Fyodor Dostoyevsky's Crime and Punishment is a renowned 19th century novel that has captivated audiences for generations. Part of the appeal of this classic text comes from the densely intertwined and ever-changing thematic motifs and symbols. Perhaps one of the most crucial episodes in the novel occurs when Raskolnikov and Sonya discuss the existence or absence of God and the biblical account of the resurrection of Lazarus. Examining this scene in relation to the novel's conclusion, the reader can see how Dostoyevsky uses the progression of Roskolnikov's character development and his "knowledge of a new, hitherto completely unknown reality" (551) to echo the theme of resurrection which arises from the story of Lazarus. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay Looking at Raskolnikov's character, it is difficult to get a holistic and unified view of his thoughts, actions and behavior. faith. The schism in his behavior is clearly visible through his acts of charity on the one hand and his self-centered isolation on the other. There is no defining moment that reveals Raskolnikov's changeless character, and so the scene with Sonya's reading of Jesus' miraculous healing of Lazarus only hints at a state of Raskolnikov's fickle nature. However, it is clear from this episode that Raskolnikov seems to dispute the existence of God and Sonya's faith. When Raskolnikov begins theorizing about what would happen to Sonya's family if something tragic were to happen, Sonya responds, "No, no! God will protect her! God!…” she repeated, beside herself. “But maybe there’s no reason.” “Any God,” Raskolnikov replied... Sonya's face suddenly changed terribly: spasms ran through her with inexpressible reproach... and she simply began to sob suddenly very bitterly, covering his face with his hands. 2E It is clear from this interaction that Sonya cherishes her faith and is taken back by Raskolnikov's inquisition and indirect denial of God. Strangely, when he notices a copy of the New Testament on a dresser, Raskolnikov quickly asks Sonya to read him the story of the resurrection of Lazarus. In the story of Lazarus, Dostoyevsky foreshadows the resurrection of faith that Raskolnikov ultimately achieves after his confession. At Raskolnikov's request, Sonya reads: “Jesus said to him: I am the resurrection and the life: he who believes in me, although he were dead, he will live; and whoever lives and believes in me will never die..2E And when he had spoken, he cried with a loud voice, Lazarus, come out. And he who was dead came out” (326-). 328). This is undoubtedly the story of the resurrection of Lazarus, a man who was physically dead and yet rose from the grave at the command of Jesus. Although the parallel is not obvious since Raskolnikov did not physically die, there is a synonymous relationship between the physical death of Lazarus and the spiritual death of Raskolnikov. Once Raskolnikov finally reveals to Sonya that he killed Alyona and Lizaveta Ivanovna, he internally realizes: “Was it the old crone I killed? I killed myself, not the old lady! (420). In a non-physical sense, Raskolnikov experiences a self-inflicted death comparable to the death that sent Lazarus to the grave: both are potentially eternal apart from salvation or rebirth. The story of Lazarus is one of suffering and mortal illness, but it also embraces the triumph over death and sin brought about by the miraculous resurrection. Reading the story of Lazarus, Sonya,.