out into such distinct relief that it seems to us itself like a living actor in the drama, guiding the criminal's hand to the murderous weapon. The horrible deed is accomplished; and the unfortunate man wrestles with the recollection of it as he did with the original design. The relations of the world to the murderer are all changed, through the irreparable fact of his having suppressed a human life. Everything takes on a new physiognomy, and a new meaning to him, excluding from him the possibility of feeling and reasoning like other people, or of finding his own place in life. His whole soul is metamorphosed and in constant discord with the life around him. This is not remorse in the true sense of the word. Dostoevsky exerts himself to distinguish and explain the difference. His hero will feel no remorse until the day of expiation; but it is a complex and perverse feeling which possesses him; the vexation at having derived no satisfaction from an act so successfully carried out; the revolting against the unexpected moral consequences of that act; the shame of finding himself so weak and helpless; for the foundation of Raskolnikov's character is pride. Only one single interest in life is left to him: to deceive and elude the police. He seeks their company, their friendship, by an attraction analogous to that which draws us to the extreme edge of a dizzy precipice; the murderer keeps up interminable interviews with his friends at the police office, and even leads on the conversation to that point, when a single word would betray him; every moment we fear he will utter the word; but he escapes and continues the terrible game as if it were a pleasure.
The magistrate Porphyre has guessed the student's secret; he plays with him like a tiger with its prey, sure of his game. Then Raskolnikov knows he is discovered; and through several chapters a long fantastic dialogue is kept up between the two adversaries; a double dialogue, that of the lips, which smile and wilfully ignore; and that of the eyes which know and betray all. At last when the author has tortured us sufficiently in this way, he introduces the salutary influence which is to break down the culprit's pride and reconcile him to the expiation of his crime. Raskolnikov
