Crime And Punishment - Style

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He knows that his theory is wrong, but he has been created by the society in which he lives, which allows him to conjure up wild fantasies and delusions of grandeur. The sympathy Dostoyevsky enforces upon the reader for Raskolnikov is held by the overwhelming signs pointing towards the notion that he knows that he is wrong in his doings.
The first indication of Raskolnikov’s need for punishment for his crime appears in his preparation for the crime itself. It is by no means meticulous. To be sure no one will suspect him, he rehearses the crime, counts the steps to Alyona’s house, and even devises a noose to carry his axe. Yet as incredible as it may seem, he makes only the most elementary plans for securing the axe and returning it unseen. Everything rests upon Natasya’s absence from the kitchen at the precise moment he needs it. Obviously, Raskolnikov is attempting to set himself for failure in this crime so that he may be caught and brought back down and in to society ...

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to see him not as evil, but terribly misguided as a tainted product of the world he has been forced in to. First, he forgets to lock the door and is forced to kill another woman who walks in unexpectedly during his crime. Next, with the door still open, he dallies several minutes washing his axe, taking even more time to scrutinize his clothing for traces of blood, all seemingly in the unconscious hope that someone will walk in on him. So Raskolnikov
seems to be leaning toward punishment rather than away from it. He returns to his room, pockets bulging with stolen articles, and falls asleep, forgetting to lock the door. From here on, he is continually leaving clues that encourage ...

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