Rodión Románovich Raskólnikov (Russian: PoduónPosmánoser PacKÓ.

NUKOR) is the star of the

Russian novel Crime and Punishment by Dustoyevski. Throughout the book he is also called Rodia.
Ródenka, and Rodka. The name Raskolnikov comes from the Russian word raskolnik, which means
schismatic. Raskolnikov is a twenty-three-year-old student who comes from a humble family from
the interior of Imperial Russia, who travels to Saint Petersburg to study law at the University. He is
the son of a family dedicated to domestic service, being an orphan of a father, the son of Pulqueria
Raskólnikova, a seamstress, and the brother of Dunia, a domestic servant.

In Saint Petersburg he lived in a tiny rented room, which basically consisted of a couch, where he
spent days in isolation thinking and practically did not eat unless the maid, Nastya, offered him
something. that he was never in love, that he finally died of consumption. Love discovered it with
Sonia, daughter of a former alcoholic funciorurio "friend" of his, who after being a confidant of the
crime follows him selflessly throughout history. Right, Rodia finds himself in financial difficulties, for
which he is forced to give up his promising career. After cloistering himself in the small room he
rented, Raskolnikov developed a plan, which apparently consisted of killing an old woman. Aliona
Ivanovna, pre-Islamist to later steal a large sum of money from her with which she could resume her
studies and help poor people. After two months of constant moral and ethical dilemmas,
Raskolnikov takes the step and assassinates the old woman with an ax, but despite this, and out of
any kind of plan, he is also forced to kill the kind but rather naive sister of The old woman. Lizaveta
Ivanovna, who appears unexpectedly and discovers the body next to Rodia himself at the crime
scene.

As simple as the motivus for murdering that old woman might seem, the truth turned out to be
different. Raskolnikov had developed his own theory about supermen, which he publishes in a local
magazine, considering himself one of them, comparing himself frequently. with Napoleon. For him,
the murder of the old woman could be justifiable since the money he was to steal would be used to
complete his studies, lift his family out of poverty and also fulfill his "mission" on Earth. In a short
time he realizes that he does not belong to that select caste of super-men.

bres, ko that raises the uselessness of the crime, and decides to get rid of what was stolen,
considering whether to surrender or live with the guilt. Finally Rodión decides to surrender and
thanks to the fact that the investigator of the case has taken a liking to him, instead of death, he
gives him exile to Siberia where So-nia decides to accompany him. Criticism has taken up and
reviewed Dostovyeskii's classic a thousand times to signal its adherence to or dissatisfaction with the
events that emerge in the epilogue. According to some authors, such as Lic. Cintia Fernández, the
feeling of redemption that this character goes through towards the end of the novel Crime and
punishment lacks verisimilitude, as well as the feeling of love outburst that he experiences in front of
the faithful and powerful Sonia . Other authors, for example, Dr. SocorroOrgeira, argue that the
anagnorisis that the character of Raskolnikov went through at the end of the work contributes
accurately to the fictional pact that has been established between the reader and the work
averaging the first part which could be entitled without objection "The crime." According to this
author, the vulnerability that the character unfolds in the end unmasks him in his life-human
experience and that is why that end looms like the beginning of another story. In a more conciliatory
position, the specialist Alejandra Paredes argues that the work in its entirety - and not just the end -
must be recovered by a reader willing to shed the moral framework that watches over (and vetoes),
in many cases, the true meaning of the COsas and ideas that emerge from literature. CONUN i