A series of accidents has led an axe murderer, the murderer of Lizaveta who raised only one hand up as he was about to slice his axe into her head, to ask a child to love him. He certainly does not deserve her love but he receives it anyway in spite of what he has done: that is what makes it miraculous.

“By way of answer he saw the little girl’s face approaching him, her full lips naively held out to kiss him. Suddenly her arms as thin as sticks held him tightly, her head rested on his shoulder and the little girl wept softly, pressing her face against him.”

Sonya has sent a little angel to Raskolnikov and we will see that, despite her foul profession, Sonya is a divine woman or at least a woman whose soul is permanently influenced by something divine. But we should be careful and not begin thinking that Dostoevsky is out to show us angels or divine women as symbols of a divine world beyond and above us. He is not after some divine world up in the clouds. He is after what is inside humans and only what is truly inside them, holy or unholy. He has no eyes to look into the souls of people like Raskolnikov’s sister’s fiance, Luzhin, or bourgeois rational people in general because they have covered themselves over with layer after layer of stuffed-shirt rationalism and intentional behavior. They don’t look ever into their own souls and have condemned themselves to being soulless. But people like Sonya, degraded and humiliated by her poverty, defenseless, have nothing at all coming from the outside world or coming from what is superficial in their own nature to help them construct some kind of strong practical ego. Everything around them insults their nature and makes them suffer. They can be looked into by Dostoevsky because they have nothing left to give themselves except their soul. He is not against angels and saints but he is not interested in them. He is passionate about trying to see if there is anything divine on earth and he knows for certain that if there is it can only be found in the human soul, a place that accidentally became visible to him when the Tsar of all the Russians cancelled at the last moment his execution and gave him a second pair of eyes.

During a scene at Raskolnikov’s room between his friend, Razumihin, his sister Dounia, and his mother, Pulcheria Alexandrovna, Sonya opens the door and walks in. She has come to invite Raskolnikov to her father’s funeral and also to the dinner her stepmother is preparing that will take place after the burial. She is extremely embarrassed and her child-like “kindliness and simplicity in her expression” touches Raskolnikov. Sonya is also touched by him. He asks her for her address and promises to come to see her. Her appearance in the room of the murderer is angelic and something passes between the two that comes into Raskolnikov’s soul from a world that for him does not exist. She in turn feels a mysterious connection with Raskolnikov. “Never, never had she felt anything like this. Dimly and unconsciously a whole new world was opening before her.” When Raskolnikov comes to her residence later the same day, he has a long talk with the angelic Sonya and has a chance to enter this “whole new world” that has opened before Sonya. Something during this their second meeting attaches him permanently to her but something else prevents him from entering her world.

It is a main theme of Dostoevsky’s novels to bring characters struggling mightily with mental problems of various kinds to the point of belief. But most of them never make a magical leap of faith. What blocks them for the most part is an extreme reliance on the power of the mind although the influence of their mind does not completely explain their inability to reach the baptism that awaits them by a discovery of an independent, blessed power in their soul. Their isolation in their minds is strange, mysterious. An interesting way to understand the direction that Dostoevsky’s characters take is to compare them with the direction of Shakespeare’s Hamlet. Hamlet at the beginning of the play is an emotional mystic who talks to a ghost, the supposed spirit of his dead father who urges him from somewhere beyond the grave to avenge his murder by his brother. Hamlet is unable to rely sufficiently on this mystical revelation to avenge his dead father by murdering his uncle. In fact, he does not know certainly, objectively that his uncle has murdered his father until the third act. Finally, at the end of the play, Hamlet’s development leads him to rely solely on his rationality to direct him. “Readiness is all”, he announces in act five. Raskolnikov on the other hand is ready for all at the beginning of his drama and he never gives up his reliance on his reason. Hamlet’s youthful madness at the beginning of the play when he talks to a spirit develops to a sane reliance on reason to keep him ready to face the world realistically. Raskolnikov develops from an extreme reliance on reason to an insane reliance on it. His development should be from the rational to the mystical, the very opposite of Hamlet’s development, but, in the main body of his story, Dostoevsky will not allow him to go in that direction and discover the relief waiting for him in his soul. Raskolnikov’s rational aberrations from the normal use of reason will be repeated often in other characters in other Dostoevsky novels taking other forms, but it is always the same theme and the same judgment on their author’s part: an extreme reliance on reason alone becomes an insane aberration and drives a human completely away from any solace that can come to him from the soul. Sonya offers Raskolnikov during their interview a way to reach down into his soul and drink the gentle waters of his soul’s salvation but he does not go in the direction she offers.