Dostoevsky wasn't trying to write a thriller. Honestly, if you pick up Crime and Punishment expecting a fast-paced police procedural, you’re gonna have a bad time. It’s a slog sometimes. It's sweaty, claustrophobic, and filled with people who talk way too much about their own misery.
But here’s the thing.
The people in this book aren't just names on a page. They are psychological archetypes that still walk around your neighborhood. When people search for a list of characters in crime and punishment, they usually just want to keep the names straight—because Russian naming conventions are a nightmare—but the real value is in understanding why these people exist.
St. Petersburg in the 1860s was a pressure cooker. You had radical new ideas from Europe crashing into old-school Russian tradition. Rodion Raskolnikov, our main guy, is basically the "poster child" for a quarter-life crisis gone horribly wrong. He’s stuck in a coffin-sized room, starving, and convinced he’s a genius.
Raskolnikov: The Man Who Thought He Was a God
Rodion Romanovich Raskolnikov. Most people just call him Rodya. He is the sun that every other character orbits.
He’s brilliant. He’s also incredibly arrogant. His whole "Ubermensch" theory—the idea that some people are superior and therefore allowed to break moral laws—is basically the 19th-century version of "moving fast and breaking things," just with more murder. He kills an old pawnbroker, Alyona Ivanovna, not because he needs her money (though he’s broke), but to prove he can do it without feeling guilty.
Spoilers: He feels guilty.
His name comes from the Russian word raskol, which means "schism" or "split." It’s a bit on the nose, sure. He’s literally a man divided. Half of him is a cold, rational killer; the other half is a guy who gives his last few rubles to a grieving widow he barely knows. You see this tug-of-war throughout the entire 500+ pages. He’s insufferable, but you can’t look away.
The Women Who Actually Keep the Story Moving
Most lists of characters in Crime and Punishment start and end with the men, but the women are the moral backbone of the narrative.
Sonya Marmeladov: The "Holy Sinner"
Sofya Semyonovna Marmeladov is Raskolnikov’s direct opposite. She’s forced into prostitution to save her family from starving because her dad is a hopeless drunk. Society sees her as "fallen," but Dostoevsky paints her as the most pure soul in the book. She’s the one who eventually convinces Raskolnikov to confess.
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She doesn't argue with him. She doesn't use logic. She just shows him empathy, which is the one thing his "superior man" theory can't account for. Sonya is the personification of self-sacrifice. It's heavy stuff.
Dunya: The Sister Who Refuses to Be a Victim
Avdotya Romanovna Raskolnikov (Dunya) is Rodion’s sister. She’s smart, fiercely independent, and constantly being hunted by creepy men. First, it’s Svidrigailov, then it’s Luzhin.
Dunya is arguably the strongest character in the book. While her brother is losing his mind in a tiny room, she’s navigating predatory marriage proposals and social disgrace to keep her mother and brother afloat. She even pulls a gun on a guy. She’s not just a "supporting character"; she’s the one who actually knows how to survive in the real world without murdering anyone.
The Victim: Alyona Ivanovna
The pawnbroker. Raskolnikov calls her a "louse." She’s mean, she cheats people, and she abuses her sister, Lizaveta. Dostoevsky makes her unlikable on purpose to test the reader. If she’s a "bad" person, does that make her murder "good"? That’s the central philosophical trap of the book.
The Men Who Want Something From Rodion
The supporting male cast is basically a spectrum of moral decay.
Porfiry Petrovich is the investigator. He’s incredible. He doesn't have physical evidence against Raskolnikov, so he just plays mind games. He’s the precursor to every "eccentric detective" trope you see on TV now. He knows Raskolnikov did it; he’s just waiting for the guy to crack under the weight of his own ego.
Then there's Svidrigailov. This guy is terrifying. He represents what Raskolnikov could become if he truly abandoned all morality. Svidrigailov has no conscience left. He’s bored, wealthy, and depraved. He’s the dark mirror of the protagonist.
Razumikhin is the only "normal" guy in the whole list of characters in Crime and Punishment. He’s Raskolnikov’s only friend. He’s energetic, kind of a dork, and genuinely cares about people. His name comes from razum, meaning "reason" or "intelligence." Unlike Raskolnikov’s twisted "logic," Razumikhin uses his brain for actually helpful things, like taking care of his sick friend and falling in love with Dunya.
The Marmeladov Family: A Lesson in Despair
You can't talk about this book without mentioning Semyon Zakharovich Marmeladov. He’s Sonya’s father. He’s an alcoholic who has drunk away his family’s future.
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His monologue in the tavern at the beginning of the book is one of the most famous scenes in literature. He knows he’s a piece of trash. He doesn't make excuses. He just asks for pity. It’s through Marmeladov that Raskolnikov first encounters the "underclass" of St. Petersburg, which complicates his whole theory about who is and isn't "useful" to society.
Then there's Katerina Ivanovna, his wife. She’s dying of consumption (tuberculosis) and losing her mind from the stress of poverty. She’s a tragic figure who clings to her "noble" upbringing while scrubbing floors. Her descent into madness is one of the hardest parts of the book to read.
Why This Specific List of Characters Matters
Dostoevsky didn't just pick these people out of a hat. They are carefully constructed to challenge Raskolnikov’s worldview.
- Luzhin shows him that "rational egoism" (doing what’s best for yourself) makes you a jerk.
- Sonya shows him that suffering can have meaning.
- Svidrigailov shows him that living without a moral compass is a death sentence.
The book is basically a massive debate about the human soul, and these characters are the debaters.
Navigating the Names: A Quick Cheat Sheet
Russian names are confusing because they change based on who is talking. Each person has a first name, a patronymic (father’s name), and a last name.
- Rodion Romanovich Raskolnikov: Rodya, Rodka.
- Sofya Semyonovna Marmeladov: Sonya, Sonechka.
- Avdotya Romanovna Raskolnikov: Dunya, Dunyechka.
- Dmitri Prokofich Vrazumikhin: Razumikhin.
- Arkady Ivanovich Svidrigailov: Just Svidrigailov.
If you’re reading the book for the first time, don't sweat the long names. Focus on the first names and the surnames. You'll get the rhythm eventually.
Common Misconceptions About the Characters
People often think Raskolnikov is a "hero" or an "anti-hero." Honestly? He’s a bit of a loser for most of the book. He’s paralyzed by his own thoughts. He’s not a "cool" killer like you see in modern movies. He’s a sick, scared, confused young man who realizes he’s not nearly as special as he thought he was.
Another mistake is seeing Sonya as weak. It takes way more strength to do what she does—sacrificing her dignity and health for others—than it does to hit an old lady with an axe.
Actionable Steps for Readers and Students
If you're studying this list of characters in crime and punishment for a class or just for your own edification, here is how to actually digest this beast of a novel:
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Track the Parallels
Draw a line down a piece of paper. On one side, put Raskolnikov. On the other, put Svidrigailov. Every time one of them does something, see if the other has a "matching" action. This "doubling" is a huge part of what Dostoevsky was doing.
Pay Attention to the Rooms
Notice how the characters' physical spaces reflect their mental states. Raskolnikov’s room is like a coffin. Sonya’s room is oddly shaped and awkward. Svidrigailov’s surroundings are often cold or sterile.
Watch the "Napoleon" References
Every time Raskolnikov mentions Napoleon, he’s talking about his theory. Napoleon is his "ideal" man who can kill thousands and be called a hero. Contrast that with the way he treats the poor people he actually meets.
Look Up the Meanings of the Names
As mentioned, Raskolnikov means "split." Razumikhin means "reason." Luzhin comes from luzha, which means "puddle." It’s a subtle way Dostoevsky tells you what he thinks of these people before they even speak.
To truly understand this book, you have to stop looking at it as a "classic" and start looking at it as a psychological case study. The characters aren't relics of the 1860s; they are mirrors. You probably know a Luzhin. You might even feel like a Raskolnikov sometimes—stuck in your own head, convinced you're meant for more, but failing to do the basic things.
That’s why we’re still talking about this list of characters over 150 years later. They are us.
Final Insight for Your Reading
Don't rush to the end to see if he gets caught. The "crime" happens in the first few chapters. The "punishment" is the rest of the book, and most of that punishment happens inside Raskolnikov’s head. Focus on the conversations between Raskolnikov and Porfiry, and Raskolnikov and Sonya. Those are the moments where the real story lives.
Get a physical copy of the book and keep a bookmark with the names and their relations to each other. It’s the easiest way to keep from getting lost in the "ovnas" and "oviches." Once you get past the naming barrier, the characters will start to feel like people you've known your whole life.
Keep a close eye on Lizaveta, the pawnbroker's sister. Though she has very little "screen time," her presence is what ultimately breaks Raskolnikov’s theory, as she was an innocent life he didn't plan to take. Her ghost, metaphorically speaking, haunts the logic of his entire experiment.