Crime and Punishment by Fyodor Dosteoevsky is a renowned 19th century novel that has fascinated audiences for generations. Part of the appeal of this classic text comes from the densely intertwined and ever-changing thematic motifs and symbols. Arguably one of the most crucial episodes of the novel comes when Raskolnikov and Sonya discuss the existence or absence of God and the biblical account of the resurrection of Lazarus. By examining this scene in relation to the novel's conclusion, the reader can see how Dostoevsky 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 that comes from the story of Lazarus. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay When looking at Raskolnikov's character, it is difficult to gain a holistic, unified view of his thoughts, actions, and faith. The split in his behavior is clearly seen through his acts of charity on the one hand and his self-centered isolation on the other. There is no decisive moment that reveals Raskolnikov's unchanging character, and therefore the scene with Sonya's reading of Jesus' miraculous healing of Lazarus only hints at a state of Raskolnikov's fickle nature. However, from this episode it becomes clear that Raskolnikov seems to challenge the existence of God and Sonya's faith. When Raskolnikov begins to theorize what will 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 isn't any God", answered Raskolnikov... Suddenly Sonya's face changed terribly: spasms ran through it with inexpressible reproach... and suddenly she began to sob very bitterly, covering her face with her hands" (321 ) 2E It is evident from this interaction that Sonya cares about 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 chest of drawers, Raskolnikov immediately asks Sonya to read to him the story of the resurrection of Lazarus. In the story of Lazarus, Dostoevsky foreshadows the resurrection of faith that Raskolnikov ultimately achieves after his confession, Sonya reads: "'Jesus said to her: I am the resurrection and the life: whoever believes in me, although he was dead, will live; and whoever lives and believes in me will never die. 328). Without a doubt this is a resurrection story for Lazarus, a man who was physically dead and yet rose from the grave at Jesus' command. While the parallel may not be immediately apparent since Raskolnikov is not physically dead, there is a synonymous relationship between the death physical death of Lazarus and spiritual death of Raskolnikov. Once Raskolnikov finally reveals to Sonya that he killed Alyona and Lizaveta Ivanovna, he comes to an internal realization: "Was it the old crone I killed? I killed myself, not the old crone!" (420). In a nonphysical sense, Raskolnikov experiences a self-inflicted death that is comparable to the death that sent Lazarus to the grave: both are potentially eternal regardless of salvation or rebirth. The story of Lazarus is a story of suffering and fatal illness, but it also embraces the triumph over death and sin achieved through the miraculous resurrection. Through reading the story of Lazarus, Sonya recognizes and proclaims the eternal message of faith that lies at Raskolnikov's feet. After much anguish and tribulation, Raskolnikov is brought into a state of confession and sent to Siberia with an eight-year sentence. years of hard work. Sonya accompanies him in,.