Objectives

• Analyse how Dostoevsky constructs Raskolnikov's 'extraordinary man' theory through his interior monologue and its ironic collapse in Parts I–II.
• Explain how Porfiry Petrovich's interrogation technique in Part III functions as a structural and psychological mirror to Raskolnikov's own rationalising mind.
• Close-read the Lazarus scene in Part IV to show how Dostoevsky uses biblical allusion, free indirect discourse, and spatial detail to dramatise the collision between nihilism and faith.
• Evaluate Svidrigailov's role as Raskolnikov's double in Part VI, tracing how his suicide reframes the novel's argument about the 'extraordinary man'.
• Write a sustained, evidenced analytical argument about how guilt and redemption are constructed across the novel as a whole, using the epilogue as a culminating reference point.

The sequence

1. Lesson 1: The Extraordinary Man: Theory, Murder, and Immediate Collapse (Parts I–II)

   60 min · ch. 1, 2

   Do now

   Raskolnikov is grappling with his identity, questioning whether he possesses the greatness of a historical figure like Napoleon or if he is merely insignificant. I predict that the novel will ultimately explore this question, but it may not straightforwardly answer it in his favor, reflecting the complexities of his character and choices.

   Teacher input

   Model a close reading of the passage in Chapter 1 where Raskolnikov rehearses his visit to Alyona Ivanovna's flat: 'A man who has power… must dare.' Guide students to see how Dostoevsky employs free indirect discourse, blending the narrator's voice with Raskolnikov's perspective, making his theory seem convincing from within, yet undermined by the uncomfortable details of the garret (like the 'coffin-like' room and the oppressive heat). Show how to quote, integrate, and analyze in a single sentence before transitioning to the counter-evidence in Chapter 2, where he struggles to even glance at the stolen item.

   Independent task

   Students annotate a printed extract from Ch.2 — the scene where Raskolnikov stashes the stolen purse and trinkets under the courtyard stone without looking at them. They need to: (1) point out two instances where his actions clash with his theory, and (2) compose one analytical paragraph discussing whether the theory has already collapsed by the end of Part II. The paragraph should include at least two embedded quotations and a topic sentence that highlights Dostoevsky's technique, rather than just focusing on the character's emotions.

   Exit ticket

   Dostoevsky employs the literary technique of rationalization to make Raskolnikov's theory appear convincing. In Chapter 2, the irony lies in the detail that Raskolnikov struggles with a sense of guilt that contradicts his own justifications.

2. Lesson 2: The Mind as Crime Scene: Porfiry's Interrogations and Razumikhin's Loyalty (Part III)

   60 min · ch. 3

   Do now

   Read the following exchange from Ch.3 — Porfiry's first formal interview — where he tells Raskolnikov, 'The psychological process of the criminal… is always interesting.' Write the word you think best describes Porfiry's tone here, and _underline_ the single word in the quotation that most justifies your choice. Be prepared to share.

   Teacher input

   Model how to analyze dialogue as a structural device using the moment in Chapter 3 when Porfiry asks Raskolnikov if he believes in the resurrection of Lazarus. Highlight that this question isn't random; Porfiry is setting up the very image that Sonya will later use against Raskolnikov. Illustrate annotating for dramatic irony — the reader knows more than Razumikhin, who is in the room relying on his friend's trust — and illustrate how Dostoevsky uses Razumikhin's lack of awareness to deepen Raskolnikov's sense of isolation.

   Independent task

   Students will compose a comparative paragraph (150–200 words) that addresses the question: "How does Dostoevsky use Porfiry and Razumikhin in Part III to illustrate two distinct threats to Raskolnikov's self-control?" The paragraph should include a quote from at least one of Porfiry's speeches and reference one action or line from Razumikhin. Additionally, the topic sentence should focus on a specific technique rather than a theme.

   Exit ticket

   The dramatic irony in Porfiry's Lazarus question lies in the fact that Raskolnikov, who is grappling with his guilt and moral dilemmas, is unaware that Porfiry already suspects him, which deepens the reader's insight into Raskolnikov's internal conflict and impending unraveling.

3. Lesson 3: Lazarus and the Living Dead: Faith Against Nihilism in Part IV

   60 min · ch. 4

   Do now

   On the board is the opening of John 11 (the raising of Lazarus, King James Version, verses 1–4 and 43–44). Read it silently. Write one question Raskolnikov might pose to Sonya about this passage — ensure the question reflects his voice, not yours.

   Teacher input

   Model a close reading of the passage in Chapter 4 where Sonya reads aloud the story of Lazarus to Raskolnikov: "And she read in a loud, inspired voice, trembling and cold…" Pay attention to the spatial details — Sonya's small, yellow, poverty-stricken room and the single flickering candle — and illustrate how Dostoevsky uses the setting to reflect psychological states. Next, analyze the shift in free indirect discourse: the narration briefly captures Raskolnikov's contempt ('he watched her almost with hatred') before the syntax begins to slow down, making his contempt feel less certain. Teach students how to mark this shift with a marginal note.

   Independent task

   Students are required to write a close-reading response (200–250 words) to the prompt: 'How does Dostoevsky use the Lazarus reading in Ch. 4 to highlight the conflict between Raskolnikov's nihilism and Sonya's faith?' They should analyze at least one spatial detail, one instance of free indirect discourse, and the meaning behind Sonya reading aloud instead of Raskolnikov reading silently. Responses should be written on paper and submitted.

   Exit ticket

   The biblical story Sonya reads is the story of Lazarus, and Dostoevsky chose this story because it emphasizes themes of resurrection and redemption, which resonate deeply with Sonya's own struggles and beliefs.

4. Lesson 4: The Double and the Dead End: Svidrigailov, Porfiry's Confession, and the Collapse of the Theory (Part VI)

   60 min · ch. 6

   Do now

   Look at these two statements from Ch.6: Porfiry tells Raskolnikov, 'You came up with a theory, and then you felt ashamed when it failed.' Svidrigailov doesn't say anything — he just gives away his money and ends his life. Which of these two men does Raskolnikov need to hear from the most? Write three lines justifying your answer.

   Teacher input

   Model how to write about character as a structural device using Svidrigailov's suicide in Chapter 6. Demonstrate that Svidrigailov embodies the 'extraordinary man' idea without the burden of Raskolnikov's guilt—he has manipulated Dunya, listened in on the confession, and leveraged that knowledge—yet he ultimately finds himself in a dimly lit Petersburg alley with a pistol in hand. Argue that Dostoevsky positions this death right before Porfiry's final visit, ensuring that Raskolnikov (and the reader) cannot easily dismiss Porfiry's remarks as mere police tactics. Frame the argument as: 'Dostoevsky structures Chapter 6 so that…' instead of 'Svidrigailov shows that…'

   Independent task

   Students will write an analytical paragraph (150–200 words) arguing: 'How does Dostoevsky use Svidrigailov's fate in Part VI to challenge Raskolnikov's extraordinary man theory?' They need to mention Svidrigailov's specific actions (the money given to Sonya, the money given to his fiancée, and his suicide), quote or closely paraphrase Porfiry's direct accusation, and make a structural point regarding the sequence of events. This should be submitted on paper.

   Exit ticket

   Svidrigailov's suicide undermines Raskolnikov's theory more than anything Porfiry says because it reveals the tragic consequences of moral detachment, showing that Raskolnikov's justification for his actions ultimately leads to despair rather than greatness.

5. Lesson 5: Redemption or Surrender? Reading the Epilogue Against the Whole Novel

   60 min · ch. 4, 6, 7

   Do now

   The epilogue shows Raskolnikov 'wept and threw himself at her feet' (Sonya's), which could be seen as the culmination of his emotional journey throughout the novel. On the other hand, some might argue this conclusion feels a bit contrived, lacking the organic development we expect.

   Teacher input

   Model how to construct a whole-text argument using the final paragraph of the epilogue in Chapter 7: 'But that is the beginning of a new story — the story of the gradual renewal of a man…' Guide students to interpret this as Dostoevsky intentionally holding back the redemption narrative — the new story remains untold — and to connect this with the Lazarus scene in Chapter 4 and Raskolnikov's ongoing pride in Siberia. This will help them formulate an argument about whether the novel truly supports spiritual renewal or merely hints at it. Illustrate the essay technique of using two moments from different sections of the novel to create a 'then… but… therefore' structure.

   Independent task

   Students will draft the opening two paragraphs of an essay that addresses the prompt: "Dostoevsky presents Raskolnikov's redemption as genuinely achieved by the end of the novel." How much do you agree with this statement? The first paragraph should focus on the epilogue (Chapter 7), while the second paragraph must include evidence from at least one earlier chapter (either Chapter 4 or Chapter 6). Each paragraph needs to start with a topic sentence that identifies a technique or structural choice, rather than a theme. Both plans and drafts should be submitted together.

   Exit ticket

   After (Humanized): What are the potential flaws in the argument presented so far, and how might opposing viewpoints shed light on overlooked aspects of the issue?

Activities

Assessment

• Exit ticket Lesson 1 — checks whether students can name free indirect discourse and identify one specific ironic detail in Ch.2, not a general statement about guilt.
• Annotated extract Lesson 1 — marker looks for two correctly identified contradictions between theory and behaviour in Ch.2, and a topic sentence that names Dostoevsky's method.
• Comparative paragraph Lesson 2 — checks whether students can distinguish Porfiry's destabilising dialogue from Razumikhin's oblivious loyalty as two structurally different pressures, with one quotation from each.
• Close-reading response Lesson 3 — marker checks for analysis of spatial detail in Sonya's room (Ch.4), one tracked shift in free indirect discourse, and a point about the significance of oral reading.
• Analytical paragraph Lesson 4 — checks whether students can name Svidrigailov's specific actions (not just 'he dies') and make a structural point about the sequencing of his suicide before Porfiry's visit.
• Exit ticket Lesson 5 — checks whether students can write a genuine counter-argument topic sentence, not a restatement of their own position.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama.
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that interprets a literary text and requires defence with evidence.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases including free indirect discourse and biblical allusion.
• Narration (NAR-1) — Analyse how the narrator's perspective and reliability shape meaning, with particular attention to free indirect discourse in Raskolnikov's interior monologue.
• Character (CHR-1) — Analyse how complex characters develop over the course of a text and interact with other characters to advance the plot or develop a theme.
• Structure (STR-1) — Explain how an author's structural choices — including the placement of the epilogue and the sequencing of Svidrigailov's suicide — contribute to the work's meaning.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including Dostoevsky's response to Chernyshevsky's utilitarian nihilism and 1860s St. Petersburg.
• AO5 — Explore literary texts informed by different interpretations, including critical debate about whether the novel endorses or critiques the radical ideas it portrays.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts using associated concepts and terminology.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, with focus on free indirect discourse and biblical allusion in Dostoevsky's prose.
• AO3 — Demonstrate understanding of the significance and influence of contexts, including the serialised publication format of The Russian Messenger and the novel's engagement with 1860s Russian radical thought.
• AO4 — Explore connections across literary texts, including the relationship between Crime and Punishment and its intertextual use of the Gospel of John.