Why does sonya follow raskolnikov from a distance

Svidrigailov is surprised that Raskolnikov is following him. They exchange some heated words and Svidrigailov threatens to call the police. When he sees that Raskolnikov is not scared off by this, he changes his tone and starts to talk about Rodya's own crime, eventually taunting him about the uselessness of his theories.

They arrive at Kapernaumov's, inquire after Sonya, and find she is not there; Svidrigailov gets some money from his apartment and hails himself a carriage, offering Raskolnikov a ride. The latter, finally convinced that Svidrigailov is not about to do anything at the moment, leaves him.

Svidrigailov, however, drives only a short distance in the carriage, then pays, gets out and walks to the sidewalk. Raskolnikov continues on the bridge, and stops there to gaze blindly at the water. Dunya is nearby, and is startled to see him out in the street. She hesitates, then notices Svidrigailov. He gestures to her not to address her brother but to go and speak with him. She goes to Svidrigailov. Surprisingly, it becomes clear that they have arranged to meet to discuss the contents of the letter which he had sent her.

Dunya insists that he tell her there, on the street, but he convinces her to go to his apartment with him including among his reasons that she needs to hear Sonya's account. They go to his apartment. Svidrigailov is in mounting excitement but Dunya does not notice. He inquires as to whether Sonya is at home, but she is apparently out. He shows Dunya into his rooms, and tells her about his eavesdropping. They return to his main apartment and for the first time Dunya is struck by how isolated his room is.

There is a look in his eyes she does not like, but she does not wish to show her mistrust. She takes out the letter and demands to know how Svidrigailov's accusation of her brother could possibly be true. In the letter he has claimed to have proof of its truth. He tells her exactly what he had heard while eavesdropping. She cannot believe that her brother would kill to steal. Svidrigailov tells her, quite intelligently, about Rodya's theory.

Dunya weakly demands to see Sonya. Svidrigailov tells her that Sonya will not be back before late, causing Dunya to faint. Svidrigailov revives her and offers to help rescue her brother.

Dunya tries to leave, and finds the door locked. Svidrigailov convinces her to sit down, saying that her brother can still be saved. When she asks how, he gives in to his growing excitement, and tells her that Rodya's fate rests with her. Losing control, he declares his love for her, begging her to accept his love. Terrified, Dunya rushes to the door, banging on it and shouting for someone to open it.

Svidrigailov, suddenly mocking and dangerous, tells her that she is wasting her energy because the landlady is out. He pretends to have lost the key.

Dunya exclaims, "Ah! So it's force! Svidrigailov mockingly argues that all the cards are against her, both in actuality and in appearance. He sits down to wait for her decision.

Suddenly, she whips out a revolver. Surprised, Svidrigailov jumps up and exclaims that the revolver is his. Dunya accuses him of having poisoned Marfa Petrovna. She orders him not to move; if he does, she will shoot.

He takes a step, and she shoots, grazing his scalp. Svidrigailov is still grinning, but grimly; Dunya seems not to grasp what is going on. He approaches slowly, taunting her; she pulls the trigger but the gun misfires. Svidrigailov stops, waiting for her to try again.

Suddenly she tosses the gun away. He goes to her and puts his arm around her. She implores him to let her go, and her tone startles him. He ascertains that she does not love him and never can. He looks at her, then suddenly leaves her and goes to the window.

He hands her the key and orders her in a fearful tone to leave quickly. She does. After a while, Svidrigailov at last turns around, cleans up the blood on his head, puts the gun in his pocket, and goes out. A remarkable detail of translation comes into play in this chapter.

Russian possesses two forms of "you," the second person singular and the second person plural. Generally the plural form is used, as it is at the start of Dunya's conversation with Svidrigailov. However, at some point they revert to the second person singular, which, according to the translator's note, "Russians generally use only with family and intimate friends.

Active Themes. Criminality, Morality, and Guilt. Raskolnikov walks passed Dunya in the night, not recognizing her; Dunya has come to meet with Svidrigailov , who has only used his carriage as a decoy to get rid of Raskolnikov. Svidrigailov convinces Dunya to follow him back to his apartment, where he wishes Sonya to corroborate his story about Raskolnikov.

Sonya is still not home, but Svidrigailov invites Dunya to his apartment and tells her that he eavesdropped on Raskolnikov from behind the adjoining wall.

Dunya questions what Svidrigailov has first said in his letter: that Raskolnikov has committed a terrible crime. It is on this point that Dunya becomes nervous: despite everything, she still loves Raskolnikov deeply. Madness and Intoxication. Svidrigailov insists, however, that he knows the truth, and that he heard Raskolnikov spill out his soul to Sonya over the course of two nights.

Dunya has a hard time believing the terrible truth about her brother. Dunya says no and attempts to escape the locked apartment. Svidrigailov tells Dunya that Raskolnikov has murdered the two women. She has had her suspicions, it is here revealed, but despite all this Dunya will not be compromised—her purity remains intact.

Svidrigailov becomes enraged at this, hoping to entangle Dunya in his own immorality. Sign Up. Already have an account? Sign in. From the creators of SparkNotes, something better. Literature Poetry Lit Terms Shakescleare.

Download this LitChart! Teachers and parents! Struggling with distance learning? Our Teacher Edition on Crime and Punishment can help. Themes All Themes. People cannot get along and so tear each other apart. One day, she manages to meet him outside. They sit next to each other for a moment, holding hands. Previously, when they had such opportunities and held hands, Raskolnikov felt a sense of revulsion.

But this time is different. He collapses in tears and embraces her. They both realize that he truly loves her. They resolve to wait out the remaining seven years of his prison term.

That evening, Raskolnikov thinks about Sonya and experiences the ecstasy of love. From underneath his pillow he takes a copy of the New Testament that Sonya had given him.