So Raskolnikov reacts to his mom’s letter and we are relieved that he is basically like “aw hell nah.” He catches all the subtle and not subtle messages that Dunya’s just sacrificing herself and decides he won’t let her. He gets the little nuances. And he remembers his sister’s strength of character and laments how strong people lose all their dignity and principles for the “good” of people they love.
He also makes the parallel with poor prostitute Sonya clear which is another sense of “Okay Raskolnikov you are making a lot of sense here.”
But then… The questions. The instability, the doubt. Can he stop her? Should he bother trying? Yes, this is terrible, but what’s the alternative? Ughhhhh.
He loses the will to live and needs to find a bench to sit down but then there’s a superdrunk girl and he wants to “save” her from a nearby leering guy, so he fights him, then a cop comes (who is a pretty sincere guy from the sketch we get here) and as the cop follows her and promises to help, Raskolnikov has another switcheroo moment and doubts whether there is any point in trying to help her either.
Girls, can you even save them? Ughhhh. Statistics exist for a reason, we can’t act all surprised. Boo for this argument but it’s interesting at least philosophically. Especially in 1866.
So then he decides to go see his one college friend, the ultimate hard working stand up good guy (from the sketch we get here, so far, again), Razumikhin. We hear that “no setbacks ever confounded him, and no bad circumstances seemed able to crush him.” What a contrast to the things already irritating us about our main character.
He heads off to find him.
I really liked the moments where he and especially the cop are lamenting how “nowadays” everyone is really immoral and terrible. Some arguments really are eternal. Also how he said about his sister’s tough choices in marrying Luzhin: “It’s hard to ascend Golgotha.” Zing.