Part One:
The novel opens with Rodion Raskolnikov, a former student in St. Petersburg, walking through the streets of the city, feeling both physically and mentally drained. Raskolnikov is impoverished and struggling with a sense of purposelessness. He believes himself to be superior to the common people and begins to entertain a radical and dangerous idea: that certain extraordinary individuals have the right to commit crimes if it benefits humanity.

Raskolnikov becomes fixated on the idea of murdering Alyona Ivanovna, an old pawnbroker whom he perceives as a "louse" who preys on the poor. He believes that by killing her and stealing her money, he can free himself from his financial troubles and fulfill his potential. Raskolnikov plans the crime meticulously, thinking he is above moral constraints.

He also becomes entangled with various characters, including his mother, who has sent him money, and his sister, Dunya, who is engaged to a man named Luzhin. Luzhin is wealthy but manipulative, and he does not treat Dunya well. Raskolnikov feels guilty for the burden his poverty places on his family but is unable to confess his financial difficulties to them.

Part Two:
Raskolnikov carries out the murder of Alyona Ivanovna, but things do not go as planned. He is interrupted by her half-sister, Lizaveta, who enters the room and witnesses the crime. In a panic, Raskolnikov kills Lizaveta as well. He steals a small amount of money and jewels but is overcome by confusion and guilt. He leaves the scene in a disoriented state, unable to cope with what he has done.

The police begin to investigate the murders, and Raskolnikov’s guilt deepens. He starts to experience intense psychological distress, including fever and delirium. His paranoia increases as he believes that he is being watched by the police, but he also becomes obsessed with the idea of proving his own superiority. He justifies the murders in his mind by imagining that his actions will somehow benefit society, but he is tormented by the horror of what he has done.

Raskolnikov meets a variety of characters during this period. One of them is Sonia Marmeladov, a poor and virtuous woman who is forced to work as a prostitute to support her family. Sonia is the daughter of a government official named Marmeladov, who has squandered the family’s money on alcohol. Sonia’s kindness and moral fortitude stand in stark contrast to Raskolnikov’s inner turmoil. He is drawn to her, and they develop a relationship based on mutual understanding and sympathy.

Part Three:
Raskolnikov’s mental state continues to deteriorate as he becomes increasingly isolated and detached from reality. He begins to question whether he is truly "extraordinary" as he once believed or if he is just a common criminal. His guilt becomes unbearable, and he struggles to reconcile his actions with his theory of moral superiority.

The investigation into the murders intensifies, and Raskolnikov is unable to control his growing fear of being caught. He meets with a police detective, Porfiry Petrovich, who seems to take an unusual interest in him. Porfiry is intelligent and perceptive, and he begins to suspect that Raskolnikov is involved in the crime. However, Porfiry does not immediately confront him and instead engages in friendly, seemingly casual conversations that only serve to heighten Raskolnikov’s paranoia.

Meanwhile, Raskolnikov’s sister Dunya is facing her own personal struggles. She is being courted by Luzhin, but she has become aware of his true nature. She does not love him and feels trapped in the relationship. Eventually, Dunya rejects Luzhin, but he refuses to accept her decision and spreads false rumors about her.

Raskolnikov’s mental state becomes more erratic, and he starts to lose control of his thoughts and actions. He contemplates confessing to the murders but is paralyzed by fear and indecision. His relationship with Sonia deepens, and she becomes a source of emotional support for him, offering him compassion and understanding despite his dark actions.

Part Four:
Raskolnikov’s internal conflict reaches a boiling point. He isolates himself from his family and friends and becomes obsessed with the idea of confronting the police and confessing his crime. He begins to have vivid dreams and hallucinations, further unraveling his sanity. At the same time, he remains determined to prove his intellectual superiority by outwitting the authorities.

Porfiry Petrovich continues to engage with Raskolnikov, trying to get him to confess without directly accusing him. He uses subtle psychological tactics, playing on Raskolnikov’s guilt and vanity. This cat-and-mouse game intensifies, with Raskolnikov becoming increasingly unsure of his own identity and moral standing.

Sonia’s love and compassion continue to influence Raskolnikov, and he begins to open up to her about his thoughts and feelings. She urges him to seek redemption by confessing to his crime and accepting responsibility for his actions. Sonia’s faith and moral clarity become a guiding force for Raskolnikov, who is beginning to acknowledge the futility of his attempt to justify his actions.

Part Five:
Raskolnikov’s mental and emotional breakdown leads him to finally confront the truth about his crime. He confesses to Sonia and expresses his desire to face the consequences of his actions. He is torn between his fear of punishment and his desire for redemption. Sonia, ever compassionate, assures him that confession is the first step toward forgiveness.

Raskolnikov decides to turn himself in to the authorities, and he walks to the police station to make his confession. Porfiry Petrovich, who has been anticipating this moment, greets him calmly, knowing that Raskolnikov is ready to confront his guilt. Raskolnikov is arrested and sentenced to a Siberian penal colony, where he will serve a long prison sentence.

Part Six:
The novel concludes with Raskolnikov’s journey to Siberia, where he begins to come to terms with his crime. He starts to experience a spiritual awakening, realizing that his punishment is not just physical but moral. Sonia follows him to Siberia, and their relationship continues to evolve. Raskolnikov’s ultimate redemption comes not from escaping punishment but from accepting the consequences of his actions and beginning a process of personal transformation.

In the end, Crime and Punishment is not just a tale of crime and punishment but also an exploration of the human soul. Raskolnikov’s journey is one of self-discovery, grappling with guilt, and ultimately seeking redemption through confession and acceptance of his responsibility. Sonia, as a symbol of faith and compassion, plays a pivotal role in guiding him toward this realization.

Themes:
Moral Philosophy and Redemption: One of the central themes in Crime and Punishment is the question of morality and the possibility of redemption. Raskolnikov’s struggle with his crime and his ultimate realization that he must accept responsibility for his actions reflect Dostoevsky’s exploration of moral consciousness and spiritual growth.

Guilt and Psychological Conflict: The novel examines the psychological effects of guilt. Raskolnikov’s mental and emotional deterioration after committing murder reveals the destructive power of conscience and the burden of unacknowledged wrongdoing.

The Role of Suffering: Dostoevsky often emphasizes that suffering is an essential part of human existence and can lead to spiritual awakening. Sonia’s suffering and compassion, as well as Raskolnikov’s personal torment, are portrayed as pathways to spiritual redemption.

Class and Poverty: The novel portrays the effects of poverty and social inequality, especially through the lives of the poorer characters such as Sonia. Raskolnikov’s motivations for committing the murder are partially rooted in his desperation and his belief that he is entitled to escape his circumstances.

The Superiority Complex and Hubris: Raskolnikov’s belief in his own intellectual superiority and his theory of the “extraordinary man” who is above conventional morality serve as a critique of elitism and arrogance. His downfall is a result of his hubris and his belief that he can transcend moral laws.

Conclusion:
Crime and Punishment is a powerful exploration of the human psyche, grappling with themes of guilt, morality, and redemption. Through Raskolnikov’s journey, Dostoevsky delves deeply into existential questions about suffering, conscience, and the potential for spiritual rebirth. The novel remains a profound meditation on the nature of crime, punishment, and the possibility of salvation, making it one of the most important works in world literature.