Summary
Marmeladov's Confession
Crime and Punishment by Fyodor Dostoevsky
After leaving the pawnbroker's apartment, Raskolnikov finds himself drawn into a grimy tavern, seeking momentary escape from his isolation and inner turmoil. There, he encounters Semyon Marmeladov, a disheveled former government clerk who launches into a confessional monologue that Raskolnikov can't look away from. Marmeladov tells his tragic story: he's a drunkard who lost his job due to alcoholism, married Katerina Ivanovna (a consumptive widow with three children), briefly got his job back, then stole the family's last money to go on a five-day drinking binge. The most devastating revelation involves his daughter Sonia from his first marriage. With the family starving and no other options, eighteen-year-old Sonia was forced into prostitution to support her stepmother and half-siblings. Marmeladov describes with terrible clarity how he watched it happen—how Katerina Ivanovna, driven to desperation by her dying children's hunger, pushed Sonia toward this path, and how Sonia returned that first night with thirty rubles. The scene is gut-wrenching: Katerina Ivanovna spending the night on her knees kissing Sonia's feet in anguish. Marmeladov knows he's destroying his family but can't stop drinking. He even took money from Sonia that morning to buy more alcohol. His confession is both self-pitying and brutally honest about his own monstrousness. At the chapter's end, Raskolnikov accompanies the stumbling Marmeladov home, where they find Katerina Ivanovna in their squalid room with the terrified, hungry children. She immediately attacks Marmeladov, dragging him by his hair while the children scream. Raskolnikov quietly leaves money on the windowsill and flees, deeply disturbed by what he's witnessed—a family destroyed by poverty, addiction, and impossible choices. Marmeladov's story serves as a dark mirror to Raskolnikov's own situation, showing how desperate circumstances can drive good people to destroy those they love.
Coming Up in Chapter 3
Shaken by Marmeladov's story, Raskolnikov returns home to find a letter from his mother—one that will reveal his own family's desperate sacrifices and force him to confront impossible choices.
Share it with friends
An excerpt from the original text.(~500 words)
Raskolnikov was not used to crowds, and, as we said before, he avoided society of every sort, more especially of late. But now all at once he felt a desire to be with other people. Something new seemed to be taking place within him, and with it he felt a sort of thirst for company. He was so weary after a whole month of concentrated wretchedness and gloomy excitement that he longed to rest, if only for a moment, in some other world, whatever it might be; and, in spite of the filthiness of the surroundings, he was glad now to stay in the tavern. The master of the establishment was in another room, but he frequently came down some steps into the main room, his jaunty, tarred boots with red turn-over tops coming into view each time before the rest of his person. He wore a full coat and a horribly greasy black satin waistcoat, with no cravat, and his whole face seemed smeared with oil like an iron lock. At the counter stood a boy of about fourteen, and there was another boy somewhat younger who handed whatever was wanted. On the counter lay some sliced cucumber, some pieces of dried black bread, and some fish, chopped up small, all smelling very bad. It was insufferably close, and so heavy with the fumes of spirits that five minutes in such an atmosphere might well make a man drunk. There are chance meetings with strangers that interest us from the first moment, before a word is spoken. Such was the impression made on Raskolnikov by the person sitting a little distance from him, who looked like a retired clerk. The young man often recalled this impression afterwards, and even ascribed it to presentiment. He looked repeatedly at the clerk, partly no doubt because the latter was staring persistently at him, obviously anxious to enter into conversation. At the other persons in the room, including the tavern-keeper, the clerk looked as though he were used to their company, and weary of it, showing a shade of condescending contempt for them as persons of station and culture inferior to his own, with whom it would be useless for him to converse. He was a man over fifty, bald and grizzled, of medium height, and stoutly built. His face, bloated from continual drinking, was of a yellow, even greenish, tinge, with swollen eyelids out of which keen reddish eyes gleamed like little chinks. But there was something very strange in him; there was a light in his eyes as though of intense feeling--perhaps there were even thought and intelligence, but at the same time there was a gleam of something like madness. He was wearing an old and hopelessly ragged black dress coat, with all its buttons missing except one, and that one he had buttoned, evidently clinging to this last trace of respectability. A crumpled shirt front, covered with spots and stains, protruded from his canvas waistcoat. Like a clerk, he...
Master this chapter. Complete your experience
Purchase the complete book to access all chapters and support classic literature
As an Amazon Associate, we earn a small commission from qualifying purchases at no additional cost to you.
Available in paperback, hardcover, and e-book formats
Intelligence Amplifier™ Analysis
Why This Matters
Connect literature to life
This chapter teaches how desperation rewrites moral reasoning, helping readers recognize when survival needs are disguised as willing choices.
Now let's explore the literary elements.
Terms to Know
Governess
A woman employed to teach and care for children in wealthy households. In 19th century Russia, this was one of the few respectable jobs available to educated women from poor families, but it left them vulnerable to harassment from male employers.
Marriage of convenience
A marriage arranged for financial or social benefit rather than love. In Dostoevsky's time, poor families often had to sacrifice their daughters' happiness to survive economically.
Social reputation
In 19th century society, a woman's reputation was everything - any hint of scandal could ruin her chances of marriage or employment. This gave men enormous power over women's lives.
Psychological realism
Dostoevsky's technique of showing characters' inner thoughts and mental states in detail. This chapter reveals how poverty and family pressure create intense psychological conflict.
Moral compromise
Being forced to act against your values due to circumstances. The chapter shows how poverty forces good people into situations that damage their souls.
Sacrifice dynamic
When family members give up their own happiness for others' benefit. Raskolnikov sees how his mother and sister are destroying their lives to help him.
Characters in This Chapter
Raskolnikov
Witness and listener
Seeks company in the tavern to escape his isolation. Becomes captivated by Marmeladov's confession, seeing in it a dark reflection of how poverty destroys families and forces impossible choices.
Semyon Marmeladov
Tragic drunk and confessor
A former government clerk whose alcoholism has destroyed his family. His brutal self-awareness—knowing he's a monster yet unable to stop—makes his confession both repulsive and heartbreaking. He represents how addiction can coexist with love and moral clarity.
Katerina Ivanovna
Dying, desperate wife
Marmeladov's consumptive second wife, an educated woman from a good family now living in squalor. Her pride and rage at her degradation drive her to push her stepdaughter Sonia into prostitution—a decision that haunts her.
Sonia (Sofya Semyonovna)
The sacrificial daughter
Marmeladov's eighteen-year-old daughter who becomes a prostitute to feed her starving stepfamily. Her quiet sacrifice and continued support of her father despite everything represents both pure goodness and the horrifying price of poverty.
The Tavern Keeper
Cynical observer
Represents the world's indifferent mockery of suffering. He knows Marmeladov's story well and finds it amusing rather than tragic.
The Children
Innocent victims
Katerina Ivanovna's three children from her first marriage, now starving and terrified in their squalid room. Their suffering is the brutal reality behind all the adult moral failures.
Key Quotes & Analysis
"Poverty is not a vice, that's a true saying. Yet I know too that drunkenness is not a virtue... But beggary, honoured sir, beggary is a vice. In poverty you may still retain your innate nobility of soul, but in beggary—never—no one."
Context: Beginning his confession to Raskolnikov in the tavern
Marmeladov distinguishes between poverty (which preserves dignity) and beggary (which destroys the soul). This philosophical opening reveals his painful self-awareness about his own moral degradation.
"Do you understand, sir, do you understand what it means when you have absolutely nowhere to turn? No, that you don't understand yet...."
Context: Explaining why Sonia turned to prostitution
The most devastating line in the chapter—capturing the absolute desperation that forces unbearable choices. Marmeladov knows Raskolnikov can't truly grasp this horror yet, but soon he will.
"And He will say, 'Come to me! I have already forgiven thee once.... Thy sins which are many are forgiven thee for thou hast loved much....' And he will forgive my Sonia, He will forgive, I know it... I felt it in my heart!"
Context: His apocalyptic vision at the end of his confession
Marmeladov's desperate faith that God will forgive his daughter and himself because they suffered and loved. This mix of religious hope and self-delusion shows how he copes with unbearable guilt.
Thematic Threads
Sacrifice
In This Chapter
Dunya sacrificing her future happiness through marriage to save her family from poverty
Development
Introduced here as family burden that drives desperate choices
Class
In This Chapter
Poverty forcing moral compromises—family must choose between values and survival
Development
Evolved from Raskolnikov's personal shame to family-wide crisis
Guilt
In This Chapter
Raskolnikov recognizing his education costs his sister's happiness and freedom
Development
Deepened from general self-loathing to specific awareness of his burden on others
Deception
In This Chapter
Mother's forced cheerfulness about Dunya's marriage, hiding family desperation
Development
Introduced here as protective lying within families under stress
Identity
In This Chapter
Raskolnikov seeing himself as both victim and cause of family suffering
Development
Evolved from isolated self-focus to understanding his role in family dynamics
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
Why does Marmeladov confess everything to a complete stranger? What is he seeking from Raskolnikov?
- 2
How does Dostoevsky show the difference between 'knowing you're wrong' and 'being able to change'? What does this reveal about addiction?
- 3
Marmeladov says 'poverty is not a vice, but beggary is.' What distinction is he making, and do you agree with it?
- 4
What do you think about Katerina Ivanovna's role in pushing Sonia toward prostitution? Is she a villain, a victim, or both?
- 5
How does meeting Marmeladov's family affect Raskolnikov? What parallels might he be seeing with his own situation?
- 6
In what ways do modern societies still force people into 'survival prostitution'—literal or metaphorical? How do we rationalize it?
Critical Thinking Exercise
Decode the Family Story
Think of a time when someone in your family (or circle) presented a difficult situation as good news or the best option available. Write down what they said, then write what the underlying reality might have been. What pressures or constraints were they not mentioning? What story were they telling themselves to make it bearable?
Consider:
- •Look for words like 'opportunity,' 'blessing,' or 'the right thing to do' when describing difficult choices
- •Consider what options might have existed but felt too risky or shameful to pursue
- •Notice how survival needs can make us reframe compromise as virtue
Coming Up Next...
Chapter 3: The Letter
What lies ahead teaches us reading the subtext in family communications, and shows us love can become manipulation. These patterns appear in literature and life alike.
