Plot Summary
Part II, Chapter V of Crime and Punishment centers on the arrival of Pyotr Petrovitch Luzhin, the self-important fiancé of Raskolnikov's sister Dunya, at Raskolnikov's cramped and squalid apartment. Luzhin enters with visible disdain for the surroundings and is met by Razumihin, who treats him with casual irreverence, and by Zossimov, the attending doctor. Raskolnikov, still recovering from illness, initially barely acknowledges Luzhin, who has come to introduce himself before the arrival of Raskolnikov's mother and sister in St. Petersburg. Luzhin announces that he has secured lodgings for them at Bakaleyev's house, which Razumihin immediately criticizes as a filthy and disreputable place. As Luzhin attempts to impress the group with his progressive ideas, the conversation shifts to the pawnbroker's murder, and Raskolnikov grows increasingly agitated. The chapter culminates in a fierce confrontation in which Raskolnikov accuses Luzhin of wanting to marry Dunya precisely because her poverty would give him power over her, and he threatens to throw Luzhin down the stairs if he ever speaks ill of his mother again.
Character Development
This chapter is pivotal for establishing Luzhin as a deeply unsympathetic figure. His pompous demeanor, his overly fashionable new clothes, and his transparent vanity all mark him as a man more concerned with appearances and self-advancement than with genuine human connection. Raskolnikov, despite his weakened state, reveals a fierce protectiveness toward his family that contrasts sharply with his recent crime. His sudden fury at Luzhin demonstrates that his moral compass, though damaged, has not been entirely destroyed. Razumihin emerges as a perceptive and loyal friend, seeing through Luzhin's pretensions immediately and serving as an informal protector of both Raskolnikov and his family's interests. Zossimov, meanwhile, observes that Raskolnikov shows no interest in anything except the murder case—a clinical observation that hints at the psychological torment consuming him.
Themes and Motifs
The dominant theme of this chapter is the conflict between rational self-interest and moral responsibility. Luzhin articulates a utilitarian philosophy—that loving oneself and managing one's own affairs properly benefits society more than charitable sacrifice—which Raskolnikov devastatingly exposes as a justification for exploitation and even murder. This ideological clash mirrors Raskolnikov's own internal struggle, as his "extraordinary man" theory shares uncomfortable similarities with Luzhin's self-serving rationalism. The motif of power and control runs throughout, from Luzhin's desire to dominate a grateful, impoverished wife to Raskolnikov's desperate need to assert authority over his own circumstances. The chapter also develops the theme of masks and appearances, as Luzhin's carefully curated wardrobe conceals a calculating nature, and Raskolnikov's illness masks his guilt.
Literary Devices
Dostoevsky employs dramatic irony throughout the chapter, as Raskolnikov denounces Luzhin's theory that self-interest can justify any action while being himself guilty of a far greater crime committed under a similar philosophical framework. The detailed description of Luzhin's clothing and grooming functions as characterization through external detail, revealing his vanity and superficiality. The conversation about the pawnbroker's murder serves as a masterful use of suspense and foreshadowing, particularly when Razumihin unknowingly describes the killer as inexperienced and lucky—a perfect portrait of Raskolnikov himself. The cramped physical setting of Raskolnikov's tiny room operates as a spatial metaphor for the psychological pressure closing in on him, forcing all these conflicting personalities and ideologies into uncomfortable proximity.