or don't you want to? You seem to be trying

(03:19:15):
to enrage me, to make me leave you alone. What
a strange person. But here we are welcome to the staircase.
You see, that's the way to Sophia Semyonovna. Look, there
is no one at home, don't you believe me? Ask Kapernaumov.

(03:19:39):
She leaves the key with him. Here is Madame de
kapernanmov herself. Hey, what she is rather deaf? Has she
gone out? Where? Did you hear? She is not in
and won't be until late in the evening. Probably, well,

(03:20:03):
come to my room. You wanted to come and see me,
didn't you. Here we are, Madame Reslich is not at home.
She is always busy, an excellent woman. I assure you
she might have been of use to you if you
had been a little more sensible. Now look, I'm taking

(03:20:26):
this five percent bond out of the bureau. See what
a lot I've got of them. Still, this one will
be turned into cash today. I mustn't waste any more time.
The bureau is locked, the apartment is locked, and here
we are again on the stairs. Shall we take a cab?

(03:20:46):
I'm going to the islands. Would you like a lift?
I'll take this carriage. Ah, so you refuse, you are
tired of it? Come for a drive. I believe it
will rain. Never mind, we'll put down the hood Svidrigailov

(03:21:10):
was already in the carriage. Raskolnikov decided that his suspicions
were unjust, at least for the moment. Without answering a word,
he turned and walked back towards the haymarket. If he
had only turned round on his way, he might have
seen Svidrigailov get out, not even a hundred paces away,

(03:21:32):
dismiss the cab, and walk along the pavement. But he
had turned the corner and could see nothing. Intense disgust
drew him away from Svidrigailov. To think that I could,
for one instant have looked for help from that coarse brute,
that to prave, sensualist and blaggard, he cried. Raskolnikov's judgment

(03:21:55):
was uttered too lightly and hastily. There was something about
Svidrigailov which gave him a a certain original, even a
mysterious character. As concerned his sister, Raskolnikov was convinced that
Spidrigailov would not leave her in peace. But it was
too tiresome and unbearable to go on thinking and thinking

(03:22:15):
about this. When he was alone, he had not gone
twenty paces before he sank, as usual into deep thought.
On the bridge, he stood by the railing and began
gazing at the water, and his sister was standing close
by him. He met her at the entrance to the bridge,

(03:22:37):
but passed by without seeing her. Dounia had never met
him like this in the street before, and was struck
with dismay. She stood still and did not know whether
to call to him or not. Suddenly she saw Spidrigailov
coming quickly from the direction of the Haymarket. He seemed

(03:22:58):
to be approaching cautiously. He did not go on to
the bridge, but stood aside on the pavement, doing all
he could to avoid Raskolnikov seeing him. He had been
observing Dounia for some time and had been making signs
to her. She thought he was signaling to beg her
not to speak to her brother, but to come towards him.

(03:23:22):
That was what Dounia did. She stole past her brother
and went up to Svidrigailov. Let us hurry away. Svidrigailov
whispered to her, I don't want Rodeyan Romanovitch to know
about our meeting. I must tell you. I've been sitting
with him in the restaurant close by, where he looked

(03:23:42):
me up, and I had great difficulty in getting rid
of him. He has somehow heard of my letter to
you and suspects something. It wasn't you who told him,
of course, but if not you who then, well, we've
turned the corner now, Junya interrupted, and my brother won't
see us. I should tell you now that I am

(03:24:05):
going no further with you. Speak to me here. You
can tell me everything in the street. In the first place,
I can't say it in the street. Secondly you must
hear Sophia Semyonovna too, And thirdly I will show you
some papers. Oh well, if you won't agree to come

(03:24:27):
with me, I shall refuse to give any explanation and
go away at once. But I beg you not to
forget that a very curious secret of your beloved brothers
is entirely in my keeping. Dounia stood still, hesitating and
looked at Svidrigalov with searching eyes. What are you afraid of?

(03:24:48):
He observed quietly. The town is not the country, and
even in the country, you did need more harm than
I did you have you you prepared? Sophia Semionovna. No,
I have not said a word to her, and I
am not quite certain whether she is at home now,

(03:25:10):
but most likely she is. She has buried her stepmother today.
She is not likely to go out visiting people on
a day like that for the time being. I don't
want to speak to anyone about it, and I half
regret having spoken to you. The slightest indiscretion is as
bad as betrayal in a thing like this. I live

(03:25:33):
there in that house. We are coming to it. That's
the porter of our house. He knows me very well.
You see he's bowing. He sees I'm coming with a lady.
In no doubt he has noticed your face already, and
you will be glad of that. If you are afraid
of me and suspicious. Excuse the fact that I'm putting
things so coarsely. I haven't got an apartment to myself.

(03:25:57):
Sophia Semionovna's room is next to mine. She lodges in
the next apartment. The whole floor is let out to tenants.
Why are you frightened? You look like a child? Am
I really so terrible? Svidrigailov's lips were twisted in a

(03:26:17):
condescending smile, but he was in no smiling mood. His
heart was throbbing, and he could scarcely breathe. He spoke
rather loud to cover his growing excitement, but Dounia did
not notice this curious excitement. She was so irritated by
his remark that she was frightened of him, that she

(03:26:39):
looked like a child, and that he was so terrible
to her. Though I know that you are not a
man of honor, I am not in the least bit
afraid of you. Lead the way, she said with apparent composure,
but her face was very pale. Svidrigailov stopped at Sonya's room.

(03:27:00):
Allow me to ask whether she is at home. She
is not, how unfortunate, but I know she may come
quite soon. If she's gone out, it can only be
to see a lady about the orphans. Their mother is dead.
I've been meddling and making arrangements for them. If Sophia

(03:27:24):
Semyonovna does not come back in ten minutes, I will
send her to you to day if you like. This
is my apartment. These are my two rooms. Madame Rislitch
my landlady has the next room. Now look this way,
I will show you my chief piece of evidence. This

(03:27:47):
door from my bedroom leads into two totally empty rooms
which are available for rent. Here they are you must
look into them with some attention. Svidriglib occupied two fairly
large furnished rooms. Dounia was looking around her mistrustfully, but

(03:28:08):
saw nothing special in the furniture or in the position
of the rooms. Yet there was something to observe, for instance,
that Sviidrigailov's apartment was exactly between two sets of almost
uninhabited apartments. His rooms were not entered directly from the passage,
but through the landlady's two almost empty rooms. Unlocking a

(03:28:32):
door leading out of his bedroom, Sidrigailov showed Dounia the
two empty rooms that were to let Dounia stopped in
the doorway, not knowing what she was being asked to
look at, but Spidrigailov swiftly explained, look here at this
second large room. Notice that door. It's locked. By the

(03:28:55):
door stands a chair, the only one in the two rooms.
I brought it from my rooms in order to listen.
More conveniently, just the other side of the door is
Sofia Sentianovna's table. She sat there talking to Rodeyan Romanovitch.
And I sat here listening on two successive evenings, for

(03:29:16):
two hours at a time, and of course I was
able to learn something. What do you think you listened? Yes,
I did. Now come back to my room. We can't
sit down here. He brought Avdosha Romanovna back into his
sitting room and offered her a chair. He sat down

(03:29:39):
at the opposite side of the table, at least seven
feet from her, but there was probably the same blow
in his eyes which had once frightened Dounia so much.
She shuddered and once more looked about her distrustfully. It
was an involuntary gesture. She evidently did not wish to
betray her uneasiness, but the secluded position of Spidrigailov's lodging

(03:30:04):
had suddenly struck her. She wanted to ask whether his
landlady at least were at home, but pride kept her
from asking. Moreover, she had another worry in her heart,
incomparably greater than fear for herself. She was in great distress.
Here is your letter, she said, laying it on the table.

(03:30:28):
Can it be true what you write? You hint at
a crime committed, you say by my brother. You hint
at it too clearly. You daren't deny it. Now I
must tell you that i'd heard of this stupid story
before you wrote, and don't believe a word of it.
It's a disgusting and ridiculous suspicion I know the story

(03:30:52):
and why and how it was invented. You can't have
any proof you promised to prove. Speak, but let me
warn you that I don't believe you. I don't believe you.
Dounia said this, speaking hurriedly, and for an instant the

(03:31:13):
color rushed to her face. If you didn't believe it,
how could you risk coming alone to my rooms? Why
have you come just out of curiosity? Don't torment me? Speak, Speak.
There's no denying that you are a brave girl. In

(03:31:37):
all honesty, I thought you would have asked mister Razumikin
to escort you here, but he was not with you,
nor anywhere near. I was on the lookout. It's courageous
of you. It proves you wanted to spare wrought eye
on Romanovitch. But everything is divine in you. About your brother,

(03:32:00):
what should I tell you? You've just seen in yourself.
What did you think of him? Surely that's not the
only thing you are building on. No, not on that,
but on his own words. He came here on two
successive evenings to see Sophia Semionovna. I've shown you where

(03:32:24):
they sat. He made a full confession to her. He
is a murderer. He killed an old woman, a pawnbroker
with whom he had pawned things himself. He killed her
sister too, a saleswoman called Lizaveta, who happened to come
in while he was murdering her sister. He killed them

(03:32:47):
with an axe he brought with him. He murdered them
to rob them, and he did rob them. He took
money in various things. He told all this word for
word to Sofya Semyonovna, the only person who knows his secret.
But she has had no share by word or deed

(03:33:07):
in the murder. She was as horrified at it as
you are. Now. Don't be anxious. She won't betray him.
It cannot be muttered, Dounia, with white lips, she gasped
for breath. It cannot be. There was not the slightest cause,

(03:33:28):
no sort of ground. It's a lie, a lie. He
robbed her. That was the cause. He took money in
various things. It's true that, by his own admission, he
made no use of the money or the things, and
hid them under a stone where they are now. But
that was because he did not dare make use of them.

(03:33:51):
But how could he steal rob How could he dream
of it? Cried Dounia, and she jumped up from the chair.
But you know him, you've seen him. Can he be
a thief? She seemed to be imploring Svidrigailov She had
entirely forgotten her fear. There are thousands and millions of

(03:34:13):
combinations and possibilities, Avdosha Romanovna. A thief steals and knows
he is a scoundrel. But I've heard of a gentleman
who broke open the mail, who knows. Very likely he
thought he was doing a gentlemanly thing. Of course, I
should not have believed it myself if i'd been told

(03:34:34):
of it as you have, But I believe my own ears.
He explained all the causes of it to Sophia Semyonovna, too,
But she did not believe her ears at first, Yet
she believed her own eyes at last. What were the causes?
It's a long story, Avdosha Romanovna. Here's how shall I

(03:34:58):
tell you a theory of a sort, the same one
by which I, for instance, consider that a single misdeed
is permissible if the principal aim is right, A solitary
wrongdoing in hundreds of good deeds. It's calling too, of course,
for a young man of gifts and overweening pride to
know that if he had, for instance, a paltry three

(03:35:18):
thousand his whole career, his whole future would be differently shaped.
And yet not to have that three thousand, add to
that nervous irritability from hunger, from lodging in a hole,
from rags, from a vivid sense of the charm of
his social position, and his sister's and mother's position too.

(03:35:38):
Above all vanity, pride and vanity. Though Goodness knows he
may have good qualities too. I am not blaming him.
Please don't think it. Besides, it's not my business. A
special little theory came into a theory of a sort,
dividing mankind you see, into material and superior people, that is,

(03:35:59):
people to the law does not apply owing to their superiority,
who make laws for the rest of mankind, the material,
that is. It's all right as a theory on theory,
come on ultra point seventy one. Napoleon attracted him tremendously.
That is what affected him was that a great many
men of genius have not hesitated it wrongdoing, but have

(03:36:21):
overstepped the law without thinking about it. He seems to
have fancied that he was a genius too, that is,
he was convinced of it for a time. He has
suffered a great deal and is still suffering from the
idea that he could make a theory but was incapable
of boldly overstepping the law. And so he is not

(03:36:43):
a man of genius, and that's humiliating for a young
man of any pride in our day especially. But remorse
you deny him any moral feeling? Then is he like that?
Ah Avdosha Romanovna. Everything is in a muddle now, not

(03:37:06):
that it was ever in very good order. Russians in
general are broad in their ideas, Avdosha Romanovna, broad like
their land, and extremely disposed to the fantastic the chaotic.
But it's a misfortune to be broad without a special genius.
Do you remember what a lot of talk we had

(03:37:27):
together on this subject, sitting in the evenings on the
terrace after supper. Why you used to reproach me with breadth?
Who knows? Perhaps we were talking at the very time
when he was lying here thinking over his plan. There
are no sacred traditions amongst us, especially in the educated class.

(03:37:49):
Avdosha Romanovna. At best, someone will make them up somehow
for himself, from books or from some old chronicle. But
those are for the most part learned in. All of
them are old, so that it would be almost ill
bred in a man of society. You know my opinions
in general, though I never blame anyone, I do nothing

(03:38:14):
at all. I persevere in that. But we've talked of
this more than once before. I was so happy, indeed,
as to interest you in my opinions. You are very pale.
Avdosha Romanovna. I know his theory. I read that article

(03:38:34):
of his about men for whom everything is permissible. Razumikin
brought it to me. Mister Razumikin your brother's article in
a magazine? Is there such an article? I didn't know.

(03:38:55):
It must be interesting. But where are you going, Ysha Romanovna.
I want to see Sofia Semyonovna. Dounia articulated faintly. How
can I see her? Maybe she has come back. I
must see her at once. Perhaps she Avdosha Romanovna could

(03:39:21):
not finish her breath, literally failed her. Sofia Semyonovna will
not be back until nightfall, at least I believe not.
She was going to come back at once. But if not,
then she will not be in until pretty late. Ah,
then you are lying. I see you were lying, lying

(03:39:45):
all the time. I don't believe you. I don't believe you,
cried Dounia, completely losing her head, almost fainting. She sank
onto a chair, which Svidrigailov hastily gave her. Avdosha Romanovna,
what is it? Control yourself? Here is some water, drink

(03:40:11):
a little. He sprinkled some water over her. Dounia shuddered
and came to herself. It has acted violently, Svidrigailov muttered
to himself, frowning. Avdosha Romanovna. Calm yourself. Believe me. He

(03:40:32):
has friends. We will save him. Would you like me
to take him abroad? I have money. I can get
a ticket in three days. And as for the murder,
he will do all sorts of good deeds. Yet to
atone for it. Calm yourself. He may become a great man. Yet, well,

(03:40:56):
how are you how do you feel, you cruel man?
How can you jeer at it? Let me go? Where
are you going to see him? Where is he do
you know why is this door locked? We came in

(03:41:20):
through that door, and now it is locked. When did
you manage to lock it? We couldn't be shouting all
over the apartment about such a subject. I am far
from jeering. It's simply that I'm sick of talking like this.
But how can you go in such a state? Do

(03:41:41):
you want to betray him? You will drive him to fury,
and he will give himself up. Let me tell you,
he is already being watched. They are already on his trail.
You will simply be giving him away. Wait a little
I saw him and was taught looking to him. Just now,

(03:42:02):
he can still be saved. Wait a bit, Sit down,
let us think it over together. I asked you to
come in order to discuss it alone with you and
to consider it thoroughly. Sit down, How can you save him?
Can he really be saved? Dounia sat down, Svidrigailov sat

(03:42:28):
down beside her. It all depends on you, on you,
on you alone. He began with glowing eyes, almost in
a whisper, and hardly able to watter the words for emotion.
Dounia drew back from him an alarm. He too was
trembling all over.

Speaker 2 (03:42:48):
You.

Speaker 1 (03:42:48):
One word from you and he is saved. I I'll
save him. I have money and friends. I'll send him
away at one once. I'll get a passport, two passports,
one for him and one for me. I have friends,
capable people. If you like, I'll take a passport for you,

(03:43:13):
for your mother. What do you want with Razumikin? I
love you too, I love you beyond everything. Let me
kiss the hem of your dress, Let me let me
the very rustle of it is too much for me.
Tell me do that, and I'll do it. I'll do everything.

(03:43:38):
I will do the impossible. What you believe, I will believe.
I'll do anything anything. Don't look at me like that.
Do you know that you are killing me? He was
almost beginning to rave. Something seemed suddenly to go to

(03:44:00):
his head. Dounia jumped up and rushed to the door.
Open it, Open it, she called, shaking the door, open
it is there? No one there? Svidrigailov got up and
regained his composure. His still trembling lips slowly broke into

(03:44:24):
an angry, mocking smile. There is no one at home,
he said, quietly and emphatically. The landlady has gone out,
and it's a waste of time to shout like that.
You are only exciting yourself uselessly. Where is the key?

(03:44:44):
Open the door at once, at once, Baseman, I have
lost the key and cannot find it. This is an outrage,
cried Dounia, turning pale as death. She rushed to the
furthest corner, where she hurriedly barricaded herself with a little table.

(03:45:05):
She did not scream, but fixed her eyes on her
tormentor and watched every movement he made. Svidrigailov remains standing
at the other end of the room, facing her. He
really was composed, at least in appearance, but his face
was pale as before. The mocking smile did not leave

(03:45:25):
his face. You spoke of outrage just now, Avdosha Romanovna.
In that case, you may be sure I've taken measures.
Sophia Semyonovna is not at home. The Kapernamovs are far away.
There are five locked rooms between. I am at least

(03:45:47):
twice as strong as you are, and I have nothing
to fear. Besides, for you could not complain afterwards. You
surely would not be willing actually to betray your brother Besides,
no one would believe you. Why would a girl have
come alone to visit a solitary man in his lodgings,

(03:46:10):
so that even if you do sacrifice your brother, you
could prove nothing. It is very difficult to prove an assault.
Avdosha Romanovna scoundrel, whispered Dounia indignantly as you like, But observe,
I was only speaking by way of a general proposition.

(03:46:32):
It's my personal conviction that you are perfectly right. Violence
is hateful. I only spoke to show you that you
need have no remorse. Even if you were willing to
save your brother of your own accord, as I have
suggested to you, you would be simply submitting to circumstances
to violence. In fact, if we must use that word,

(03:46:54):
think about it. Your brother's and your mother's fate are
in your hand. I will be your slave all my life.
I will wait here. Svidrigailov sat down on the sofa,
about eight steps from Dounia. She had not the slightest

(03:47:15):
doubt now of his unbending determination. Besides, she knew him. Suddenly,
she pulled out of her pocket a revolver, cocked it,
and laid it in her hand, on the table. Svidrigailov
jumped up. Aha, So that's it, is it? He cried,

(03:47:36):
surprised but smiling maliciously. Well, that completely alters the way
we look at things. You've made things much easier for me,
Avdosha Romanovna. But where did you get the revolver? Was it?
Mister Razumikin? Why it's my revolver, an old friend, and

(03:48:00):
how I've hunted for it. The shooting lessons I've given
you in the country have not been thrown away. It's
not your revolver. It belonged to Marfa Petrovna, whom you killed, wretch.
There was nothing of yours in her house. I took
it when I began to suspect what you were capable of.

(03:48:23):
If you dare to advance one step, I swear I'll
kill you. She was frantic, But your brother, I ask
out of curiosity, said Svidrigailov, still standing where he was,
inform on him. If you want to don't move, don't

(03:48:45):
come closer. I'll shoot you poisoned your wife. I know
you are a murderer yourself. She held the revolver. Ready,
are you so positive? I Marfa Petrovna? You did you
hinted it yourself. You spoke to me about poison. I

(03:49:11):
know you went to get it. You had it ready.
It was your doing. It must have been your doing, blaggard.
Even if that were true, it would have been for
your sake. You would have been the cause you are lying.
I hated you, always, always, oh Avdosha Romanovna. You seem

(03:49:39):
to have forgotten how you softened to me in the
heat of propaganda. I saw it in your eyes. Do
you remember that moonlight night when the nightingale was singing?
That's a lie. There was a flash of fury in
Dounia's eyes. That's a lie, in a libel, a lie. Well,

(03:50:01):
if you like it's a lie. I made it up.
Women ought not to be reminded of such things. He smiled.
I know you will shoot you, pretty wild creature, Well
shoot away. Dounia raised the revolver, and deadly pale gazed

(03:50:22):
at him, measuring the distance and awaiting the first movement
on his part. Her lower lip was white and quivering,
and her big black eyes flashed like fire. He had
never seen her so beautiful. The fire glowing in her
eyes at the moment she raised the revolver seemed to
kindle him, and there was a pang of anguish in

(03:50:43):
his heart. He took a step forward and a shot
rang out. The bullet grazed his hair and flew into
the wall behind. He stood still and laughed softly. The
wasp has stung me, she aimed, straight at my head.

(03:51:03):
What's this blood? He pulled out his handkerchief to wipe
the blood, which flowed in a thin stream down his
right temple. The bullets seemed to have just grazed the skin.
Dounia lowered the revolver and looked at Sviidrigalov, not so
much in terror as in a sort of wild amazement.

(03:51:25):
She seemed not to understand what she was doing and
what was going on. Well, you missed fire again. I'll wait,
said Svidrigailov softly, still smiling but gloomily. If you go
on like that, I shall have time to seize you
before you cock again. Dounia started quickly cock the pistol

(03:51:49):
and again raised it. Let me be, she cried in despair.
I swear I'll shoot again. I I'll kill you. Well
at three paces you can hardly help it. But if
you don't. Then his eyes flashed and he took two

(03:52:11):
steps forward. Dounia shot again. It misfired. You haven't loaded
it properly. Never mind, you have another bullet there, get
it ready. I'll wait. He stood, facing her two paces away,
waiting and gazing at her with wild determination. With feverishly passionate,

(03:52:35):
stubborn set eyes, Dounia saw that he would sooner die
than let her go, and now, of course she would
kill him. At two paces suddenly she flung away the revolver.
She's dropped it, said Svidrigalev with surprise, and he drew
a deep breath. A weight seemed to have rolled from

(03:52:58):
his heart. Perhaps not only the fear of death, indeed,
he may scarcely have felt it at that moment. It
was the deliverance from another feeling darker and more bitter,
which he could not himself have defined. He went to
Dounia and gently put his arm round her waist. She

(03:53:18):
did not resist, but, trembling like a leaf, looked at
him with imploring eyes. He tried to say something, but
his lips moved without being able to utter a sound.
Let me go, Dounia implored. Svidrigailov shuddered. Her voice now

(03:53:39):
was quite different then you don't love me, he asked softly.
Dounia shook her head, and and you can't. Never, he
whispered in despair. Never. There followed a moment of terrible
dumb struggle in the lie heart of Spidrigailov. He looked

(03:54:03):
at her with an indescribable gaze. Suddenly he withdrew his arm,
turned quickly to the window, and stood facing it. Another
moment passed. Here's the key. He took it out of
the left pocket of his coat and laid it on
the table behind him, without turning or looking at Dounia.

(03:54:26):
Take it. Hurry, he looked stubbornly out of the window.
Dounia went up to the table to take the key. Hurry, hurry,
repeated Spidrigalov, still without turning or moving. But there seemed
a terrible significance in the tone of that hurry. Dounia

(03:54:52):
understood it. Snatched up the key, flew to the door,
unlocked it quickly, and rushed out of the room. A
minute lay beside herself. She ran out onto the canal
bank in the direction of x Bridge. Svidrigailov spent three
minutes standing at the window. At last, he slowly turned

(03:55:14):
looked about him and passed his hand over his forehead.
A strange smile contorted his face, a pitiful, sad, weak smile,
a smile of despair. The blood, which was already getting dry,
smeared his hand. He looked angrily at it, then wetted
a towel and washed his temple. The revolver which Dounia

(03:55:37):
had flung away, lay near the door, and suddenly caught
his eye. He picked it up and examined it. It
was a little pocket three barrel revolver of old fashioned construction.
There were still two charges and one capsule left in it.
It could be fired again, he thought a little, put

(03:55:59):
the revolver in his pocket, took his hat, and went out.
Chapter six. He spent that evening until ten o'clock, going
from one low haunt to another. Kadia two turned up
and sang another gutter song about how a certain villain
and tyrant began kissing Kadia. Svidrigale treated Kadia and the

(03:56:24):
organ grinder in some singers and the waiters, and two
little clerks. He was particularly drawn to these clerks by
the fact that they both had crooked noses, one bent
to the left and the other to the right. They
took him finally to a pleasure garden, where he paid
for their entrance. There was one lanky, three year old

(03:56:46):
pine tree and three bushes in the garden, besides a
Vauxhall seventy two, which was in reality a drinking bar
where T two was served, and there were a few
green tables and chairs standing round it. A chorus of
wretched sin and a drunken but extremely depressed German clown
from Munich with a red nose entertained the public. The

(03:57:07):
clerks quarreled with some other clerks, and a fight seemed imminent.
Svidrigalov was chosen to decide the dispute. He listened to
them for a quarter of an hour, but they shouted
so loud that there was no possibility of understanding them.
The only fact that seemed certain was that one of

(03:57:28):
them had stolen something, and had even succeeded in selling
it on the spot to a jew, but would not
share the spoil with his companion. Finally, it appeared that
the stolen object was a teaspoon belonging to the Vauxhall.
It was missed, and the affair began to seem troublesome.
Svidrigailov paid for the spoon, got up and walked out

(03:57:52):
of the garden. It was about six o'clock. He had
not drunk a drop of wine all this time, and
had ordered tea, more for the sake of appearances than anything.
It was a dark and stifling evening. Threatening storm clouds
came over the sky. At about ten o'clock. There was

(03:58:13):
a clap of thunder and the rain came down like
a waterfall. The water did not fall in drops, but
beat on the earth in streams. There were flashes of
lightning every minute, and each flash lasted while one could
count five. Drenched to the skin, he went home, locked

(03:58:34):
himself in, opened the bureau, took out all his money,
and tore up two or three papers, then putting the
money in his pocket. He was about to change his clothes,
but looking out of the window and listening to the
thunder in the rain, he gave up the idea, took
up his hat and went out of the room without
locking the door. He went straight to Sonia. She was

(03:58:58):
at home. She was not alone. The four Kapronama of
children were with her. She was giving them tea. She
received Svidriglov in respectful silence, looking wonderingly at his soaking clothes.
The children all ran away at once in indescribable terror

(03:59:20):
Svidrigailov sat down at the table and asked Sonya to
sit beside him. She timidly prepared to listen. I may
be going to America, Sofia Semyonovna, said Spidragilov, And as
I am probably seeing you for the last time, I
have come to make some arrangements. Well, did you see

(03:59:42):
the lady today? I know what she said to you.
You need not tell me. Sonya made a movement and blushed.
Those people have their own way of doing things. As
to your sisters and your brother, they are really provided for,
and the money assigned to them. I've put into safe

(04:00:02):
keeping and have received acknowledgments. You had better take charge
of the receipts in case anything happens here. Take them. Well,
now that's settled. Here are three five percent bonds to
the value of three thousand roubles. Take those for yourself,

(04:00:24):
entirely for yourself, and let that be strictly between ourselves,
so that no one knows of it. Whatever you hear,
you will need the money because to go on living
in the old way, Sophia Semionovna is bad, and besides,
there is no need for it now. I am so
obliged to you, and so are the children. And my

(04:00:46):
step mother, said Sonia hurriedly. And if I've said so little,
please don't consider that's enough. That's enough. But as for
the money, Arkady Ivanovich, I am very grateful to you,
but I don't need it now. I can always earn
my own living. Don't think me ungrateful. If you are

(04:01:11):
so charitable that money, it's for you, for you, Sofia Semyonovna,
and please don't waste words over it. I haven't got
the time for it. You will want it. Rode Ian
Romanovitch has two alternatives, a bullet in the brain or Siberia.

(04:01:33):
Sonya looked wildly at him and started, don't be uneasy.
I know all about it from his own lips, and
I am not a gossip. I won't tell anyone. It
was good advice when you told him to give himself
up and confess it would be much better for him. Well,
if it turns out to be Siberia, he will go

(04:01:56):
and you will follow him. That's so, isn't it. And
if so you'll need money. You'll need it for him.
Do you understand giving it to you is the same
as my giving it to him. Besides, you promised Amalia
Ivanovna to pay what you owe. I heard you. How

(04:02:20):
can you undertake such obligations so carelessly, Sofia Semyonovna, it
was Katerina Ivanovna's debt and not yours. So you ought
not to have taken any notice of the German woman.
You can't get through the world like that. If you
are ever questioned about me tomorrow or the day after,

(04:02:41):
you will be asked, don't say anything about the fact
that I am coming to see you now, and don't
show the money to anyone or say a word about it. Well, now, goodbye,
he got up. My greetings to wrought Ayon Romanovitch. By
the way, you'd better put the money for the present

(04:03:01):
in mister Razumikin's keeping, you know mister Razumikin, Of course
you do. He's not a bad man. Take it to
him tomorrow or when the time comes, and until then
hide it carefully. Sonya too jumped up from her chair

(04:03:23):
and looked in dismay at Spidrigalov. She longed to speak
to ask a question, but for the first moments she
did not dare and did not know how to begin.
How can you how can you be going now in
rain like this? What set off for America and get
stopped by the rain?

Speaker 2 (04:03:45):
Ah?

Speaker 1 (04:03:46):
Ah, goodbye, Sofia Semyonovna, my dear, live and live long.
You will be of use to others. By the way,
tell mister Razumikin. I send my greetings to him telemarkety
Ivanovitch Spidrigailov sends his greetings. Be sure too. He went out,

(04:04:10):
leaving Sonya in a state of wondering, anxiety and vague apprehension.
It appeared afterwards that on the same evening, at twenty
past eleven, he made another very eccentric and unexpected visit.
The rain still persisted. Drenched to the skin, he walked
into the little apartment where the parents of his fiance

(04:04:33):
lived in third Street on Vassilyevsky Island. He knocked for
some time before he was admitted, and his visit at
first caused a great disturbance. But Spidrigailov could be very
fascinating when he liked, so that the first and in
fact very intelligent surmise of the sensible parents that Spidrigailov
had probably had so much to drink that he did

(04:04:56):
not know what he was doing. Vanished immediately. The a
decrepit father was wheeled in to see Spidrigale by the
tender and sensible mother, who, as usual, began the conversation
with various irrelevant questions. She never asked a direct question,
but began by smiling and rubbing her hands, and then

(04:05:16):
if she had to ask about some detail, for instance,
when Spidrigalov would like to have the wedding, she would
start with interested in almost eager questions about Paris and
the court life there, and only by degrees brought the
conversation round to Third Street. On other occasions this had
of course been very impressive, but this time Marked y

(04:05:37):
Ivanovitch seemed particularly impatient and insisted on seeing his betrothed once,
though he had been informed to begin with that she
had already gone to bed. The girl, of course, appeared.
Spidrigalov informed her at once that very important affairs obliged
him to leave Petersburg for a time, that he had

(04:05:58):
therefore brought her fish fifteen thousand roubles, and that he
begged her accept them as a present from him, as
he had long been intending to make her this trifling
present before their wedding. The logical connection of the present
with his immediate departure, and the absolute necessity of visiting
them for that purpose in pouring rain at midnight, was

(04:06:19):
not made clear, But it all came off very well,
even the inevitable questions. The inevitable expressions of wonder and
regret were extraordinarily few and restrained. On the other hand,
the gratitude expressed was remarkably glowing, and was reinforced by
tears from this most sensible of mother's Spidrigailov got up, laughed,

(04:06:43):
kissed his fiancee, patted her cheek, declared he would soon
come back, and, noticing in her eyes along with childish
curiosity a sort of earnest dumb inquiry, reflected and kissed
her again. Though he felt sincere anger inwardly at the
thought that his present would be a medially locked up
in the keeping of the most sensible of mothers, He

(04:07:04):
went away, leaving them all in a state of extraordinary excitement.
But the tender Mama, speaking quietly in a half whisper,
settled some of the most important of their doubts, concluding
that Spidergalev was a great man, a man of great
affairs and connections and of great wealth. There was no
knowing what he had in his mind. He would start

(04:07:26):
off on a journey and give away money, just as
his fancy took him, So there was nothing surprising about it.
Of course, it was strange that he was wet through,
but Englishmen, for instance, are even more eccentric, and all
these people of high society didn't think about what people said,
and didn't stand on ceremony. In fact, he may have

(04:07:48):
come like that on purpose, to show that he was
not afraid of anyone. Above all, not a word should
be said about it, because God knows what might come
of it, And the money must be locked up. And
it was extremely fortunate that Fedosia the cook had not
left the kitchen. And above all, not a word must
be said to that old cat, Madame Reslich, and so

(04:08:11):
on and so on. They sat up whispering until two o'clock,
but the girl went to bed much earlier, amazed and
rather sorrowful. Meanwhile, at midnight exactly Svidrigailov crossed the bridge
on the way back to the mainland. The rain had
ceased and there was a roaring wind. He began shivering,

(04:08:34):
and for one moment he gazed at the black waters
of the Little Neva with a look of special interest,
even inquiry. But he soon felt it very cold. Standing
by the water, he turned and went towards White Prospect.
He walked along that endless street for a long time,
almost half an hour, more than once, stumbling in the

(04:08:55):
dark on the wooden pavement, but continually looking for something
on the right side of the street. He had noticed,
passing through this street recently, that there was a hotel
somewhere near the end, built of wood but fairly large,
and its name, he remembered, was something like Adrianople. He
was not mistaken. The hotel was so conspicuous in that

(04:09:19):
god forsaken place that he could not fail to see
it even in the dark. It was a long, black
and wooden building, and although it was late, there were
lights in the windows and signs of life within. He
went in and asked a ragged fellow who met him
in the corridor for a room. The latter scanning Svidrigailov

(04:09:40):
pulled himself together and led him at once to a
tiny stuffy room in the distance at the end of
the corridor under the stairs. There was no other room.
All of them were occupied. The ragged fellow looked inquiringly.
Is there tea? Asked Svibrigalov. Yes, sir, what else is there? Veal, vodka, savories.

(04:10:10):
Bring me tea and veal, And you don't want anything else?
He asked, with apparent surprise. Nothing. Nothing. The ragged man
went away, completely disillusioned. It must be a nice place,
thought Svidrigailov. How was it? I didn't know it, I

(04:10:33):
expect I look as if I came from a cafe
chantan and had some adventure on the way. It would
be interesting to know who stayed here. He lit the
candle and looked at the room more carefully. It was
so low pitched that Svidrigailov could only just stand up
in it. It had one window, the bed, which was

(04:10:55):
very dirty, and the plain stained chair and table almost
filled it up. The walls looked as though they were
made of planks covered with shabby paper, so torn and
dusty that the pattern was indistinguishable, though the general colored
yellow could still be made out. One of the walls
was cut short by the sloping ceiling, though the room

(04:11:16):
was not an attic, but just under the stairs. Svidrigailov
put down the candle, sat down on the bed, and
sank into thought. But a strange, persistent murmur, which sometimes
rose to a shout, in the next room, attracted his attention.
The murmur had not ceased from the moment he entered

(04:11:37):
the room. He listened someone was upbraiding and almost tearfully scolding,
but he heard only one voice. Spidrigailov got up, shaded
the light with his hand, and at once he saw
light through a crack in the wall. He went up
and peep through the room, which was somewhat larger than his,

(04:11:58):
had two occupants. One of them, a very curly headed
man with a red inflamed face, was standing like an
orator without his coat, with his legs wide apart to
keep his balance, and smiting himself on the chest. He
reproached the other with being a beggar, with having no
standing whatsoever. He declared that he had taken the other

(04:12:22):
one out of the gutter, and he could turn him
out when he liked, and that only the finger of
Providence sees it all. The object of his reproaches was
sitting in a chair and had the air of a
man who desperately wants to sneeze but can't. He sometimes
turned sheepish and misty eyes on the speaker, but obviously

(04:12:43):
had not the slightest idea what he was talking about,
and scarcely heard it. A candle was burning down on
the table. There were wineglasses, a nearly empty bottle of vodka,
bread and cucumber, and glasses with the dregs of stale
tea razing attentively. At this, Spidrigailov turned away indifferently and

(04:13:04):
sat down on the bed. The ragged attendant, returning with
the tea, could not resist asking him again whether he
didn't want anything more, and again receiving a negative reply.
Finally withdrew. Spidrigailov swiftly drank a glass of tea to
warm himself, but could not eat anything. He began to

(04:13:26):
feel feverish. He took off his coat, and, wrapping himself
in the blanket, lay down on the bed. He was annoyed.
It would have been better to be well for the occasion,
he thought, with a smile. The room was close, the
candle burned dimly, the wind was roaring outside. He heard

(04:13:48):
a mouse scratching in the corner, and the room smelt
of mice and of leather. He lay in a sort
of reverie. One thought followed another. He felt a longing
to fix his imagination on something. It must be a
garden under the window, he thought, there's a sound of trees.

(04:14:09):
How I disliked the sound of trees on a stormy
night in the dark. They give me a horrible feeling.
He remembered how he had disliked it when he passed
Petrovsky Park just now. This reminded him of the bridge
over the Little Neva, and he felt cold again as
he had been standing there. I never have liked water,

(04:14:32):
he thought, even in a landscape, And he suddenly smiled
again at a strange idea. Surely now all these questions
of taste and comfort ought not to matter, But I've
become more particular, like an animal that picks out a
special place for such an occasion. I ought to have
gone into Petrovsky Park. I suppose it seemed dark cold, huh,

(04:14:56):
as though I were looking for pleasant sensations. By the way,
why haven't I put out the candle? He blew it out.
They've gone to bed next door, he thought, not seeing
the light at the crack. Well, now, Marfa Petrovna, now
is the time for you to turn up. It's dark
and the very time and place for you. But now

(04:15:20):
you won't come, he suddenly recalled. How an hour before
carrying out his plan in valding Dounia, he had recommended
Raskolnikov to trust her to Razumikin's keeping. I suppose I
really did say it, as Raskolnikov guessed to tease myself.
But what a rogue that Raskolnikov is. He's gone through

(04:15:43):
a good deal. He may be a successful rogue in time,
when he's got over his nonsense, But now he's too
eager for life. These young men are contemptible on that point.
But damn him. Let him please himself. It's nothing to
do with me. He could not get to sleep. By degrees.

(04:16:09):
Dounia's image rose before him, and his shudder ran over him. No,
I must give up all that, now, he thought, rousing himself.
I must think of something else. It's strange. I never
had any great hatred for anyone. I never particularly wanted
to revenge myself even and that's a bad sign, A

(04:16:32):
bad sign, A bad sign. I never liked quarreling either,
and never lost my temper. That's a bad sign too.
And the promises I made her just now to damnation.
But who knows, perhaps she would have made a new
man of me. Somehow. He ground his teeth and sank

(04:16:54):
into silence again. Again, Dounia's image rose before him, just
as she was when after shooting the first time, she
had lowered the revolver in terror and gazed blankly at him,
so that he might have seized her twice over, and
she would not have lifted a hand to defend herself
if he had not reminded her. He recalled how at

(04:17:15):
that instant he felt almost sorry for her, how he
had felt a pang at his heart. Ah, God, these
thoughts again, I must put them away. He was dozing off.
The feverish shiver had stopped, when suddenly something seemed to
run over his arm and leg under the bedclothes. He started, Uugh,

(04:17:41):
damn it, I think it's a mouse. He thought, that's
the veal I left on the table. He was extremely
unwilling to pull off the blanket, get up, get cold,
but suddenly something unpleasant ran over his leg again. He
pulled off the blanket and lighted the candle. Shaking in

(04:18:03):
a feverish chill, he bent down to examine the bed.
There was nothing. He shook the blanket, and suddenly a
mouse jumped out on the sheet. He tried to catch it,
but the mouse ran to and fro in zigzags without
leaving the bed, slipped between his fingers, ran over his hand,
and suddenly darted under the pillow. He threw down the pillow,

(04:18:26):
but in one instant felt something leap on his chest
and dart over his body and down his back under
his shirt. He trembled nervously and woke up. The room
was dark. He was lying on the bed and wrapped
up in the blanket as before. The wind was howling
under the window. How disgusting, he thought, with annoyance. He

(04:18:53):
got up and sat on the edge of the bedstead
with his back to the window. It's better not to
sleep at all, he decided. There was a cold, damp
draft from the window. However, without getting up, he drew
the blanket over him and wrapped himself in it. He
was not thinking of anything, and did not want to think.

(04:19:15):
But one image rose after another incoherent scraps of thought
without beginning or end passed through his mind. He sank
into drowsiness. Perhaps the cold or the dampness, or the dark,
or the wind that howled under the window and tossed
the trees roused a sort of persistent craving for the fantastic.

(04:19:36):
He kept dwelling on images of flowers. He imagined a
charming flower garden, a bright, warm, almost hot day, a
holiday trinity sunday, a fine, sumptuous country cottage, and the
English taste overgrown with fragrant flowers, with flower beds going
round the house. The porch, wreathed in climbers, was surrounded

(04:19:58):
with beds of roses. A light, cool staircase carpeted with
rich rugs, was decorated with rare plants in china pots.
He noticed, particularly in the windows, nosegays of tender, white,
heavily fragrant narcissus bending over their bright green, thick, long stalks.

(04:20:18):
He was reluctant to move away from them, but he
went up the stairs and came into a large high
drawing room, and again everywhere at the windows, the doors,
onto the balcony, and on the balcony itself were flowers.
The floors were strewn with fragrant, freshly cut hay. The
windows were open, a fresh, cool, light air came into

(04:20:41):
the room. The birds were chirruping under the window, and
in the middle of the room, on a table covered
with a white satin shroud, stood a coffin. The coffin
was covered with white silken edged with a thick white frill.
Wreaths of flowers surrounded it on all sides. Among the
flowers lay a girl in a white muslin dress, with

(04:21:04):
her arms crossed and pressed on her bosom, as though
carved out of marble, but her loose fair hair was wet.
There was a wreath of roses on her head. The
stern and already rigid profile of her face looked as
though a too was chiseled of marble, and the smile
on her pale lips was full of an immense, unchildish
misery and sorrowful appeal. Svidrigailov knew that girl. There was

(04:21:30):
no holy image, no burning candle beside the coffin, no
sound of prayers. The girl had drowned herself. She was
only fourteen, but her heart was broken, and she had
destroyed herself, crushed by an insult that had appalled and
amazed the childish soul, had corrupted that angel purity with

(04:21:50):
unmerited disgrace, and torn from her a last scream of despair,
brutally disregarded. On a dark night, in the cold and wet,
while the wind howled, Svidrigailov came to got up from
the bed and went to the window. He felt for
the latch and opened it. The wind lashed furiously into

(04:22:11):
the little room and stung his face in his chest
only covered with his shirt, as though with frost under
the window. There must have been something like a garden,
and apparently a pleasure garden there too. Probably there were
tea tables and singing in the daytime. Now drops of
rain flew in at the window from the trees and bushes.

(04:22:34):
It was as dark as in a cellar, so that
he could only just make out some dark blurs of objects. Spidrigalov,
bending down with elbows on the window sill, gazed for
five minutes into the darkness. The boom of a cannon,
followed by a second one, resounded in the darkness of
the night. Ah the signal the river is overflowing, he thought.

(04:23:00):
By morning it will be swirling down the street in
the lower parts, flooding the basements and cellars. The cellar
rats will swim out, and men will curse in the
rain and wind as they drag their rubbish to their
upper floors. What time is it now? And he had
hardly thought it, when somewhere near a clock on the wall,

(04:23:22):
taking away hurriedly, struck three, Aha, it will be light
in an hour. Why wait, I'll go out at once,
straight to the park. I'll choose a great bush there,
drenched with rain, so that as soon as one's shoulder
touches it, millions of drop strip on one's head. He

(04:23:46):
moved away from the window, shut it, lit the candle,
put on his waistcoat, his overcoat, and his hat, and
went out, carrying the candle into the passage to look
for the ragged attendant, who would be asleep somewhere in
the midst of candle land and all sorts of rubbish,
to pay him for the room and leave the hotel.
It's the best moment. I couldn't choose a better one.

(04:24:10):
He walked for some time through a long, narrow corridor
without finding anyone, and was just going to call out,
when suddenly, in a dark corner between an old cupboard
and the door, he caught sight of a strange object
which seemed to be alive. He bent down with the
candle and saw a little girl not more than five
years old, shivering and crying, with her clothes as wet

(04:24:31):
as a soaking house flannel. She did not seem afraid
of Spidrigailov, but looked at him with blank amazement out
of her big black eyes. Now and then she sobbed,
as children do when they have been crying a long
time but are starting to be comforted. The child's face
was pale and tired. She was numb with cold. How

(04:24:54):
can she have come here? She must have hidden here
and not slept all night. He began questioning her. The
child suddenly became animated, chattered away in her baby language,
something about mother and that mother would beat her, and
about some cup that she had boken. The child chattered

(04:25:16):
on without stopping. He could only guess from what she
said that she was a neglected child whose mother, probably
a drunken cook in the service of the hotel, whipped
and frightened her. That the child had broken a cup,
of her mother's, and was so frightened that she had
run away the evening before, had hidden for a long
while somewhere outside in the rain, at last had made

(04:25:38):
her way in here, hidden behind the cupboard, and spent
the night there, crying and trembling from the damp, the darkness,
and the fear that she would be badly beaten for it.
He took her in his arms, went back to his room,
sat her on the bed, and began undressing her. The

(04:25:58):
torn shoes which she had on her and her stockingless
feet were as wet as if they had been standing
in a puddle all night. When he had undressed her,
he put her on the bed, covered her up, and
wrapped her in the blanket from her head downwards. She
fell asleep at once. Then he sank into dreary musing

(04:26:18):
again how stupid it was to trouble myself, he decided, suddenly,
with an oppressive feeling of annoyance, what idiocy in vexation.
He picked up the candle to go and look for
the ragged attendant again, and leave damn the child, he thought,
as he opened the door. But he turned again to

(04:26:41):
see whether the child was asleep. He raised the blanket carefully.
The child was sleeping soundly. She had got warm under
the blanket, and her pale cheeks were flushed. But strange
to say that flush seemed brighter and coarser than the
rosy cheeks of childhood. It's a flush of fever, fought Sibrigalov.

(04:27:05):
It was like the flush from drinking, as though she
had been given a full glass to drink. Her crimson
lips were hot and blowing. But what was this? He
suddenly fancied that her long black eyelashes were quivering, as
though the lids were opening, and a slight, crafty eye
peeped out with an unchildlike wink, as though the little

(04:27:26):
girl were not asleep, but pretending, yes, it was so.
Her lips parted in a smile. The corners of her
mouth quivered, as though she were trying to control them.
But now she quite gave up all effort. Now it
was a grin, a broad grin. There was something shameless,

(04:27:47):
provocative in that quite unchildish face. It was depravity. It
was the face of a harlot, the shameless face of
a French harlot. Now both eyes open wide, they turned
a glowing, shameless glance upon him, they laughed, invited him.
There was something infinitely hideous and shocking in that laugh,
in those eyes, in such nastiness, in the face of

(04:28:10):
a child. What at five years old? Svidrigailov muttered, in
genuine horror, what does it mean? And now she turned
to him, her little face all aglow, holding out her arms.
Damned child, Svidrigailov cried, raising his hand to strike her.

(04:28:32):
But at that moment he woke up. He was in
the same bed, still wrapped in the blanket. The candle
had not been lighted, and daylight was streaming in at
the windows. I'd been having bad dreams all night. He
got up, angrily, feeling utterly shattered, his bones ached. There

(04:28:56):
was a thick missed outside, and he could see nothing.
It was nearly five. He had overslapped. He got up,
put on his still damp jacket and overcoat. Feeling the
revolver in his pocket, he took it out, and then
he sat down, took a notebook out of his pocket,

(04:29:16):
and in the most conspicuous place on the title page,
wrote a few lines in large letters. Reading them over,
he sank into thought, with his elbows on the table.
The revolver and the notebook lay beside him. Some flies
woke up and settled on the untouched veal, which was
still on the table. He stared at them, and at last,

(04:29:39):
with his free right hand, began trying to catch one.
He tried until he was tired, but could not catch it.
At last, realizing that he was engaged in this interesting pursuit,
he started, got up and walked resolutely out of the room.
A minute later he was in the street. A thick

(04:30:02):
milky mist hung over the town Svidrigailov walked along the slippery,
dirty wooden pavement towards the Little Neva. He was picturing
the waters of the Little Neva, swollen in the night,
Petrovsky Island, the wet paths, the wet grass, the wet
trees and bushes, and at last the bush. He began

(04:30:23):
illhumoredly staring at the houses, trying to think of something else.
There was not a cabman or a passerby in the street.
The bright yellow, wooden little houses looked dirty and dejected
with their closed shutters. The cold and damp penetrated his
whole body, and he began to shiver. From time to time.

(04:30:46):
He came across store signs and read each carefully. At
last he reached the end of the wooden pavement and
came to a big stone house. A dirty, shivering dog
crossed his path with its tail between its legs. A
man in an overcoat lay dead, drunk, faced downwards across

(04:31:07):
the pavement. He looked at him and went on. A
high tower stood up on the left bah. He shouted,
here is a place, Why should it be Petrovsky. It
will be in the presence of an official witness anyway.

(04:31:27):
He almost smiled at this new thought, and turned into
the street, where there was the big house with the tower.
At the great closed gates of the house, a little
man stood with his shoulder leaning against them, wrapped in
a gray soldier's coat, with a copper Achilles helmet on
his head. He cast a drowsy and indifferent glance at Svidrigaloev.

(04:31:50):
His face wore the perpetual look of peevish dejection, which
is so sourly printed on all faces of Jewish race,
without exception of them. Slidrigala and Achilles stared at each
other for a few minutes without speaking. At last it
struck Achilles that it was unusual for a man not

(04:32:10):
drunk to be standing three steps from him, staring and
not saying a word. What do you want here, he said,
without moving or changing his position. Nothing, my friend, good morning,
answered Svidrigailov. This isn't the place. I am going to

(04:32:31):
foreign lands, my friend, to foreign lands, to America, America.
Svidrigailov took out the revolver and cocked it. Achilles raised
his eyebrows. I told you this is no place for jokes.

(04:32:53):
Why shouldn't it be the place because it isn't Well,
my friend, I don't mind. It's a good place. When
you are asked, you just say he was going, he
said to America. He put the revolver to his right temple.

(04:33:15):
You can't do it here. It's not the place, cried Achilles,
rousing himself, his eyes growing bigger and bigger. Svidrigailov pulled
the trigger. Chapter seven. The same day, about seven o'clock
in the evening, Raskolnikov was on his way to his
mother's and sister's lodging the apartment in Beklief's house, which

(04:33:39):
Razumikin had found for them. The stairs went up from
the street Raskolnikov walked with lagging steps, as though still
hesitating whether to go or not. But nothing would have
turned him back. His decision was taken. Besides, it doesn't matter.

(04:34:00):
I still know nothing, he thought, and they are used
to thinking of me as an eccentric. He was appallingly dressed,
his clothes torn and dirty, soaked with the night's rain.
His face was almost distorted from fatigue, exposure, the inward
conflict that had lasted for twenty four hours. He had

(04:34:21):
spent all the previous night alone god knows where, but anyway,
he had reached a decision. He knocked at the door,
which was opened by his mother. Dounia was not at home.
Even the servant happened to be out. At first, Pulcheria

(04:34:41):
Alexandrovna was speechless with joy and surprise. Then she took
him by the hand and drew him into the room.
Here you are, she began, faltering with joy. Don't be
angry with me, Rodya for welcoming you so foolishly with tears.
I am laughing, not crying. Did you think I was crying? No,

(04:35:05):
I am delighted. But I've got into such a stupid
habit of shedding tears. I've been like that ever since
your father's death. I cry for anything. Sit down, dear boy,
you must be tired. I see you are. Ah, how
munny you are. I was in the rain yesterday. Mother

(04:35:30):
Raskolnikov began, no, no, pulchuria. Alexandrovna hurriedly interrupted. You thought
I was going to question you in the womanish way
I used to. Don't be anxious. I understand, I understand
it all now I've learned how things are here. I
can see for myself that they are better. I've made

(04:35:52):
up my mind once for all. How could I understand
your plans and expect you to give an account of them.
God knows what can discerns and plans you may have,
or what ideas you are hatching. So it's not for
me to keep nudging your elbow asking you what you
are thinking about. But my goodness, why am I running

(04:36:13):
to and fro as though I were crazy? I am
reading your article in the magazine for the third time.
Radiya Dmitri Prokofik brought it to me. When I saw it,
I cried out to myself, there you are, you foolish
old thing. I thought, that's what he's busy about. That's
the solution of the mystery learned. People are always like that.

(04:36:39):
He may have some new ideas in his head just
now he is thinking them over, and I worry him
and upset him. I read it, my dear, and of
course there was a great deal I did not understand.
But that's only natural. How should I show me, mother?
Raskolnikov took the magazine and glanced at his article. Incongruous

(04:37:03):
as it was with his mood and his circumstances, he
felt that strange and bittersweet sensation that every author experiences
the first time he sees himself in print. Besides, he
was only twenty three. It lasted only a moment. After
reading a few lines, he frowned and his heart throbbed
with anguish. He recalled all the inward conflict of the

(04:37:28):
preceding months. He flung the article on the table with
disgust and anger. But however foolish I may be, Rodia,
I can see for myself that you will very soon
be one of the leading, if not the leading man
in the world of Russian thought. And they dared to
think you were mad. You don't know, but they really

(04:37:52):
thought that ah the despicable creatures, how could they understand
genius and do Dounia was all but believing it. What
do you say to that your father sent things twice
to magazines, the first time poems. I've got the manuscript,
I'll show you, and the second time a whole novel.

(04:38:14):
I begged him to let me copy it out. And
how we prayed that they would be taken. They weren't.
I was breaking my heart Radia six or seven days ago,
over your food and your clothes and the way you
were living. But now I see again how foolish I was.
For you can attain any position you like by your
intellect and talent, no doubt. You don't care about that

(04:38:38):
for the moment, and you are occupied with much more
important matters. Dounia's not at home mother, no Rodia. I
often don't see her. She leaves me alone. Dmitri Prokofik
comes to see me. It's so good of him, and
he always talks about you. He loves you and respects you,

(04:39:02):
my dear. I wouldn't say that Dounia was inconsiderate towards me.
I am not complaining. She has her ways and I
have mine she seems to have got some secrets of late,
and I never have any secrets from you too. Of course,
I am sure that Dounia has far too much sense,

(04:39:23):
and besides, she loves you and me, But I don't
know what it will all lead to. You've made me
so happy by coming now, Radia, but she has missed
you by going out. When she comes, and I'll tell
her your brother came in while you were out. Where
have you been all this time? You mustn't spoil me, Radiya.

(04:39:43):
You know, come when you can, but if you can't,
it doesn't matter. I can wait. I shall know anyway
that you are fond of me. That will be enough
for me. I shall read what you write, I shall
hear about you from everyone, and sometimes you'll come yourself
to see me. What could be better? Here? You've come

(04:40:05):
now to comfort your mother. I see that here Pulcheria
Alexandrovna began to cry. Here I am again. Don't mind
my foolishness, my goodness, why am I sitting here? She cried,
jumping up. There is coffee, and I don't offer you

(04:40:27):
any ah. That's the selfishness of old age. I'll get
it at once. Mother, don't trouble yourself. I am going now.
I haven't come for that. Please listen to me. Pulcheria
Alexandrovna went up to him timidly. Mother, whatever happens, whatever

(04:40:53):
you hear about me, whatever you are told about me,
will you always love me as you do now? He
asked suddenly from the fullness of his heart, as though
not thinking of his words and not weighing them. Radiya, Rodya,
what is the matter? How can you ask me such
a question? Why? Who will tell me anything about you? Besides,

(04:41:17):
I wouldn't believe anyone I would refuse to listen. I've
come to reassure you that I've always loved you, and
I am glad that we are alone, even glad Dounia
is out. He went on, with the same impulse. I
have come to tell you that though you will be unhappy,
you must believe that your son loves you now more
than himself, and that everything you thought about me, that

(04:41:40):
I was cruel and didn't care about you, was all
a mistake. I shall never stop loving you. Well, that's enough,
I thought, I must do this and start with this.
Pulcheria Alexandrovna embraced him in silence, pressing him to her
bosom and weeping. Jeni, I don't know what is wrong

(04:42:03):
with you, Rodia, she said at last. I've been thinking
all this time that we were simply boring you, and
now I see that there is great sorrow in store
for you, and that's why you are miserable. I've seen
it coming for a long time, Rodia, forgive me for
speaking about it. I keep thinking about it and lie

(04:42:25):
awake at nights. Your sister lay talking in her sleep
all last night, talking of nothing but you. I caught something,
but I couldn't make it out. I felt all morning
as though I were going to be hanged, waiting for something,
expecting something, and now it has come, Radia, Radia, where

(04:42:47):
are you going? You are going away somewhere. Yes, that's
what I thought. I can come with you, you know,
if you need me. And Dounia too. She loves you.
She loves you dearly, and Sophia Semyonovna may come with
us if you like. You see, I am glad to

(04:43:10):
look upon her as a daughter. Even Dmitri Prokofik will
help us to go together. But where are you going? Goodbye? Mother?
What today? She cried, as though she were losing him forever.

(04:43:31):
I can't stay. I must go now, and can't I
come with you? No, but kneel down and pray to
God for me. Your prayer perhaps will reach him. Let
me bless you and sign you with the cross. That's right,
that's right, Oh God, what are we doing? Yes, he

(04:43:57):
was glad. He was very glad that there was there's
no one there, that he was alone with his mother
for the first time after all those awful months. His
heart was softened. He fell down in front of her.
He kissed her feet, and both of them wept, embracing,
and she was not surprised and did not question him

(04:44:18):
this time. For some days she had realized that something
awful was happening to her son, and that now some
terrible moment had come for him. Rodia, my darling, my firstborn,
she said, sobbing. Now you are just as when you
were little. You would run like this to me and
hug me and kiss me. When your father was alive

(04:44:42):
and we were poor, you comforted us simply by being
with us. And when I buried your father, how often
we wept together it as grave and embraced as now.
And if I've been crying recently. It's because my mother's
heart has had a foreboding of trouble the first this
time I saw you that evening, you remember, as soon

(04:45:03):
as we arrived here, I guessed it just from your eyes.
My heart sank at once. And today, when I opened
the door and looked at you, I thought the fatal
hour had come. Radia, Radia, you are not going away today. No,
you'll come again. Yes, I'll come, Radia, don't be angry.

(04:45:30):
I don't dare question you. I know I mustn't. Just
tell me is it far? Where you are going? Very far?
What is awaiting you? There? Some post or career for you?
What God sends? Just pray for me. Raskolnikov went to

(04:45:53):
the door, but she clutched him and gazed despairingly into
his eyes. Her face was gripped with terror. Enough, mother,
said Raskolnikov, deeply, regretting that he had come. Not forever,
it's not yet forever. You'll come. You'll come tomorrow, I will,

(04:46:16):
I will. Goodbye. He tore himself away. At last, it
was a warm, fresh, bright evening. It had cleared up
in the morning. Raskolnikov went to his lodgings. He made haste.
He wanted to finish everything before sunset. He did not

(04:46:37):
want to meet anyone until then. Going up the stairs,
he noticed that Nastasia rushed from the samovar to watch
him intently. Can anyone have come to see me, he wondered.
He had a disgusted vision of Porphyry, But opening his
door he saw Dounia. She was sitting alone, plunged in

(04:47:01):
deep thought, and looked as though she had been waiting
a long time. He stopped short in the doorway. She
rose from the sofa in dismay and stood up facing him.
Her eyes fixed upon him, betrayed horror and infinite grief.
And from those eyes alone he saw at once that

(04:47:21):
she knew. Should I come in or go away? He
asked uncertainly. I've been all day with Sophia Semyonovna. We
were both waiting for you. We thought that you would
be sure to come here. Raskolnikov went into the room

(04:47:42):
and sank exhausted on a chair. I feel weak, Dounia.
I am very tired, and I would have liked it
this moment to be able to control myself. He glanced
at her, mistrustfully. Where were you all night? I don't
remember clearly, you see, sister, I wanted to make up

(04:48:05):
my mind once and for all, and several times I
walked by the Neva. I remember that I wanted to
end it all there, but I couldn't make up my mind.
He whispered, looking at her mistrustfully. Again, thank god, that
was just what we were afraid of, Sophia Semyonovna and I.

(04:48:27):
Then you still have faith in life, thank God, Thank god.
Raskolnikov smiled bitterly. I haven't any faith, but I have
just been weeping in our mother's arms. I haven't any faith,
but I have just asked her to pray for me.
I don't know how it is, Dounia. I don't understand it.

(04:48:52):
Have you been to see her? Have you told her?
Cried Dounia, horror stricken. Surely you haven't done that. No.
I didn't tell her in words. But she understood a
great deal. She heard you talking in your sleep. I
am sure she half understands it already. Perhaps I was

(04:49:16):
wrong to go and see her. I don't know why
I did go. I am a contemptible person, Dounia, a
contemptible person, but ready to face suffering. You are, aren't you? Yes,
I am going at once, yes, to escape the disgrace.

(04:49:40):
I thought of drowning myself, Dounia. But as I looked
into the water, I thought that if I had considered
myself strong until now, I'd better not be afraid of disgrace,
he said, hurrying on. It's pride, Dounia, Pride, Rodia. There
was a gleam of fire in his lustreless eyes. He

(04:50:02):
seemed to be glad to think that he was still proud.
You don't think, sister, that I was simply afraid of
the water, he asked, looking into her face with a
sinister smile. Oh, Rodia, Hush, cried Dounia. Bitterly. Silence lasted
for two minutes. He sat with his eyes fixed on

(04:50:25):
the floor. Dounia stood at the other end of the
table and looked at him with anguish. Suddenly, he got up.
It's late, it's time to go. I am going at
once to give myself up, but I don't know why
I am going to give myself up. Big tears fell

(04:50:46):
down her cheeks. You are crying, sister, But can you
hold out your hand to me? You doubted it. She
threw her arms round him. Aren't you half atoning for
your crime by facing this suffering, she cried, holding him
close and kissing him. Crime? What crime? He cried, in

(04:51:11):
sudden fury, that I killed a vile, noxious insect, an
old pawnbroker, woman of no use to anyone. Killing her
was an atonement for forty sins. She was sucking the
life out of poor people. Was that a crime? I
am not thinking of it, and I am not thinking

(04:51:33):
of atoning for it. And why are you all rubbing
it in on all sides? A crime? A crime? Only
now I see clearly the imbecility of my cowardice, now
that I have decided to face this superfluous disgrace. It's
simply because I am contemptible and have nothing in me

(04:51:54):
that I have decided to perhaps too for my advantage,
as that suggested. Rawdia, Radia, What are you saying? You
have shed blood? Cried Dounia in despair, which all men shed,
he put in, almost frantically, which flows and has always

(04:52:16):
flowed in streams, which is spilt like Champagne, and for
which men are crowned in the Capital seventy three, and
are later called benefactors of mankind look into it more
carefully and understand it. I too, wanted to do good
and would have done hundreds thousands of good deeds to
make up for that one piece of stupidity, not stupidity,

(04:52:38):
even simply clumsiness, for the idea was, by no means
as stupid as it seems now that it has failed.
Everything seems stupid when it fails. By that stupidity, I
only wanted to put myself into an independent position to
take the first step to obtain means, and then everything
would have been smoothed over by benefits immeasurable in comparison.

(04:53:02):
But I I couldn't carry out even the first step
because I am contemptible, That's what's the matter. And yet
I won't look at it as you do. If I
had succeeded, I would have been crowned with glory. But
now I'm trapped. But that's not so, not so, Rodia.

(04:53:25):
What are you saying, Ah, it's not picturesque, not esthetically attractive.
I failed to understand why bombarding people by regular siege
is more honorable. The fear of appearances is the first
symptom of impotence. I've never never recognized this more clearly

(04:53:46):
than now, And I am further than ever from seeing
that what I did was a crime. I've never never
been stronger and more convinced than now. The color had
rushed into his pale, exhaust rusted face. But as he
uttered his last explanation, he happened to meet Dounia's eyes,
and he saw such anguish in them that he could

(04:54:07):
not help being checked. He felt that he had any
way made these two poor women miserable, that he was,
in any case the cause, Junia Darling. If I am guilty,
forgive me, though I cannot be forgiven. If I am guilty, goodbye.
We won't argue. It's time, high time for me to go.

(04:54:32):
Don't follow me. I have somewhere else to visit. But
you go at once and sit with mother. I beg you.
It's my last request of you. Don't leave her at all.
I left her in a state of anxiety that she
is not fit to bear. She will die or go
out of her mind. Be with her. Razumikin will be

(04:54:56):
with you. I've been talking to him. Don't cry about me.
I'll try to be honest and manly all my life,
even if I am a murderer. Perhaps I shall someday
make a name for myself. I won't disgrace you. You'll
see I'll still show Now. Goodbye for the present, he concluded, hurriedly,

(04:55:20):
noticing again a strange expression in Junia's eyes at his
last words and promises, why are you crying? Don't cry?
Don't cry. We are not parting forever. Ah. Yes, wait
a minute, I've forgotten. He went to the table, took

(04:55:43):
up a thick, dusty book, opened it, and took from
between the pages a little watercolor portrait on Ivory. It
was the portrait of his landlady's daughter who had died
of fever, that strange girl who had wanted to be
a nun for a minute, he gave at the delicate,
expressive face of his fiance, kissed the portrait, and gave

(04:56:04):
it to Dounia. I used to talk a great deal
about it to her. Only to her, he said, thoughtfully,
to her heart, I confided much of what has since
been so hideously realized. Don't be uneasy. He returned to Dounia.
She was as much opposed to it as you, and
I am glad that she is gone. The great point

(04:56:28):
is that everything now is going to be different? Is
going to be broken in two? He cried, suddenly returning
to his dejection. Everything everything, And am I prepared for it?
Do I want it myself? They say it is necessary
for me to suffer? What's the object of these senseless sufferings?

(04:56:52):
Shall I know any better? What they are for? When
I am crushed by hardships and idiocy and weak as
an old man after twenty years penal servitude, And what
shall I have to live for? Then? Why am I
consenting to that life? Now? Oh? I knew I was
contemptible when I stood looking at the Neva at daybreak. Today,

(04:57:15):
at last, they both went out. It was hard for Dounia,
but she loved him. She walked away, but after going
fifty paces, she turned round to look at him again.
He was still in sight at the corner. He too
turned in for the last time. Their eyes met, but
noticing that she was looking at him, he motioned her

(04:57:38):
away with impatience and even vexation, and turned the corner abruptly.
I am wicked, I see that, he thought to himself,
feeling ashamed A moment later of his angry gesture to Dounia.
But why are they so fond of me if I
don't deserve it. Oh, if only I were alone and

(04:57:58):
no one loved me, and I too, who had never
loved anyone, none of this would have happened. But I wonder,
shall I, in those fifteen or twenty years, grow so
meek that I shall humble myself before people and whimper
at every word that I am a criminal? Yes, that's it,
that's it, that's what they are sending me there for

(04:58:20):
that's what they want. Look at them running to and
fro about the streets, every one of them, a scoundrel
and a criminal. At heartend were still an idiot. But
try to get me off and they'd be wild with
righteous indignation. Oh how I hate them all. He start

(04:58:40):
imagining the process which would accomplish it, that he could
be humbled before all of them, indiscriminally humbled by conviction.
And yet why not? It must be so? Would not
twenty years of continual servitude crush him utterly? Water wears

(04:59:00):
out a stone? And why why should he live after that?
Why should he go? Now? When he knew that it
would be so? It was the hundredth time, perhaps that
he had asked himself that question since the previous evening,
but still he went chapter eight. When he entered Sonya's room,

(04:59:24):
it was already getting dark all day. Sonya had been
waiting for him in terrible anxiety. Dounia had been waiting
with her. She had come to her that morning, remembering
the words of Spidragalov's which Sonya knew. We will not
describe the conversation and the tears of the two girls,

(04:59:46):
and how friendly they became. Dounia gained one comfort, at
least from that interview that her brother would not be alone.
He had gone to her Sonya first with his confession.
He had gone to her for human companionship when he
needed it. She would go with him wherever fate might
send him. Dounia did not ask, but she knew it

(05:00:10):
was true. She looked at Sonya almost with reverence, and
at first almost embarrassed her by it. Sonya was almost
on the point of tears. She felt herself, on the contrary,
hardly worthy to look at Dounia. Dounia's gracious image when
she had bowed to her so attentively and respectfully at

(05:00:32):
their first meeting in Raskolnikov's room, had remained in her
mind as one of the most beautiful visions of her life.
Dounia at last became impatient, and leaving Sonya went to
her brother's room to wait for him. There, she kept
thinking that he would come there first. When she had gone,
Sonya began to be tortured by her dread that he

(05:00:54):
would commit suicide, and Dounia feared it too. But they
had spent the day trying to persuade each other that
that could not happen, and both were less anxious while
they were together. As soon as they parted, each thought
of nothing else. Sonya remembered how Svidrigailov had said to
her the day before that Raskolnikov had two alternatives, Siberia

(05:01:19):
or Besides. She knew his vanity, his pride, and his
lack of faith. Is it possible that he has nothing
but cowardice and fear of death to make him live,
she thought, at last, in despair. Meanwhile, the sun was setting.
Sonya was standing in dejection, looking intently out of the window,

(05:01:42):
but from it she could see nothing but the unwhitewashed
blank wall of the next house. At last, when she
began to feel sure that he was dead, he walked
into the room. She gave a cry of joy, but
looking carefully into his face, she turned pale yes, said Raskolnikov, smiling,

(05:02:04):
I have come for your cross Sonya. It was you
who told me to go to the crossroads. Why is
it you are frightened now it's come to that. Sonya
gazed at him, astonished. His tone seemed strange to her.
A cold shiver ran over her, but in a moment
she guessed that the tone and the words were a mask.

(05:02:27):
He spoke to her, looking away, as though to avoid
meeting her eyes. You see, Sonya, I've decided that it
will be better. So there is one fact. But it's
a long story and there's no need to discuss it.
But do you know what angers me? It annoys me

(05:02:49):
that all those stupid, brutish faces will be gaping at me,
directly pestering me with their stupid questions which I shall
have to answer. They'll point their fingers at me. Ah,
you know, I am not going to Porphyry. I am
sick of him. I'd rather go to my friend, the
explosive Lieutenant. How I shall surprise him, What a sensation

(05:03:11):
I shall make. But I must be cooler. I've become
too irritable recently. You know. I was nearly shaking my
fist at my sister just now, because she turned to
take a last look at me. It's a brutal state
to be in. Ah, what am I coming to? Well?

(05:03:33):
Where are the crosses? He seemed hardly to know what
he was doing. He could not stay still or concentrate
on anything. His ideas seemed to gallop after one another.
He talked incoherently, his hands trembled slightly without a word.
Sonia took out of the drawer to crosses, one of

(05:03:55):
cyprus wood and one of copper. She made the sign
of the cross over herself and over him, and put
the wooden cross on his neck. It's the symbol of
my taking up the cross, he laughed, as though I
had not suffered much until now. The wooden cross that

(05:04:15):
is the peasant one. The copper one that is Lizaveta's.
You will wear it yourself, show me so she had
it on at that moment. I remember two things like these,
two a silver one and a little icon. I threw
them back on the old woman's neck. Those would be

(05:04:36):
appropriate now, really, those are what I ought to put
on now. But I'm talking nonsense and forgetting what matters.
I'm forgetful somehow, you see. I have come to warn you, Sonia,
so you might know that's all. That's all I came for.
But I thought I had more to say. You wanted

(05:04:59):
me to go yourself. Well, now I'm going to prison
and you'll have your wish. Well what are you crying for?
You too? Don't leave off? Oh how I hate it all.
But his feeling was stirred. His heart ached as he

(05:05:21):
looked at her. Why is she grieving too? He thought
to himself. What am I to her? Why does she weep?
Why is she looking after me? Like my mother or Dounia?
She'll be my nurse. Cross yourself, say at least one prayer,

(05:05:42):
Sonya begged in a timid, broken voice. Oh, certainly, as
much as you like, and sincerely, Sonya, sincerely, But he
wanted to say something quite different. He crossed himself several times.
Sonya took up her shawl and put it over her head.

(05:06:06):
It was the green Draftie Dame shawl, which Marmeladov had
talked about the family shawl. Raskolnikov thought of that looking
at it, but he did not ask. He began to
feel himself that he was certainly forgetting things, and was
disgustingly agitated. He was frightened at this. He was suddenly

(05:06:29):
struck too by the thought that Sonya intended to go
with him. What are you doing? Where are you going?
Stay here? Stay, I'll go alone, he cried, in cowardly
vexation and almost resentful. He moved towards the door. What's

(05:06:50):
the use of going in procession, he muttered, going out.
Sonya remained standing in the middle of the room. He
had not even said goodbye to her. He had forgotten her.
A poignant and rebellious doubt surged in his heart. Was
it right? Was it right? All this? He thought again,

(05:07:12):
as he went down the stairs. Couldn't he stop and
retract it all and not go? But still he went.
He felt suddenly once for all, that he mustn't ask
himself questions. As he turned into the street, he remembered
that he had not said good bye to Sonya, that
he had left her in the middle of the room

(05:07:34):
in her green shawl, not daring to stir after he
had shouted at her, and he stopped short for a
moment at the same instant, another thought dawned upon him,
as though it had been lying in wait to strike him.
Then why with what object did I go to her
just now? I told her on business? On what business?

(05:07:57):
I had no sort of business to tell her I
was going? But where was the need? Do I love her? No? No,
I drove her away just now like a dog. Did
I want her crosses? Oh hollow I've sunk. No. I

(05:08:18):
wanted her tears. I wanted to see her terror, to
see how her heart ached. I had to have something
to cling to, something to delay me, some friendly face
to see. And I dared to believe in myself to
dream of what I would do. I am a beggarly
contemptible wretch. Contemptible. He walked along the canal bank. He

(05:08:42):
had not much further to go, but on reaching the bridge,
he stopped, and, turning out of his way along it
went to the Haymarket. He looked eagerly to right and left,
gazed intently at every object, and could not fix his
attention on anything. Everything away. In another week, another month,

(05:09:03):
I shall be driven in a prison van over this bridge.
How shall I look at the canal?

Speaker 2 (05:09:08):
Then?

Speaker 1 (05:09:10):
I should like to remember this slipped into his mind.
Look at this sign? How shall I read those letters?

Speaker 2 (05:09:18):
Then?

Speaker 1 (05:09:20):
It's written your company. That's a thing to remember that
letter A and to look at it again in a month.
How shall I look at it then? What shall I
be feeling in thinking? Then? How trivial all of it
must be? What I am worrying about now? Of course
it must all be interesting in its way? Ah? What

(05:09:44):
am I thinking about? I am becoming a baby. I
am showing off to myself. Why am I ashamed? Fo
How people shove that fat man? A German? He must
be who pushed against me? Does he know who he pushed?
There's a peasant woman with a baby begging. It's curious

(05:10:07):
that she thinks I am happier than she is. I
might give her something, if only because it'd be so
out of place. Here's a five kopek piece left in
my pocket. Where did I get it? Here? Here? Take it,
my dear God, bless you, the beggar chanted in a

(05:10:28):
tearful voice. He went into the haymarket. It was distasteful,
very distasteful to be in a crowd, But he walked
just where he saw the most people. He would have
given anything in the world to be alone, but he
knew himself that he would not have remained alone. For
a moment. There was a man, drunken disorderly in the crowd.

(05:10:52):
He kept trying to dance and falling down. There was
a ring round him. Raskolnikov squeezed his way through the crowd,
stared for some minutes at the drunken man, and suddenly
gave a short, jerky laugh. A minute later he had
forgotten him and did not see him, though he still stared.

(05:11:13):
He moved away at last, not remembering where he was.
But when he got into the middle of the square,
in emotion suddenly came over him, overwhelming him body and mind.
He suddenly recalled Sonia's words, go to the crossroads, bow
down to the people, kiss the earth, for you have
sinned against it too, and say aloud to the whole world,

(05:11:35):
I am a murderer. He trembled, remembering that, and the
hopeless misery and anxiety of all that time, especially of
the last few hours, had weighed so heavily upon him
that he clutched passionately at the chance of this new
one mixed complete sensation. It came over him like a fit.

(05:11:56):
It was like a single spark kindled in his soul
and spreading fire through him. Everything in him softened at once,
and the tears started into his eyes. He fell to
the earth on the spot. He knelt down in the
middle of the square, bowed down to the earth, and
kissed the filthy earth with bliss and rapture. He got

(05:12:19):
up and bowed down a second time. He smashed a
youth near him observed there was a roar of laughter.
He's going to Jerusalem, brothers, and saying goodbye to his
children and his country. He's bowing down to the whole
world and kissing the great city of Saint Petersburg and

(05:12:41):
its pavement. Added a workman who was a little drunk.
Quite a young man too, observed. A third and a gentleman.
Someone observed soberly, there's no knowing who's a gentleman and
who isn't. Nowadays. These exclamations and remarks checked Raskalnikov, and

(05:13:04):
the words I am a murderer, which were perhaps on
the point of dropping from his lips, died away. He
bore these remarks quietly, however, and without looking round, he
turned down a street leading to the police office. He
had a glimpse of something on the way, which did
not surprise him. He had felt that it must be so.

(05:13:26):
The second time he bowed down in the haymarket, he
saw Sonya standing fifty paces from him on the left.
She was hiding from him behind one of the wooden
shanties in the market place. She had followed him then
on his painful way. Raskalikov at that moment felt a
new once for all, that Sonya was with him forever

(05:13:48):
and would follow him to the ends of the earth,
wherever fate might take him. It wrung his heart, but
he was just reaching the fatal place. He went into
the yard fairly resolutely. He had to go up to
the third floor. I shall be some time going up,
he thought. He felt as though the fateful moment was

(05:14:12):
still far away, as though he had plenty of time
left for consideration. Again the same rubbish, the same bank
shells lying about on the spiral staircase. Again the open
doors of the apartments. Again, the same kitchens, and the
same fumes and stench coming from them. Raskolnikov had not

(05:14:32):
been here since that day. His legs were numb and
gave way under him, but still they moved forward. He
stopped for a moment to take a breath, to collect
himself in order to go in like a man. But
why what for? He wondered, reflecting, if I must drink

(05:14:54):
the cup, what difference does it make? The more revolting,
the better. He imagined for an instant the figure of
the explosive Lieutenant Iliya Petrovitch. Was he actually going to him?
Couldn't he go to someone else, to Nikodim Fomitch. Couldn't

(05:15:16):
he turn back and go straight to Nikodim Fomitch's rooms
At least then it would be done privately. No, no,
to the explosive lieutenant. If he must drink it, drink
it off at once. Turning cold and hardly conscious, he

(05:15:37):
opened the door of the office. There were very few
people in it this time, just a house porter and
a peasant. The doorkeeper did not even peep out from
behind his screen. Raskolnikov walked into the next room. Perhaps
even now I don't have to speak, pass through his mind.

(05:15:59):
Some sort of clerk who was not in a uniform,
was settling himself at a bureau to write In a corner.
Another clerk was seating himself Zeytov wasn't there, nor, of
course Nikodimfamich, no one in, Raskolnikov asked, addressing the person

(05:16:21):
at the bureau, who do you want? A ah? Not
a sound was heard, not a sight was seen, but
I sensed the Russian. How does it go in the
fairy tale? I've forgotten? At your service, A familiar voice cried. Suddenly,

(05:16:44):
Raskolnikov shuddered. The explosive lieutenant stood before him. He had
just come in from the third room. It's the hand
of fate, thought Raskolnikov. Why is he here? You've come
to see us? What about? Cried Ilya Petrovitch. He was

(05:17:08):
obviously in an extremely good mood and perhaps a little exhilarated.
If it's on business, you are rather early point seventy four.
I'm only here by chance. However, I'll do what I can.
I must admit I what is it? What is it?
Excuse me, Raskolnikov. Of course, Raskolnikov, you didn't imagine I'd forgotten.

(05:17:37):
Don't think I am like that. Rod Ion ro Rodiyanovitch.
That's it, isn't it, rod Ion Romanovitch, Yes, yes, of course,
rod Ion Romanovitch. I was just getting at it. I
made many inquiries about you. I assure you I've been

(05:18:01):
genuinely grieved since that since I behave like that. It
was explained to me afterwards that you are a literary
man and a learned one too, and so to say
the first steps mercy on us. What literary or scientific
man does not begin his career with some originality of conduct.

(05:18:22):
My wife and I have the greatest respect for literature.
In my wife, it's a genuine passion literature and art.
If only a man is a gentleman, all the rest
can be gained by talents, learning, good sense, genius. As
for a hat, well, what does a hat matter? I

(05:18:44):
can buy a hat as easily as I can abund
but what's under the hat, what the hat covers? I
can't buy that. I was even meaning to come and
apologize to you, but thought may be you'd but I
am forgetting to ask you. Is there anything you want? Really?
I hear your family have come. Yes, my mother and sister.

(05:19:09):
I've even had the honor and happiness of meeting your sister,
a highly cultivated and charming person. I confess I was
sorry I got so hot and bothered with you there
it is. But as for my looking suspiciously at your
fainting fit, that's been cleared up splendidly bigotry and fanaticism.

(05:19:33):
I understand your indignation. Perhaps you're changing your lodging because
your family's arrived. No, I only looked in. I came
to ask. I thought that I might find Zametov here. Oh, yes,

(05:19:53):
of course you've made friends. I heard. Well, No, Zametov
is not here. Yes, we've lost seem Tov. He's not
been here since yesterday. He quarreled with everyone when he
left in the rudest way. He is a feather headed youngster,
that's all. You might have expected something from him, but

(05:20:16):
there you know what they are are brilliant young men.
He wanted to go in for some examination, but it's
only to talk and boast about it. It'll go no
further than that. Of course, it's a very different matter
with you or mister razumikin there, your friend. Your career
is an intellectual one, and you won't be deterred by failure.

(05:20:40):
For you, one may say, all the attractions of life
nigh Hills, s. Seventy five, You are an ascetic, a monk,
a hermit, a book, a pen behind your ear, a
learned researcher. That's where your spirit sores. I am the
same way myself. Have you I've read Livingstones Travels seventy six. No, oh,

(05:21:07):
I have. There are a great many nihilists about nowadays,
you know, though, it's nothing to be surprised at. What
sort of days are they? I ask you? But we
thought you are not a nihilist. Of course, answer me openly, openly,

(05:21:29):
and no, believe me. You can speak as openly to
me as you would to yourself. Official duty is one thing,
but you are thinking I meant to say, friendship is
quite another. No, you're wrong. It's not friendship but the

(05:21:49):
feeling of a man and a citizen, the feeling of
humanity and of love for the almighty. I may be
an official, but I am always bound to feel myself
a man and a citizen. You were asking about Zaytov.
Zaymtov will make a scandal in the French style, in
a house of bad reputation over a glass of champagne.

(05:22:12):
That's all your Zayintov is good for. While I'm, perhaps,
so to speak, burning with devotion and lofty feelings and Besides,
I have rank consequence a post. I am married and
have children. I fulfill the duties of a man and
a citizen. But who is he? May I ask? I

(05:22:32):
appeal to you as a man in obled by education.
Then these midwives too have become extraordinarily numerous. Raskolnikov raised
his eyebrows inquiringly. The words of Ilya Petrovitch, who had
obviously just been out for dinner, were for the most

(05:22:52):
part a stream of empty sounds for him. But some
of them he understood. He looked at him inquiringly, not
knowing how it would end. I mean those crop headed wenches,
the talkative Ilya Petrovitch continued. Midwise is my name for them.

(05:23:13):
I think it's a very satisfactory one. They go to
the academy study anatomy. If I fall ill, should I
send for a young lady to treat me? What do
you say, ah, Ilya Petrovitch laughed, quite pleased with his

(05:23:34):
own wit. It's a ravenous passion for education. But once
you're educated, that's enough. Why abuse it? Why insult honorable
people like that scoundrel Zemtov does? Why did he insult me?
I ask you, look at these suicides too, How common

(05:23:56):
they are. You can't imagine been their last kopek and
killed themselves, boys and girls and old people. Only this
morning we heard about a gentleman who had just come
to town. Nil Pavlich, I say, what was the name
of that man who shot himself? Svidrigailov? Someone answered from

(05:24:19):
the other room, with drowsy listlessness. Raskolnikov started, Svidrigailov. Svidrigailov
has shot himself. He cried, what do you know, Svidrigailov. Yes,
I knew him. He hadn't been here long. Yes, that's true.

(05:24:46):
He had lost his wife, was a man of reckless habits,
and all of a sudden shot himself, and in such
a shocking way. He left in his notebook a few
words that he died in full possession of his faculties,
and that no one is to blame for his death.
He had money. They say, how did you come to

(05:25:07):
know him? I was acquainted. My sister was a governess
in his family. Bah bah bah. Then no doubt you
can tell us something about him. You had no suspicion.
I saw him yesterday. He was drinking wine. I knew

(05:25:27):
nothing Raskolnikov felt as though something had fallen on him
and was stifling him. You've turned pale again. It's so
stuffy here. Yes, I must go, muttered Raskolnikov. Excuse me
for troubling you, Oh, not at all, as often as

(05:25:52):
you like. It's a pleasure to see you, and I
am glad to say so. Ilo Petrovitch held out his hand.
I only wanted I came to see Zemtov. I understand,
I understand, and it's a pleasure to see you. I

(05:26:13):
am very glad of goodbye, Raskolnikov smiled. He went out.
He reeled. He was overcome with dizziness and did not
know what he was doing. He began going down the stairs,
supporting himself with his right hand against the wall. He
fancied that a porter pushed past him on his way

(05:26:34):
upstairs to the police office, that a dog in the
lower floor kept up a shrill barking, and that a
woman flung a rolling pin at it and shouted. He
went down and out into the yard. There, not far
from the entrance, stood Sonya, pale and horror stricken. She
looked wildly at him. He stood still before her. There

(05:26:59):
was a look of poignant agony of despair in her face.
She clasped her hands. His lips were contorted into an ugly,
meaningless smile. He stood still a minute, grinned, and went
back to the police office. Ilya Petrovitch had sat down

(05:27:19):
and was rummaging among some papers. Before him stood the
same peasant who had pushed by on the stairs. Hello,
back again, have you left something behind? What's the matter. Raskolnikov,

(05:27:40):
with white lips and staring eyes, came slowly nearer. He
walked right up to the table, leaned his hand on it,
tried to say something, but could not. Only incoherent sounds
were audible. You are feeling ill, a chair here, Sit down,

(05:28:00):
some water. Raskolnikov dropped onto a chair, but he kept
his eyes fixed on the face of Ilya Petrovitch, which
expressed unpleasant surprise. Both looked at one another for a
minute and waited. Water was brought. It was I, began Raskolnikov.

(05:28:22):
Drink some water. Raskolnikov refused the water with his hand
and softly and brokenly but distinctly, said, it was I
who killed the old pawnbroker woman and her sister. Lizaveta
with an axe and robbed them. Iliya Petrovitch opened his mouth,

(05:28:43):
people ran up on all sides. Raskolnikov repeated his statement Apologue,
Chapter one. Siberia. On the banks of a broad Celadon
Terry River, stands a town, one of the administrative centers
of Russia. In the town there is a fortress, and

(05:29:06):
in the fortress there is a prison. In the prison,
the second class seventy seven convict Rotaion Raskolnikov has been
confined for nine months. Almost a year and a half
has passed since his crime. There had been little difficulty
about his trial. The criminal adhered exactly, firmly and clearly

(05:29:30):
to his statement. He did not confuse or misrepresent the facts,
or soften them in his own interest, or omit the
smallest detail. He explained every incident of the murder, the
secret of the pledge, the piece of wood with a
strip of metal which was found in the murdered woman's hand.

(05:29:52):
He described minutely how he had taken her keys, what
they were like, as well as the chest in its contents.
He explained the mistre of Lizaveta's murder, described how coke
and after him the student knocked and repeated all they
had said to one another. How afterwards he had run
downstairs and heard Nikolay and Dmitri shouting, how he had

(05:30:12):
hidden in the empty apartment and afterwards gone home. He
finished by indicating the stone in the yard off the
Voznassensky prospect, under which the purse and the trinkets were found.
The whole thing, in fact, was perfectly clear. The lawyers
and the judges were very much struck, amongst other things,

(05:30:34):
by the fact that he had hidden the trinkets and
the purse under a stone without making use of them,
and that, what was more, he did not now remember
what the trinkets were like, or even how many there were.
The fact that he had never opened the purse and
did not even know how much was in it seemed incredible.

(05:30:54):
It turned out to hold three hundred and seventeen roubles
and sixty kopeks. Because it had been lying under the
stone for so long, some of the most valuable notes
had suffered from the damp. They spent a long while
trying to discover why the accused man should tell a
lie about this when he had made a truthful and
straightforward confession about everything else. Finally, some of the lawyers

(05:31:20):
more versed in psychology admitted that it was possible he
had really not looked into the purse and so didn't
know what was in it when he hid it under
the stone. But they immediately deduced that the crime could
only have been committed through temporary mental derangement, through homicidal mania,
without any purpose or pursuit of gain. This fell in

(05:31:42):
with the most recent fashionable theory of temporary insanity, so
often applied nowadays in criminal cases. Moreover, Raskolnikov's hypochondriac condition
was proved by many witnesses, by doctor Zosimov, his former
fellow students, his his landlady, and her servant. All this

(05:32:03):
pointed strongly to the conclusion that Raskolnikov was not quite
like an ordinary murderer and robber, but that there was
another element in the case. To the intense annoyance of
those who maintained this opinion, the criminal scarcely attempted to
defend himself to the decisive question as to what motive

(05:32:25):
impelled him to the murder and the robbery, He answered,
very clearly, with the coarsest frankness, that the cause was
his miserable position, his poverty and helplessness, and his desire
to provide for his first steps in life by the
help of the three thousand roubles he had reckoned. On
finding he had been led to the murder through his
shallow and cowardly nature, exasperated moreover by poverty and failure.

(05:32:51):
To the question what led him to confess, he answered
that it was his heartfelt repentance. All this was almost coarse.
The sentence, however, was more merciful than could have been expected,
perhaps partly because the criminal had not tried to justify himself,
but had rather shown a desire to exaggerate his guilt.

(05:33:14):
All the strange and peculiar circumstances of the crime were
taken into consideration, there could be no doubt of the
abnormal and poverty stricken condition of the criminal at the time.
The fact that he had made no use of what
he had stolen was put down partly to the effect
of remorse, partly to his abnormal mental state at the

(05:33:36):
time of the crime. Incidentally, the murder of Lizavetas served
in fact to confirm the last hypothesis. A man commits
two murders and forgets that the door is open. Finally,
the confession at the very moment when the case was
hopelessly muddled by the false evidence given by Nikolai through

(05:33:56):
melancholy and fanaticism, and when moreover there were no proofs
against the real criminal, no suspicions. Even porfry Petrovitch fully
kept his word. All this did much to soften the sentence.
Other circumstances, too, in the prisoner's favor, came out quite unexpectedly.

(05:34:17):
Razumikin somehow discovered in proof that while Raskolnikov was at
the university, he had helped a poor, consumptive fellow student
and had spent his last penny on supporting him for
six months. And when this student died, leaving a decrepit
old father whom he had maintained almost from his thirteenth year,
Raskolnikov had got the old man into a hospital and

(05:34:38):
paid for his funeral when he died. Raskolnikov's landlady bore
witness too that when they had lived in another house
at five Corners, Raskolnikov had rescued two little children from
a house on fire and was burnt in doing so.
This was investigated and fairly well confirmed by many witnesses.

(05:35:00):
These facts made an impression in his favor, and in
the end the criminal was, in consideration of extenuating circumstances,
condemned to penal servitude in the second class for a
term of eight years. Only. At the very beginning of
the trial, Raskolnikov's mother fell ill. Dounia and Razumikin found

(05:35:23):
it possible to get her out of Petersburg during the trial.
Razumikin chose a town on the railway not far from
Petersburg so as to be able to follow every step
of the trial and at the same time to see
Avdosha Romanovna as often as possible. Pulcheria Alexandrovna's illness was

(05:35:43):
a strange, nervous one and was accompanied by a partial
derangement of her intellect. When Dounia returned from her last
interview with her brother, she had found her mother already
ill in feverish delirium. That evening, Razumikhin and she agreed
what answers they must make to her mother's questions about Raskolnikov,

(05:36:05):
and made up a complete story for her mother's benefit
that he had to go away to a distant part
of Russia on a business commission, which would eventually bring
him money in renown. But they were struck by the
fact that Pulcheria Alexandrovna never asked them anything on the subject,
neither then nor thereafter. On the contrary, she had her

(05:36:27):
own version of her son's sudden departure. She told them,
with tears, how he had come to say goodbye to her,
hinting that she alone knew many mysterious and important facts,
and that Radiya had many very powerful enemies, so that
it was necessary for him to be in hiding. As
for his future career, she had no doubt that it

(05:36:47):
would be brilliant when certain sinister influences could be removed.
She assured Razumikin that her son would one day be
a great statesman, that his article in Brilliant Literary tek
Talent proved it. She read this article continually, she even
read it aloud, almost took it to bed with her,

(05:37:08):
but scarcely asked where Radia was. Though the subject was
obviously avoided by the others, which might have been enough
to awaken her suspicions. They began to be frightened. At last,
at Pulcheria Alexandrovna's strange silence on certain subjects. She did not,
for instance, complain that she never received any letters from him,

(05:37:30):
though when previous years she had lived solely on the
hope of letters from her beloved Radia. This was a
cause of great uneasiness to Dounia. The idea occurred to
her that her mother suspected that there was something terrible
in her son's fate and was afraid to ask for
fear of hearing something still more awful. In any case,

(05:37:52):
Dounia saw clearly that her mother was not in full
possession of her faculties. Once or twice, however, Pulcheria Alexandrovna
gave such a turn to the conversation that it was
impossible to answer her without mentioning where Radilla was, and
on receiving unsatisfactory and suspicious answers, she immediately became gloomy

(05:38:13):
and silent. Such moods would last for a long time.
Dounia saw at last that it was hard to deceive
her and came to the conclusion that it was better
to be absolutely silent on certain points. But it became
more and more evident that the poor mother suspected something terrible.
Dounia remembered her brother telling her that her mother had

(05:38:36):
overheard her talking in her sleep on the night after
her interview with Sigrigailvin, before the fatal day of the confession.
Had she not understood something from that Sometimes days and
even weeks of gloomy silence and tears would be followed
by a period of hysterical animation, and the invalid would
begin to talk almost incessantly, of her son, of her

(05:38:58):
hopes of his future. Her ideas were sometimes very strange.
They humored her, pretended to agree with her. She saw,
perhaps that they were pretending, but she still went on talking.
Five months after Raskolnikov's confession, he was sentenced. Razumikin and

(05:39:19):
Sonia saw him in prison as often as possible. At last,
the moment of separation came. Dounia swore to her brother
that the separation should not be forever. Razumikin did the same. Razumikin,
in his youthful ardor, had firmly resolved to lay the
foundations at least of a secure livelihood during the next

(05:39:42):
three or four years, save up a certain summon emigrate
to Siberia, a country rich in every natural resource and
in need of workers, active men, and capital. There they
would settle in the town where Radiya would be living
and begin a new life together. They all wept when
they parted. Raskolnikov had been very dreamy for a few

(05:40:07):
days before. He asked a great deal about his mother
and was constantly anxious about her. He worried so much
about her that it alarmed Dounia. When he heard about
his mother's illness, he became very gloomy. With Sonya. He
was particularly reserved all the time, with the help of

(05:40:29):
the money left to her by Svidrigailov. Sonia had long
ago made her preparations to follow the party of convicts
in which he was dispatched to Siberia. Not a word
passed between Raskolnikov and her on the subject, but both
knew that was how it would be. At their final parting,
he smiled strangely at his sisters and Razumikin's fervent anticipations

(05:40:53):
of their happy future together when he would come out
of prison. He predicted that their mother's illness would soon
end fatally. At last, Sonya and he set off two
months later. Dounia was married to Razumikin. It was a
quiet and sorrowful wedding. Porfry Petrovitch and Zosimov, however, were invited.

(05:41:19):
During this whole period, Razumikin wore an air of resolute determination.
Dounia implicitly believed he would carry out his plans, and
indeed she could not but believe in him. He displayed
a rare strength of will. Among other things, he began
attending university lectures again in order to take his degree.

(05:41:42):
They were continually making plans for the future. Both counted
on settling in Siberia within five years. At least. Until then,
they rested their hopes on Sonya. Pulcheria Alexandrovna was delighted
to give her blessing to Dounya's marriage with Razumikin, but
after the marriage she became even more melancholy and anxious

(05:42:06):
to give her pleasure. Razumikin told her how Raskolnikov had
looked after the poor student and his decrepit father, and
how a year ago he had been burnt and injured
in rescuing two little children from a fire. These two
pieces of news excited Pulcheria Alexandrovna's disordered imagination almost to ecstasy.

(05:42:28):
She talked about them continually, even entering into conversation with
strangers in the street. Though Dounia always accompanied her in
public conveyances and stores, wherever she could capture a listener,
she would start talking about her son, his article, how
he had helped the student, how he had been burnt

(05:42:48):
in the fire, and so on. Dounia did not know
how to restrain her. Apart from the danger of her
morbid excitement, there was the risk of someone recaped. Calling
Raskolnikov's name and speaking of the recent trial. Pulcheria Alexandrovna
found out the address of the mother of the two

(05:43:09):
children her son had saved, and insisted on going to
see her. At last, her restlessness reached an extreme point.
She would sometimes begin to cry suddenly, and was often
ill and feverishly delirious. One morning, she declared that by
her reckoning, Radia should soon be home. That she remembered

(05:43:31):
when he said goodbye to her, he said that they
must expect him back in nine months. She began to
prepare for his arrival, began to do up her room
for him to clean the furniture to wash and put
up new hangings and so on. Dounia was anxious, but
said nothing and helped her to arrange the room. After

(05:43:52):
a fatiguing day spend in continual fantasies, in joyful daydreams
and tears, Pulcheria Alexandrovna was taken ill in the night,
and by morning she was feverish and delirious. It was
brain fever. She died within a fortnight. In her delirium,
she dropped hints which showed that she knew a great

(05:44:14):
deal more about her son's terrible faith than they had supposed.
For a long time, Raskolnikov did not know of his
mother's death, though a regular correspondence had been maintained from
the time he reached Siberia. It was carried on by
means of Sonia, who wrote every month to the Razumikins
and received replies with unfailing regularity. At first they found

(05:44:39):
Sonya's letters dry and unsatisfactory, but later on they came
to the conclusion that the letters could not be better,
since from these letters they received a complete picture of
their unfortunate brother's life. Sonya's letters were full of the
most matter of fact detail, the simplest and clearest description
of all Raskolnikov's surroundings as a convict. There was no

(05:45:03):
word of her own hopes, no predictions for the future,
no description of her feelings. Instead of any attempt to
interpret his state of mind and inner life, she gave
the simple facts, that is, his own words, an exact
account of his health, what he asked for at their interviews,
what commission he gave her In so on, all these

(05:45:25):
facts she gave with extraordinary minuteness. The picture of their
unhappy brothers stood out at last with great clarity and precision.
There could be no mistake, because nothing was given but facts.
But Dounia and her husband could derive little comfort from
the news, especially at first. Sonia wrote that he was

(05:45:49):
constantly sullen and unready to talk, that he scarcely seemed
interested in the news she gave him from their letters,
that he sometimes asked after his mother, and that when
seeing that he had guessed the truth, she told him
at last of her death. She was surprised to find
that he did not seem greatly affected by it, not
externally at any rate. She told them that although he

(05:46:12):
seemed so wrapped up in himself and, as it were,
shut himself off from everyone. He took a very direct
and simple view of his new life. That he understood
his position, expected nothing better for the time being, had
no ill founded hopes, as is so common in his position,
and scarcely seemed surprised at anything in his surroundings, which

(05:46:32):
were so unlike anything he had known before. She wrote
that his health was satisfactory. He did his work without
shirking or seeking to do more. He was almost indifferent
about food, but except on Sundays and holidays, the food
was so bad that at last he had been glad
to accept some money to have his own tea every day.

(05:46:53):
He begged her not to trouble about anything else, declaring
that all the fuss only annoyed him. Sonya wrote further
that in prison he shared the same room with the rest.
That she had not seen the inside of their barracks,
but concluded that they were crowded, miserable, and unhealthy. That
he slept on a plank bed with a rug under

(05:47:13):
him and was unwilling to make any other arrangement, but
that he lived so poorly and roughly, not from any
intention or plan, but simply from inattention and indifference. Sonya
wrote simply that he had at first shown no interest
in her visits, had almost been irritated with her for coming.

(05:47:34):
He had even been rude to her and unwilling to talk.
But in the end these visits had become a habit
and almost a necessity for him, and he was positively
distressed when she was ill for several days and could
not come to see him. She used to meet him
on holidays at the prison gates or in the guard room,
to which he would be brought for a few minutes

(05:47:56):
to be with her. On working days she would go
to sea him at work, either at the workshops or
at the brick kills, or at the sheds on the
banks of the r Tish Point seventy eight. About herself,
Sonya wrote that she had succeeded in making some acquaintances
in the town that she sewed in, as there was
scarcely a dressmaker in the vicinity. She was looked upon

(05:48:19):
as an indispensable person in many houses, but she did
not mention that the authorities were, through her interested in Raskolnikov,
that his task was lightened, and so on. At last,
the news came. Dounia had indeed noticed signs of alarm
and uneasiness in the preceding letters, that he had remained

(05:48:40):
aloof from everyone, that his fellow prisoners did not like him,
that he kept silent for days at a time, and
was becoming very pale. In the last letter, Sonya wrote
that he had been taken very seriously ill and was
in the convict ward of the hospital. Chapter two. He

(05:49:00):
was ill for a long time, But it was not
the horrors of prison life, not the hard labor, the
bad food, the shaven head, or the patched clothes that
crushed him. What did he care for all those trials
and hardships. He was even glad of the hard work.
Physically exhausted, he could at least count on a few

(05:49:23):
hours of quiet sleep. And what did the food matter
to him? The thin cabbage soup with beetles floating in it.
In the past as a student he had often not
had even that his clothes were warm and suited to
his way of life. He did not even feel the chains.

(05:49:45):
Was he ashamed of his shaven head and his prison
coat in whose presence in Sonya's Sonya was afraid of him?
How could he feel ashamed in her presence, And yet
he was even ashamed when he came to see Sonia,
because of which he tortured her with his rough, contemptuous manner.

(05:50:08):
But it was not his shaven head in his chains
he was ashamed of. His pride had been stunned to
the quick. It was wounded pride that made him ill.
Oh how happy he would have been if he could
have blamed himself. He could have endured anything then, even
shame and disgrace. But he judged himself severely, and his

(05:50:32):
exasperated conscience found no particularly terrible fault in his past,
except a simple blunder, which might happen to anyone. He
was ashamed just because he Raskolnikov, had so hopelessly, stupidly
come to grief through some decree of blind fate, and
must humble himself and submit to the idiocy of a

(05:50:52):
sentence in order somehow to find peace. Vague and aimless
anxiety in the present and in the future, a continual
sacrifice leading to nothing. That was all that lay before him.
And what comfort was it to him that at the
end of eight years he would be only thirty two,
when able to begin a new life. What did he

(05:51:14):
have to live for? What did he have to look
forward to? Why should he strive to live in order
to exist? He had been ready a thousand times before
to give up existence for the sake of an idea,
for a hope, even for a whim. Mere existence had

(05:51:35):
always been too little for him. He had always wanted more.
Perhaps it was just because of the strength of his
desires that he had considered himself a man to whom
more was permissible than to others. And if only fate
would have sent him repentance, burning repentance, that would have
torn his heart and robbed him of sleep, That repentance,

(05:51:57):
the awful agony of which brings visions of hemp or drowning. Oh,
he would have been glad of it. Tears and agonies
would at least have been life. But he did not
repent of his crime. At least he might have found
relief in raging at his stupidity, as he had raged

(05:52:17):
at the grotesque blunders that had brought him to prison.
But now in prison, in freedom, he thought over and
criticized all his actions again, and by no means found
them as blundering and as grotesque as they had seemed
at the fatal time. In what way, he asked himself,
was my theory more stupid than others that have swarmed

(05:52:39):
and clashed from the beginning of the world. You only
have to look at the thing entirely, independently, broadly and
uninfluenced by commonplace ideas, and my idea will, by no
means seem so strange. Oh, skeptics, and hapany philosophers, Why
do you halt half way? Why does my actions strike

(05:53:00):
them as so horrible? He said to himself. Is it
because it was a crime? What is meant by crime?
My conscience is at rest. Of course, it was a
legal crime. Of course, the letter of the law was
broken and blood was shed. Well, punish me for the

(05:53:22):
letter of the law, and that's enough. Of course, in
that case, many of the benefactors of mankind who snatched
power for themselves instead of inheriting it ought to have
been punished at their first steps. But those men succeeded,
and so they were right, and I didn't, and so
I had no right to have taken that step. It

(05:53:44):
was only in that that he recognized his criminality, only
in the fact that he had been unsuccessful and had
confessed it. He suffered from another question, Why had he
not killed himself? Why had he stood looking looking at
the river, and preferred to confess was the desire to

(05:54:04):
live so strong and was it so hard to overcome it?
Had not Svidrigailov overcome it although he was afraid of death.
In his misery, he asked himself this question and could
not understand that at the very time he had been
standing looking into the river, he had perhaps been dimly
conscious of the fundamental falsity in himself and his convictions.

(05:54:29):
He didn't understand that that consciousness might be the promise
of a future crisis, of a new view of life,
and of his future resurrection. He preferred to attribute it
to the dead weight of instinct, which he could not
step over again through weakness and meanness. He looked at
his fellow prisoners and was amazed to see how they

(05:54:51):
all loved life and prized it. It seemed to him
that they loved and valued life more in prison than
in freedom. What terrible agonies and privations some of them,
the tramps, for instance, had endured. Could they care so
much for a ray of sunshine, for the primeval forest,
the cold spring hidden away in some unseen spot which

(05:55:14):
the tramp had marked three years before, and longed to
see again as he might to see his sweetheart, dreaming
of the green grass round it and the birds singing
in the bush. As he went on he saw even
more inexplicable examples. In prison. Of course, there was a
great deal he did not see and did not want

(05:55:34):
to see. He lived, as it were, with downcast eyes.
It was loathsome and unbearable for him to look. But
in the end there was much that surprised him, and
he began, as it were, involuntarily to notice much that
he had not suspected before. What surprised him most of
all was the terrible, impossible gulf that lay between him

(05:55:58):
and all the rest of them. They seemed to be
a different species, and he looked at them, and they
at him with distrust and hostility. He recognized and understood
the reasons for his isolation, but he would never have
admitted until then that those reasons were so deep and strong.
There were some Polish exiles political prisoners among them. They

(05:56:23):
simply looked down upon everyone else and treated them like
ignorant fools. But Raskolnikov could not look upon them like that.
He saw that these ignorant men were, in many respects
far wiser than the Poles. There were some Russians who
were just as contemptuous. A former officer and two seminarians
point seventy nine. Raskolnikov saw their mistake as clearly. He

(05:56:48):
was disliked and avoided by everyone. They finally even began
to hate him. Why he could not tell men who
had been guilty of far greater offenses despised in laughing
at his crime. You're a gentleman, they used to say.
You shouldn't hack about with an axe. That's not a

(05:57:09):
gentleman's work. The second week in Lent, his turn came
to take the sacrament with his gang. He went to
church and prayed with the others. A quarrel broke out
one day. He did not know how. Everyone fell on
him at once in a fury. You're an infidel. You

(05:57:32):
don't believe in God, they shouted. You ought to be killed.
He had never talked to them about God or his belief,
but they wanted to kill him because he was an infidel.
He said nothing. One of the prisoners rushed at him
in an absolute frenzy. Raskolnikov awaited him calmly and silently.

(05:57:56):
His eyebrows did not quiver, his face did not flinch.
The guards succeeded in intervening between him and his assailant,
or there would have been bloodshed. There was another question
he could not resolve. Why were they all so fond
of Sonya. She did not try to win their favor.

(05:58:16):
She rarely met them, only occasionally coming to see him
at work, and even then only for a moment. And
yet everybody knew her. They knew that she had come
out to follow him, knew how and where she lived.
She never gave them money, did them no particular service.
Only once at Christmas did she send them all presents

(05:58:39):
of pies and rolls. But by degrees closer relations sprang
up between them and Sonya. She would write in post
letters for them to their relations. Relations of the prisoners
who visited the town at their instructions left presents and
money for them with Sonya. Their wives and sweethearts knew

(05:59:02):
her and used to visit her. And when she visited
Raskolnikov at work or met a party of the prisoners
on the road, they all took off their hats to
her little mother, Sophia Semyonovna, You are our dear, good
little mother, coarse branded criminals said to that frail little creature.

(05:59:23):
She would smile and bow to them, and every one
was delighted when she smiled. They even admired her date
and turned round to watch her walking. They admired her
too for being so little, and in fact did not
know what to admire her most for. They even came
to her for help with their illnesses. He was in

(05:59:44):
the hospital from the middle of Lent until after Easter.
When he was better, he remembered the dreams he had
had while he was feverish and delirious. He dreamt that
the whole world was condemned to a terrible, strange news
plague that had come to Europe from the depths of Asia.
Everyone was to be destroyed except a few chosen ones.

(06:00:09):
Some sort of new microbe was attacking people's bodies. But
these microbes were endowed with intelligence and will. Men attacked
by them became instantly furious and mad. But never had
men considered themselves so intellectual and so completely in possession
of the truth as these sufferers. Never had they considered

(06:00:29):
their decisions their scientific conclusions, their moral convictions so infallible.
Whole villages, whole towns, and peoples were driven mad by
the infection. Everyone was excited and did not understand one another.
Each thought that he alone had the truth, and was
wretched looking at the others, beat himself on the breast,

(06:00:53):
wept and wrung his hands. They did not know how
to judge, and could not agree what to consider evil
and what good. They did not know who to blame,
who to justify. Men killed each other in a sort
of senseless spite. They gathered together in armies against one another,
But even on the march, the armies would begin attacking

(06:01:15):
each other. The ranks would be broken, and the soldiers
would fall on each other, stabbing and cutting, biting and
devouring each other. The alarm bells kept ringing all day long.
In the towns, men rushed together, But why they were summoned,
and who was summoning them, no one knew. The most
ordinary trades were abandoned because everyone proposed their own ideas

(06:01:39):
and their own improvements, and they could not agree. The land,
too was abandoned. Men met in groups, agreed on something,
swore to keep together, but at once began on something
quite different from what they had proposed. They accused one another,
fought and killed each other. There were conflagrations in famine.

(06:02:04):
All men and all things were involved in destruction. The
plague spread and moved further and further. Only a few
men could be saved in the whole world. They were
a pure, chosen people, destined to found a new race
and a new life, to renew and purify the earth.
But no one had seen these men, no one had

(06:02:25):
heard their words in their voices. Raskolnikov was worried that
this senseless dream haunted his memory so miserably that the
impression of this feverish delirium persisted so long. The second
week after Easter had come there were warm, bright spring
days in the prison ward. The grating windows under which

(06:02:48):
the sentinel paste were opened. Sonya had only been able
to visit him twice during his illness. Each time she
had to obtain permission, and it was difficult, but he
often used to come to the hospital yard, especially in
the evening, sometimes only to stand a minute and look
up at the windows of the ward. One evening, when

(06:03:11):
he was almost well again, Raskolnikov fell asleep when he awoke.
He happened to go to the window and at once
saw Sonia in the distance at the hospital gate. She
seemed to be waiting for someone. Something almost stabbed his
heart at that moment. He shuddered and moved away from

(06:03:32):
the window. The next day, Sonia did not come, nor
the day after. He noticed that he was expecting her uneasily.
At last he was discharged. On reaching the prison, he
learned from the convicts that Sofya Semyonovna was lying ill
at home and was unable to go out. He was

(06:03:54):
very uneasy and sent a message to inquire after her.
He soon learned that her illness was not deaderous. Hearing
that he was anxious about her, Sonia sent him a
penciled note telling him that she was much better, that
she had a slight cold, and that she would come soon,
very soon and see him at work. His heart throbbed

(06:04:15):
painfully as he read it again. It was a warm,
bright day. Early in the morning. At six o'clock he
went off to work on the river bank, where they
used to pound alabaster and had a kiln for baking
it in a shed. There were only three of them
who were sent. One of the convicts went with the

(06:04:37):
guard to the fortress to fetch a tool. The other
began getting the wood ready and laying it in the kiln.
Raskolnikov came out of the shed onto the river bank,
sat down on a heap of logs by the shed,
and began gazing at the wide, deserted river. From the
high bank, a broad landscape opened before him. The sound

(06:04:58):
of singing floated faintly audible from the other bank. In
the vast step, bathed in sunshine, he could just see,
like black specks, the no man's tents. There. There was
freedom there, other men were living utterly unlike those here.
Their time itself seemed to stand still, as though the
age of Abraham and his flocks had not passed. Raskolnikov

(06:05:22):
sat gazing, His thoughts passed into daydreams, into contemplation. He
thought of nothing but a vague restlessness excited and troubled him.
Suddenly he found Sonia beside him. She had come up
noiselessly and sat down at his side. It was still
quite early, the morning chill was still sharp. She wore

(06:05:44):
her threadbare old wrap in the green shawl. Her face
still showed signs of illness, and it was thinner and paler.
She gave him a joyful, welcoming smile, but held out
her hand with her usual timidity. She was always timid
about holding out her hand to him, and sometimes did
not offer it at all, as though she were afraid

(06:06:06):
he would repel it. He always took her hand as
if with repugnance, always seemed irritated to meet her, and
was sometimes obstinately silent throughout her visit. Sometimes she trembled
before him and went away deeply upset. But now their
hands did not part. He stole a rapid glance at

(06:06:28):
her and dropped his eyes on the ground without speaking.
They were alone. No one had seen them, The guard
had turned away for the time being. How it happened,
he did not know, but all at once something seemed
to seize him, and, fling him at her feet, he

(06:06:48):
wept and threw his arms round her knees. At first instant,
she was terribly frightened, and she turned pale. She jumped
up and looked at him, trembling. But at the same
moment she understood, and a light of infinite happiness came
into her eyes. She knew and had no doubt that

(06:07:09):
he loved her above everything else, and that at last
the moment had come. They wanted to speak, but could not.
Tears stood in their eyes. They were both pale and thin,
but those sick, pale faces were bright with the dawn
of a new future, of a full resurrection into a
new life. They were renewed by love. The heart of

(06:07:31):
each held infinite sources of life for the heart of
the other. They resolved to wait and be patient. They
had another seven years to wait, and what terrible suffering
and what infinite happiness before them. But he had risen again,
and he knew it and felt it in his whole being,
while she lived through him alone. On the evening of

(06:07:55):
the same day, when the barracks were locked, Raskolnikov lay
on his plank bed and thought of her. He had
even imagined the day that all the convicts who had
been his enemies looked at indifferently. He had even started
talking to them, and they answered him in a friendly way.
He remembered that now and thought it was bound to

(06:08:16):
be so. Wasn't everything now bound to be changed? He
thought of her. He remembered how continually he had tormented
her and wounded her heart he remembered her pale, thin
little face. But these recollections scarcely troubled him. Now he

(06:08:37):
knew with what infinite love he would now repay all
her sufferings, and what were all the agonies of the past. Everything,
even his crime, his sentence and imprisonment, seemed to him
now in the first rush of feeling an external, strange
fact with which he had no concern. But he could

(06:08:58):
not think of anything for long that yearning, and he
could not have analyzed anything consciously. He was simply feeling
life had stepped into the place of theory, and something
quite different would work itself out in his mind. Under
his pillow lay the New Testament. He took it up mechanically.

(06:09:20):
The book belonged to Sonia. It was the one from
which she had read The Raising of Lazarus to him.
At first, he was afraid that she would worry him
about religion, would talk about the Gospel and pester him
with books. But to his great surprise, she had not
once approached the subject, and had not even offered him

(06:09:40):
the Testament. He had asked her for it himself not
long before his illness, and she brought him the book
without a word. Until now he had not opened it.
He did not open it now. But one thought passed
through his mind. Can her convictions not be mine? Now?

(06:10:00):
Her feelings, her aspirations? At least, she too had been
greatly agitated that day, and at night she was taken
ill again. But she was so happy, and so unexpectedly happy,
that she was almost frightened of her happiness. Seven years,
only seven years at the beginning of their happiness. At

(06:10:24):
some moments they were both ready to look on those
seven years as though they were seven days. He did
not know that the new life would not be given
him for nothing, that he would have to pay dearly
for it, that it would cost him great striving, great suffering.
But that is the beginning of a new story, the
story of the gradual renewal of a man, the story

(06:10:47):
of his gradual regeneration, of his transition from one world
into another, of his initiation into a new, unknown life.
That might be the subject of a new story. But
our presence, one story is over dot the end. About
the author. Fyodor Dostoyevsky. Fyodor Mihailovich Dostoyevsky was born in

(06:11:14):
Moscow on October thirtieth, eighteen twenty one. His mother died
when he was fifteen, and his father, a former army surgeon,
sent him and his older brother Mikhail, to preparatory school
in Saint Petersburg. The Theodor continued his education at the Saint
Petersburg Academy of Military Engineers and graduated as a lieutenant

(06:11:38):
in eighteen forty three. After serving as a military engineer
for a short time and inheriting some money from his
father's estate, he retired from the army and decided instead
to devote himself to writing. Dostoyevsky won immediate recognition with
the eighteen forty six publication of his first work of fiction,

(06:12:00):
a short novel titled Poor Folk. The important Russian critic,
the Syrian Grigorovich Belinsky praised his work and introduced him
into the literary circles of Saint Petersburg. Over the next
few years, Dostoyevsky published several stories, including The Double and
White Knights. He also became involved with a progressive group

(06:12:23):
known as the Petroshevsky Circle, headed by the charismatic utopian
socialist Mikhail Petroshevsky. In eighteen forty nine, Szar Nicholas the
First ordered the arrest of all the members of the group,
including Dostoyevsky. He was kept in solitary confinement for eight
months while the charges against him were investigated, and then,

(06:12:46):
along with other members of Petroshevsky's group, was sentenced to
death by firing squad. At the last minute, Nicholas commuted
the sentence to penal servitude in Siberia for four years
and then service in the Russian Army. This near execution
haunts much of Dostoyevsky's subsequent writing. The ten years Dostoyevsky

(06:13:10):
spent in prison and then in exile in Siberia had
a profound effect on him. By the time he returned
to Saint Petersburg in eighteen fifty nine, he had rejected
his radical ideas and acquired a new respect for the
religious ideas and ideals of the Russian people. He had
never been an atheist, but his Christianity was now closer

(06:13:33):
to the Orthodox faith. While in exile, he had also married.
Dostoyevsky quickly resumed his literary career. In Saint Petersburg, he
and his brother Mikhail founded two journals, Rimia eighteen sixty
one to eighteen sixty three and Ipocha eighteen sixty four

(06:13:54):
to eighteen sixty five. Dostoyevsky published many of his well
known Poe ghost Siberian works in these journals, including The
House of the Dead, an account of his prison experiences,
and the dark complex novella Notes from Underground. The next
several years of Dostoyevsky's life were marked by the deaths

(06:14:15):
of his wife Maria and his brother Mikhail. He began
to gamble compulsively on his trips abroad, and he suffered
from bouts of epilepsy. In eighteen sixty six, while dictating
his novel The Gambler to meet a deadline, he met
a young stenographer, annisnit Kina, and the two married a

(06:14:36):
year later. Over the next fifteen years, Dostoyevsky produced his
finest works, including the novel's Crime and Punishment eighteen sixty six,
The Idiot eighteen sixty eight, The Possessed eighteen seventy one
to eighteen seventy two, and The Brothers Karamaziv eighteen seventy
nine to eighteen eighty. His novels are complex psychological studies

(06:15:00):
that examine man's struggle with such elemental issues as good
and evil, life and Death, Belief and Reason. Fyodor Mihailovich
Dostoyevsky died from a lung hemorrhage on January twenty eighth,
eighteen eighty one, in Saint Petersburg at the age of
fifty nine. Pigeon Publishing House presented Crime and Punishment author

(06:15:27):
Fyodor Dostoyevsky. Thank you for listening to this audiobook. We
hope you enjoyed it. If you enjoyed this classic, follow

(06:15:50):
the show and leave a quick review, and join us
every Tuesday and Thursday for more Timeless stories.

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Crime and Punishment - Full Audiobook (Fyodor Dostoevsky) | Part 3 of 3

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Crime and Punishment - Full Audiobook (Fyodor Dostoevsky) | Part 3 of 3