Anatomy of Crime and Punishment
Fyodor Dostoevsky, 1866. Public domain in the UK and the US. The crime early; guilt as suspense.
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204,405 words
41 chapters
35% dialogue
13.9 words a sentence
mixed
13.6 hours to read
Lessons to borrow
- A character's internal theory or philosophy can drive them toward destructive action; the novel shows how intellectual pride can justify moral transgression until confronted by human suffering and love.
- Psychological investigation and subtle accusation can be more effective than direct evidence; Porfiry's method of circling the suspect and exploiting guilt proves more powerful than physical proof.
- Redemption comes not through isolation or intellectual justification but through confession, suffering, and connection to others; Raskolnikov's transformation requires both legal punishment and spiritual awakening through Sonia's love.
All 180 lenses
The 20 lenses below are the most asked for. The full set of 180 is grouped in 12 pages:
Beat positions Both
Story and structure · lens A1 · compare across books
| Beat | Where | Our reading | |
|---|---|---|---|
| Inciting incident | Ch 1 (CHAPTER I), about 1% through | Raskolnikov visits the pawnbroker to scout her flat and test his resolve for a secret plan. | |
| First turning point | Ch 5 (CHAPTER V), about 12% through | Raskolnikov learns that Lizaveta will be away, providing the opportunity to commit the murder. | |
| Midpoint | Ch 14 (CHAPTER VII), about 35% through | Marmeladov's death and Raskolnikov's mother's arrival create a shift from isolation to family connection. | |
| Low point | Ch 32 (CHAPTER I), about 80% through | Raskolnikov enters a fog of confusion and apathy as Porfiry closes in and Svidrigaïlov threatens Dounia. | |
| Climax | Ch 38 (CHAPTER VII), about 94% through | Raskolnikov confesses his crimes to the police, ending his internal struggle. | |
| Resolution | Ch 41 (II), about 99% through | Raskolnikov experiences spiritual awakening in prison through Sonia's love and declares the promise of a new story. |
I want to attempt a thing like that and am frightened by these trifles (Ch 1, para 5)
I shall go to him... on the next day after It, when It will be over and everything will begin afresh (Ch 5, para 5)
I know him! I know him!” he shouted, pushing to the front. “It’s a government clerk retired from the service, Marmeladov. (Ch 14, para 10)
Speak, speak,” seemed as though it would burst from Raskolnikov’s heart. “Come, why don’t you speak? (Ch 32, para 70)
Percent is the middle of that chapter as a share of all words. The beat labels are our AI reading of the chapter notes.
Chapter length chart Count
Pace · lens D1 · compare across books
41 chapters. Median 4,976 words, shortest 2,754, longest 7,573. Whole book 204,405 words, about 13.6 hours at 250 words a minute.
Each bar is one chapter in reading order. Hover for the title and count.
Dialogue share per chapter Count
Dialogue and voice · lens C1 · compare across books
35% of all words are dialogue. A further 21% is long told stories inside quote marks (a narrator within the story), which we count apart. Speech tags: "said" is 25% of tag verbs we found.
Cast and presence map Count
Character · lens B1, B2 · compare across books
| Character | Role (our reading) | Share of mentions | Chapters on page | First appears |
|---|---|---|---|---|
| Raskolnikov | lead | 26% | 41 of 41 | Ch 1, para 12 |
| Sonia | love interest | 13% | 20 of 41 | Ch 2, para 21 |
| Dounia | ally | 12% | 22 of 41 | Ch 3, para 39 |
| Razumihin | ally | 10% | 29 of 41 | Ch 4, para 50 |
| Katerina Ivanovna | minor | 8% | 24 of 41 | Ch 1, para 26 |
| Pyotr Petrovitch Luzhin | antagonist | 7% | 18 of 41 | Ch 3, para 39 |
| Svidrigaïlov | antagonist | 6% | 18 of 41 | Ch 3, para 39 |
| Porfiry Petrovitch | antagonist | 5% | 16 of 41 | Ch 11, para 18 |
| Pulcheria Alexandrovna | ally | 4% | 11 of 41 | Ch 4, para 1 |
| Zametov | minor | 3% | 14 of 41 | Ch 8, para 78 |
| Nikolay | minor | 2% | 10 of 41 | Ch 5, para 14 |
| Lizaveta Ivanovna | minor | 2% | 14 of 41 | Ch 1, para 19 |
Who is on the page, chapter by chapter
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Raskolnikov | |||||||||||||||||||||||||||||||||||||||||
| Sonia | |||||||||||||||||||||||||||||||||||||||||
| Dounia | |||||||||||||||||||||||||||||||||||||||||
| Razumihin | |||||||||||||||||||||||||||||||||||||||||
| Katerina Ivanovna | |||||||||||||||||||||||||||||||||||||||||
| Pyotr Petrovitch Luzhin | |||||||||||||||||||||||||||||||||||||||||
| Svidrigaïlov | |||||||||||||||||||||||||||||||||||||||||
| Porfiry Petrovitch | |||||||||||||||||||||||||||||||||||||||||
| Pulcheria Alexandrovna | |||||||||||||||||||||||||||||||||||||||||
| Zametov |
Most shared chapters: Raskolnikov and Razumihin (29), Katerina Ivanovna and Raskolnikov (24), Dounia and Raskolnikov (22), Raskolnikov and Sonia (20), Dounia and Razumihin (19).
Counts use the names and aliases in our cast list. A name in narration or speech counts as a mention.
Chapter ending hooks AI
Pace · lens D8 · compare across books
Chapter endings: 15 cliffhanger, 10 question, 10 reveal, 6 quiet.
Chapters end with cliffhangers, reveals, and questions that propel the narrative forward. Early chapters use suspense about the crime; middle chapters use psychological tension and police investigation; later chapters use emotional confrontations and moral crises.
Every chapter ending
- Ch 1: question. The final lines pose a philosophical question about human nature and cowardice that leaves the reader uncertain of Raskolnikov's moral state and intentions
- Ch 2: reveal. Raskolnikov's final cynical reflection on human nature and his bitter laugh about Sonia's situation reveals his hardened but conflicted state of mind
- Ch 3: quiet. Raskolnikov leaves his room without dread, walking aimlessly and muttering to himself, suggesting a shift from paralysis to agitation
His heart was beating violently, and his brain was in a turmoil. At last he felt cramped and stifled in the little yellow room (Ch 3, para 43)
- Ch 4: question. The chapter ends with Raskolnikov's internal conflict unresolved, questioning whether he should interfere or let events unfold
And why did I want to interfere? Is it for me to help? Have I any right to help? (Ch 4, para 47)
- Ch 5: reveal. The discovery that Lizaveta will be away at seven o'clock the next evening reveals the opportunity Raskolnikov needs, sealing his fate
- Ch 6: cliffhanger. Raskolnikov reaches the pawnbroker's building and begins climbing the stairs toward the murder
But his heart did not leave off. On the contrary, as though to spite him, it throbbed more and more violently (Ch 6, para 60)
- Ch 7: cliffhanger. Raskolnikov returns home in a state of dissociation, unable to fully process what he has done
He was not fully conscious when he passed through the gateway of his house! He was already on the staircase before he recollected the axe (Ch 7, para 89)
- Ch 8: reveal. The chapter ends with Raskolnikov's terror returning as he leaves the police station, overhearing talk of the murder investigation and realizing a search may be imminent
His former terror mastered him completely again. (Ch 8, para 174)
- Ch 9: question. Nastasya tells him no one beat the landlady and attributes his experience to blood clotting in his ears, leaving ambiguous whether the event was real or hallucination
No one has been here. That’s the blood crying in your ears. When there’s no outlet for it and it gets clotted, you begin fancying things. (Ch 9, para 66)
- Ch 10: quiet. A tall, stout man whose appearance seems familiar to Raskolnikov enters the room, suggesting a new development
With a sense of comfort he nestled his head into the pillow, wrapped more closely about him the soft, wadded quilt which had replaced the old, ragged greatcoat, sighed softly and sank into a deep, sound, refreshing sleep. (Ch 10, para 94)
- Ch 11: cliffhanger. A stranger enters the room, interrupting the discussion and creating new tension
Behind the door? Lying behind the door? Behind the door?” Raskolnikov cried suddenly, staring with a blank look of terror at Razumihin (Ch 11, para 55)
- Ch 12: quiet. Zossimov and Razumihin leave Raskolnikov alone as he demands, with Zossimov noting his fixed idea about the murder
he takes no interest in anything, he does not respond to anything except one point on which he seems excited--that’s the murder? (Ch 12, para 109)
- Ch 13: cliffhanger. Raskolnikov sees a crowd and carriage ahead, having made up his mind to go to the police station and confess
he had fully made up his mind to go to the police station and knew that it would all soon be over. (Ch 13, para 210)
- Ch 14: reveal. Raskolnikov's mother and sister are revealed waiting in his room, a shock that makes him faint and resets the entire emotional landscape
Sonia with a faint cry ran up, embraced him and remained so without moving. He died in her arms. (Ch 14, para 85)
- Ch 15: question. Will Razumihin keep his promises? Will the mother and sister trust him? The chapter ends with uncertainty about what comes next
Well, hang it, brother, what stuff I’m talking, it’s bedtime! Listen. I sometimes wake up at night; so I’ll go in and look at him. (Ch 15, para 89)
- Ch 16: question. The landlady's door opens slightly as they approach Raskolnikov's room, suggesting something unexpected awaits them
When their eyes met, the door was suddenly shut with such a slam that Pulcheria Alexandrovna almost cried out. (Ch 16, para 85)
- Ch 17: question. Pulcheria Alexandrovna's final words about accepting Dounia's decision leave uncertainty about the evening confrontation
Better let us have the whole truth.... Pyotr Petrovitch may be angry or not, now! (Ch 17, para 137)
- Ch 18: cliffhanger. The mysterious gentleman discovers Sonia's address and reveals himself as her neighbour, creating ominous uncertainty
Bah!” muttered the unknown gentleman, and mounted the stairs behind her. (Ch 18, para 86)
- Ch 19: cliffhanger. Porfiry's final question about whether Raskolnikov imagined himself an extraordinary man capable of murder leaves the accusation hanging as they depart
And, if so, could you bring yourself in case of worldly difficulties and hardship or for some service to humanity--to overstep obstacles?... For instance, to rob and murder? (Ch 19, para 145)
- Ch 20: cliffhanger. Svidrigaïlov's sudden appearance and introduction as a visitor who has been watching Raskolnikov sleep leaves the reader in suspense about his intentions and knowledge.
Arkady Ivanovitch Svidrigaïlov, allow me to introduce myself.... (Ch 20, para 69)
- Ch 21: question. Svidrigaïlov's cryptic remarks about a journey and a possible marriage, combined with his claim to have seen Raskolnikov this morning, leave his true intentions and knowledge ambiguous.
Yes, tell her. Well, your servant. I am staying very near you. (Ch 21, para 129)
- Ch 22: reveal. Luzhin's true character is exposed through his final bitter accusations about Dounia's reputation and his wounded pride, revealing his mercenary motives and vindictive nature.
Pyotr Petrovitch gazed at him for some seconds with a pale face that worked with anger, then he turned, went out, and rarely has any man carried away in his heart such vindictive hatred as he felt against Raskolnikov. (Ch 22, para 110)
- Ch 23: cliffhanger. Raskolnikov's departure and his cryptic exchange with Razumihin, in which something awful and hideous seems to pass between them, leave the reader uncertain about Raskolnikov's intentions and knowledge.
Do you understand now?” said Raskolnikov, his face twitching nervously. “Go back, go to them,” he said suddenly, and turning quickly, he went out of the house. (Ch 23, para 57)
- Ch 24: cliffhanger. Raskolnikov's cryptic promise to reveal the murderer of Lizaveta leaves Sonia in anguish and confusion, and the revelation that Svidrigaïlov has been listening at the door suggests hidden dangers
If I don’t come to-morrow, you’ll hear of it all, and then remember these words. And some day later on, in years to come, you’ll understand perhaps what they meant. If I come to-morrow, I’ll tell you who killed Lizaveta. (Ch 24, para 205)
- Ch 25: cliffhanger. Nikolay's sudden confession and Porfiry's dismissal of Raskolnikov leave the situation unresolved; Raskolnikov is temporarily free but knows Porfiry suspects him and will pursue him further
You’ve sent for them! You expected them! Well, produce them all: your deputies, your witnesses, what you like!... I am ready! (Ch 25, para 102)
- Ch 26: quiet. Raskolnikov leaves his flat with renewed confidence, having learned the source of Porfiry's knowledge and realising that Nikolay's confession, though false, has bought him time
- Ch 27: question. Luzhin seems preoccupied and excited, rubbing his hands; Lebeziatnikov notices but cannot fathom his thoughts, leaving the reader uncertain of his intentions.
Pyotr Petrovitch seemed excited and rubbed his hands. Lebeziatnikov remembered all this and reflected upon it afterwards. (Ch 27, para 92)
- Ch 28: cliffhanger. Pyotr Petrovitch appears at the threshold, signalling that something momentous is about to occur.
At that minute the door opened, and Pyotr Petrovitch Luzhin appeared on the threshold. (Ch 28, para 40)
- Ch 29: reveal. Raskolnikov declares his intention to visit Sonia, suggesting he will now take direct action in her life.
- Ch 30: cliffhanger. Lebeziatnikov knocks at the door, interrupting their moment; the reader wonders what will happen next
- Ch 31: reveal. Katerina Ivanovna's death is revealed; Svidrigaïlov's sinister knowledge and power become clear as he offers to solve all problems
- Ch 32: cliffhanger. Porfiry arrives at Raskolnikov's door; the final moment seems to have come, leaving the reader in suspense
Speak, speak,” seemed as though it would burst from Raskolnikov’s heart. “Come, why don’t you speak? (Ch 32, para 70)
- Ch 33: question. Porfiry leaves with cryptic advice about suffering and a strange request about a stone, leaving Raskolnikov uncertain of his fate
- Ch 34: cliffhanger. Svidrigaïlov departs mysteriously with unfinished business, and Raskolnikov resolves to follow him
I have not much time, and can’t stay long with you, it’s a pity! (Ch 34, para 72)
- Ch 35: reveal. Svidrigaïlov's engagement to a child and his imminent departure are revealed, ending the conversation
I sincerely regret not having had more talk with you, but I shan’t lose sight of you. (Ch 35, para 34)
- Ch 36: cliffhanger. Svidrigaïlov takes the revolver and leaves with a mysterious smile, suggesting he may harm himself
A minute later, beside herself, she ran out on to the canal bank in the direction of X. Bridge. (Ch 36, para 127)
- Ch 37: reveal. The final lines reveal Svidrigaïlov's suicide as inevitable and complete, with the guard's protest unheeded
Svidrigaïlov pulled the trigger. (Ch 37, para 63)
- Ch 38: reveal. The confession is stated plainly and directly, ending the chapter with the deed done
It was I killed the old pawnbroker woman and her sister Lizaveta with an axe and robbed them. (Ch 39, para 84)
- Ch 39: quiet. The confession is complete and accepted; the chapter ends with Raskolnikov's statement repeated
It was I killed the old pawnbroker woman and her sister Lizaveta with an axe and robbed them. (Ch 39, para 84)
- Ch 40: question. The chapter ends with Sonia's letters reporting Raskolnikov's illness and isolation, raising questions about his future
In the last letter Sonia wrote that he had been taken very seriously ill and was in the convict ward of the hospital. (Ch 40, para 20)
- Ch 41: quiet. The chapter ends with the promise of a new story, suggesting transformation is beginning but not yet complete
That might be the subject of a new story, but our present story is ended. (Ch 41, para 30)
Viewpoint per chapter Both
Viewpoint and narration · lens E2 · compare across books
Counted: the narration is mostly mixed (first person words per 1,000 outside speech: 16.9).
The narrative primarily follows Raskolnikov's perspective, allowing readers into his guilt and rationalisation. Occasional shifts to other viewpoints (Porfiry, Svidrigaïlov, Katerina Ivanovna) provide external perspectives on his actions.
- Ch 1 to 10: Raskolnikov
- Ch 11: Third person, mostly Razumihin's perspective
- Ch 12: Third person, balanced between Luzhin and Raskolnikov
- Ch 13: Raskolnikov's viewpoint
- Ch 14: Raskolnikov
- Ch 15: Raskolnikov, then Razumihin
- Ch 16: Razumihin, then Pulcheria Alexandrovna and Dounia
- Ch 17: Zossimov observing, then Raskolnikov's internal thoughts
- Ch 18: Raskolnikov's perspective, then omniscient narrator for Sonia's departure and the stranger
- Ch 19: Raskolnikov's internal thoughts and observations
- Ch 20 to 26: Raskolnikov
- Ch 27: Third person, primarily Pyotr Petrovitch's thoughts
- Ch 28: Third person, omniscient with focus on Katerina Ivanovna and Raskolnikov
- Ch 29: Third person, omniscient with focus on Sonia, Raskolnikov, and the crowd
- Ch 30: Raskolnikov
- Ch 31: Raskolnikov and omniscient
- Ch 32 to 35: Raskolnikov
- Ch 36: Raskolnikov and Dounia
- Ch 37: Svidrigaïlov
- Ch 38 to 39: Raskolnikov
- Ch 40: Third person narrator
- Ch 41: Raskolnikov
Want and need of the lead AI
Character · lens B3 · compare across books
| Lead | Raskolnikov |
|---|---|
| Wants | To prove his theory that extraordinary men may transgress moral law and commit murder for a higher purpose. |
| Needs | To accept his common humanity, confess his crime, and find redemption through suffering and love. |
| False belief | That he is an extraordinary man exempt from ordinary morality and that murder can be justified by rational theory. |
| Arc | positive. Raskolnikov moves from arrogant isolation and crime through psychological torment to confession and spiritual awakening through Sonia's love. |
Scene log AI
Story and structure · lens A4 · compare across books
One line per chapter: goal, conflict, outcome
| Ch | Summary | Goal | Conflict | Outcome |
|---|---|---|---|---|
| 1 | A poor student named Raskolnikov visits a pawnbroker to scout her flat and test his resolve for a secret plan he has been contemplating for a month. | Raskolnikov wants to observe the pawnbroker's flat and assess the feasibility of his hidden scheme | His anxiety about trivial details like his worn hat, his fear of being noticed, and his moral revulsion at his own thoughts | He pawns a watch, observes the layout and the old woman's habits, learns about her sister, and leaves in deep confusion and self-disgust |
| 2 | Raskolnikov meets a drunken former clerk named Marmeladov in a tavern, who tells him the tragic story of his family's poverty and his daughter Sonia's descent into prostitution. | Marmeladov seeks company and sympathy; Raskolnikov seeks distraction from his troubled thoughts | Marmeladov's degradation and his family's suffering; Raskolnikov's cynical detachment versus his involuntary compassion | Raskolnikov accompanies Marmeladov home, witnesses the family's desperation, and leaves money on the window sill despite his own poverty |
| 3 | Raskolnikov wakes ill-tempered in his squalid room, receives a letter from his mother announcing his sister Dounia's engagement to Pyotr Petrovitch Luzhin and the family's imminent arrival in Petersburg. | Raskolnikov's mother seeks to inform him of family developments and secure his approval and happiness | The letter reveals his sister's sacrifice and dependence on a man Raskolnikov may despise; his mother's hopes clash with his bitter, isolated state | Raskolnikov reads the long letter, becomes pale and distorted with wrathful emotion, then walks out into the city in turmoil |
| 4 | Raskolnikov reads his mother's letter about his sister's engagement to Luzhin and tortures himself with thoughts about their sacrifice, then encounters a drunk girl on the boulevard and experiences a moral crisis. | Raskolnikov wants to prevent his sister's marriage to Luzhin | His family believes the marriage will secure their future; he sees it as a degrading sacrifice | He resolves to stop it but realizes he has no power; he then helps a drunk girl and later abandons her |
| 5 | Raskolnikov wanders the city in a feverish state, falls asleep and dreams of a horse being beaten to death, then wakes resolved to abandon his dark thoughts, but encounters Lizaveta at the Hay Market and learns the old pawnbroker will be alone the next evening. | Raskolnikov seeks distraction and relief from his tormented thoughts | His mind keeps returning to a terrible plan he has been considering; fever and exhaustion cloud his judgment | He dreams of violence, wakes determined to renounce his plan, but then learns crucial information that makes the plan seem possible |
| 6 | Raskolnikov learns more about the pawnbroker through a student's conversation, prepares his tools for the crime, and finally obtains an axe from the porter's room before heading to commit the murder. | Raskolnikov prepares to murder the old pawnbroker | He struggles with doubt and practical obstacles; his hands shake and his mind wavers between commitment and renunciation | Despite his hesitations, he obtains the axe and sets out toward the pawnbroker's flat |
| 7 | Raskolnikov murders the old pawnbroker with an axe, then unexpectedly encounters and kills her sister Lizaveta, barely escapes detection by two visitors, and returns home in a state of shock and dissociation. | Raskolnikov commits the murder and steals from the pawnbroker | He faces unexpected obstacles: the pawnbroker's suspicion, Lizaveta's arrival, and two visitors arriving at the flat | He kills both women, steals some valuables, and escapes by hiding in an empty flat |
| 8 | Raskolnikov wakes from fever and delirium, frantically searches his room for evidence of the murder, hides the stolen goods, receives a police summons about a debt, and goes to the police station where he learns the summons concerns only money owed to his landlady. | Raskolnikov must hide evidence and respond to the police summons | His fevered state makes him paranoid and forgetful; he finds blood on his clothes and pocket; the police summons terrifies him | He hides the stolen items under a stone in a courtyard; the police summons proves to be about an unpaid debt, not the murder |
| 9 | Raskolnikov disposes of the stolen goods in a courtyard, visits Razumihin but leaves abruptly, wanders the city in mental turmoil, and returns home where he experiences a terrifying hallucination of Ilya Petrovitch beating his landlady. | Raskolnikov must dispose of the stolen goods and manage his psychological state | His paranoia and fever make him question his own actions; he cannot find a safe place to dispose of items; he is repulsed by human contact; he experiences a horrifying hallucination | He buries the goods under a stone; he visits and abandons Razumihin; he throws away money given to him; he hallucinates violence and is told by Nastasya it was not real |
| 10 | Raskolnikov recovers consciousness after days of fever and delirium, receives money from his mother through a messenger, and Razumihin cares for him and buys him new clothes. | Raskolnikov must recover from illness and manage his affairs | He is weak and confused; Razumihin's presence and care make him uncomfortable; he struggles with gratitude and dependence | He accepts food and money; he allows Razumihin to help him; he sleeps deeply and wakes refreshed; Razumihin buys him new clothes |
| 11 | Raskolnikov recovers from illness as his doctor visits, and Razumihin passionately defends a painter wrongly suspected of murdering the pawnbroker, while Raskolnikov reacts with terror to details of the crime. | Zossimov to check Raskolnikov's health; Razumihin to convince others of the painter's innocence | Raskolnikov's strange distress at hearing murder details; the circumstantial evidence against Nikolay the painter | Zossimov declares him recovering; Razumihin argues the painter is innocent based on psychological impossibility of his guilt |
| 12 | Pyotr Petrovitch Luzhin, Raskolnikov's future brother-in-law, visits the sick man and is insulted when Raskolnikov accuses him of wanting to control his sister through poverty. | Luzhin to inform Raskolnikov of his mother and sister's arrival and establish himself as fiancé | Raskolnikov's hostile reception and accusation about Luzhin's motives toward his sister | Luzhin leaves offended; Raskolnikov becomes agitated and demands to be left alone |
| 13 | Raskolnikov leaves his room, reads newspapers about the murder, meets Zametov and nearly confesses to the crime, then visits the murder flat and finally heads toward the police station. | Raskolnikov to end his torment by confessing or taking some decisive action | His wavering resolve, physical weakness, and psychological compulsion to revisit the crime scene | He visits the flat, nearly confesses to Zametov, is thrown out by a porter, and walks toward the police station |
| 14 | Raskolnikov witnesses a man run over by a carriage, recognises him as Marmeladov, brings him to his lodgings where he dies surrounded by his desperate family. | Save Marmeladov's life and comfort his family | Marmeladov is mortally injured; his wife Katerina Ivanovna is consumed by despair and rage; social chaos erupts around the deathbed | Marmeladov dies in his daughter Sonia's arms; Raskolnikov gives money and experiences a sudden surge of life and purpose |
| 15 | Raskolnikov's mother and sister arrive; he demands his sister refuse Luzhin; Razumihin escorts the ladies home and becomes infatuated with Dounia despite his shame at his drunken behaviour. | Raskolnikov wants to prevent his sister's marriage to Luzhin; the mother seeks to understand her son's condition | Raskolnikov is irritable and demands obedience; his mother wants closeness; Razumihin's drunken infatuation complicates matters | The ladies leave reluctantly; Razumihin escorts them and makes elaborate promises to report on Raskolnikov's health |
| 16 | Razumihin wakes ashamed of his drunken behaviour toward Dounia; he visits the ladies at their lodgings and discusses Raskolnikov's character; they prepare to visit Raskolnikov together. | Razumihin seeks to redeem himself and help the family understand Raskolnikov; the ladies want to see their son | Razumihin's shame and self-doubt; Luzhin's letter creates uncertainty about how to proceed; poverty and poor lodgings embarrass the ladies | Razumihin provides a detailed account of Raskolnikov's character; the ladies decide to visit Raskolnikov despite their fears |
| 17 | Raskolnikov receives his mother and sister, manages their concerns about his health, and confronts Dounia about her engagement to Luzhin while reading his letter. | Raskolnikov wants to reconcile with family while opposing Dounia's marriage; family wants to see him well and happy | Raskolnikov's strange behaviour and coldness conflict with family affection; his moral objections to Luzhin create tension | Superficial reconciliation occurs; Raskolnikov agrees to attend evening meeting with Luzhin; Sonia Marmeladov arrives unexpectedly |
| 18 | Sonia Marmeladov visits Raskolnikov to invite him to her father's funeral service; Raskolnikov then visits Porfiry Petrovitch with Razumihin to claim his pawned items, while an unknown gentleman follows Sonia. | Sonia wants to invite Raskolnikov to the funeral; Raskolnikov wants to retrieve his pledges from police | Sonia's shame and fear of Raskolnikov's poor room; Raskolnikov's anxiety about police investigation into the old woman's murder | Sonia leaves with invitation; Raskolnikov and Razumihin go to Porfiry; mysterious man follows Sonia and learns where she lives |
| 19 | Raskolnikov meets Porfiry Petrovitch at his flat, discusses his published article on crime and extraordinary men, and faces subtle accusations about the old woman's murder. | Raskolnikov wants to claim his pledges; Porfiry wants to question him about the murder and test his theories | Porfiry's probing questions and insinuations versus Raskolnikov's need to appear innocent and composed | Raskolnikov defends his article's ideas about extraordinary men having the right to commit crimes; Porfiry hints he knows about Raskolnikov's visit to the old woman's flat |
| 20 | Raskolnikov discusses the police investigation with Razumihin, then encounters a mysterious stranger who accuses him of murder, and later receives an unexpected visit from Svidrigaïlov. | Raskolnikov seeks to understand the police suspicions and evade detection; Svidrigaïlov seeks to meet Raskolnikov and propose helping his sister. | A stranger accuses Raskolnikov directly; Svidrigaïlov's arrival and cryptic behaviour create mounting dread; Raskolnikov's guilt manifests in panic and fever. | Raskolnikov checks his hidden evidence in terror; Svidrigaïlov introduces himself and reveals knowledge of Raskolnikov's inner state; Raskolnikov experiences a nightmarish dream and wakes to find Svidrigaïlov watching him. |
| 21 | Svidrigaïlov reveals his past, his visions of his dead wife, and his intention to help Raskolnikov's sister break her engagement to Luzhin by offering her ten thousand roubles. | Svidrigaïlov seeks to gain Raskolnikov's trust and permission to see Dounia; Raskolnikov seeks to understand Svidrigaïlov's motives and refuse his help. | Svidrigaïlov's smooth justifications for his past behaviour clash with Raskolnikov's moral disgust; Svidrigaïlov's claims of supernatural visitations and philosophical musings unsettle Raskolnikov. | Svidrigaïlov explains his history, defends himself, and proposes to offer Dounia money to leave Luzhin; Raskolnikov refuses but Svidrigaïlov threatens to approach Dounia directly; they part with Svidrigaïlov hinting at a coming journey or marriage. |
| 22 | Raskolnikov warns Razumihin about Svidrigaïlov; Luzhin arrives and quarrels with the family over his wounded pride and Raskolnikov's behaviour; Dounia breaks the engagement and expels Luzhin. | Luzhin seeks an explanation and apology; Dounia seeks to reconcile her brother and fiancé or choose between them; Raskolnikov seeks to expose Luzhin's true nature. | Luzhin's wounded vanity and demands clash with Dounia's insistence on reconciliation; Raskolnikov's revelations about Luzhin's letter and Svidrigaïlov's visit provoke Luzhin's fury; Dounia chooses her brother over her fiancé. | Luzhin is expelled from the room after making bitter accusations; Dounia breaks the engagement; the family is relieved and united, though Raskolnikov remains withdrawn. |
| 23 | After Luzhin's departure, the family celebrates their freedom; Raskolnikov reveals Svidrigaïlov's offer and intentions; Razumihin proposes a publishing business; Raskolnikov announces he must leave and part from his family. | The family seeks to celebrate and plan their future; Raskolnikov seeks to separate himself from them; Razumihin seeks to build a life with them. | Raskolnikov's determination to leave clashes with his family's desire to keep him close; his cryptic remarks about perhaps never seeing them again cause alarm and confusion. | Raskolnikov departs despite his family's pleas; Razumihin follows him and receives a cryptic warning; Razumihin returns to comfort the family and takes his place as their protector. |
| 24 | Raskolnikov visits Sonia in her squalid room, questions her about her family and circumstances, then asks her to read the story of Lazarus from the New Testament, which she does with deep emotion. | Raskolnikov seeks to understand Sonia's faith and her ability to endure her degradation; he wants her to read scripture to him | Sonia is confused and frightened by his visit; he torments her with questions about her family's future and suggests she might be better off dead; she resists his nihilism with faith | Sonia reads the raising of Lazarus with passionate conviction; Raskolnikov declares he has abandoned his family and demands they go together on 'the same road'; he hints he will tell her who killed Lizaveta |
| 25 | Raskolnikov goes to Porfiry Petrovitch's office for questioning; Porfiry engages him in a long, rambling psychological game, hinting at knowledge of his visit to the flat and his questions about blood, but never directly accusing him; the interview is interrupted by the sudden arrival of Nikolay, who confesses to the murders. | Porfiry seeks to psychologically manipulate Raskolnikov into betraying himself; Raskolnikov wants to know if he is under suspicion and to escape the interrogation | Porfiry's evasive, playful manner and cryptic hints about evidence drive Raskolnikov into a frenzy; Raskolnikov's nervous outbursts and admissions of his visit to the flat play into Porfiry's hands | Porfiry reveals he knows about the flat visit and the blood inquiry; Raskolnikov nearly loses control and demands formal arrest; Nikolay's unexpected confession interrupts the scene and Raskolnikov is released |
| 26 | Nikolay is brought in and confesses to murdering the pawnbroker and Lizaveta; Porfiry dismisses Raskolnikov; the man from underground then appears at Raskolnikov's flat to confess his 'evil thoughts' and reveals he was Porfiry's hidden listener and the source of the information about the flat visit. | Nikolay seeks to confess to the murders; the man from underground seeks to apologise for his role in informing on Raskolnikov; Raskolnikov seeks to understand what has happened and whether he is safe | Nikolay's confession is sudden and unexpected; Porfiry doubts its authenticity; the man from underground's revelation explains the source of Porfiry's knowledge but also confirms Raskolnikov's danger | Nikolay is taken into custody; Raskolnikov is released and learns the truth about Porfiry's 'surprise'; he realises he is temporarily safe but still under suspicion |
| 27 | Pyotr Petrovitch broods over his broken engagement and schemes to manipulate Sonia with charity while despising Lebeziatnikov's progressive ideas. | Pyotr Petrovitch wants to recover from his humiliation and control events through money and influence. | His wounded pride, financial losses, and contempt for those around him clash with his need to appear respectable. | He gives Sonia ten roubles ostensibly for Katerina Ivanovna's benefit, while secretly planning something darker. |
| 28 | Katerina Ivanovna hosts a chaotic funeral dinner that descends into conflict with Amalia Ivanovna and reveals her pride, desperation, and fragile mental state. | Katerina Ivanovna wants to honour her husband's memory and prove her family's respectability to the lodgers. | Poor guests, Amalia Ivanovna's presumption, absent respectable people, and Katerina Ivanovna's volatile temperament undermine the occasion. | The dinner becomes a scene of humiliation, quarrelling, and Katerina Ivanovna's growing hysteria. |
| 29 | Luzhin falsely accuses Sonia of stealing a hundred-rouble note, but Lebeziatnikov exposes his deception, and Raskolnikov reveals Luzhin's true motive: revenge against him. | Luzhin wants to discredit Sonia to damage Raskolnikov's reputation and win back his family's favour. | Lebeziatnikov witnesses the truth and testifies against Luzhin; Raskolnikov exposes the entire scheme. | Luzhin is unmasked and forced to leave; Sonia is vindicated but traumatised; Katerina Ivanovna is evicted by Amalia Ivanovna. |
| 30 | Raskolnikov visits Sonia and confesses to murdering the pawnbroker and Lizaveta, revealing his twisted philosophy about extraordinary men transcending morality. | Raskolnikov must tell Sonia who killed Lizaveta; Sonia wants to understand and help him | Raskolnikov struggles with his confession; Sonia cannot comprehend his justifications; he cannot articulate his true motives | Sonia learns the truth and begs him to confess publicly and seek redemption through suffering |
| 31 | Katerina Ivanovna goes mad and takes the children into the street to beg; she collapses and dies from consumption while Sonia tends to her. | Katerina Ivanovna seeks to shame the general and provide for her children through street performance | Her madness, illness, and the children's terror; police intervention; her body's final collapse | Katerina Ivanovna dies in Sonia's room; Svidrigaïlov offers to arrange the funeral and place the children in asylums |
| 32 | Raskolnikov enters a strange fog of confusion and apathy; Razumihin visits and reports that a painter has confessed to the murders; Porfiry arrives unexpectedly. | Raskolnikov seeks clarity and escape from his torment; Razumihin brings news of a confession; Porfiry appears at his door | Raskolnikov's mind is clouded; he cannot decide whether to trust Porfiry or Svidrigaïlov; the confession by Nikolay complicates everything | Raskolnikov feels a moment of clarity and hope; Porfiry arrives, suggesting a final confrontation is near |
| 33 | Porfiry visits Raskolnikov to explain his investigation methods and directly accuses him of the murders, while offering him a chance to confess. | Porfiry wants Raskolnikov to understand his reasoning and confess; Raskolnikov wants to know if Porfiry truly believes him guilty | Porfiry has suspicions but lacks solid proof; Raskolnikov denies guilt while showing signs of guilt | Porfiry accuses Raskolnikov directly but gives him a day or two to think before arrest |
| 34 | Raskolnikov seeks out Svidrigaïlov at a tavern, fearing he may use knowledge of the crime against Dounia, and they discuss Svidrigaïlov's past and intentions. | Raskolnikov wants to learn Svidrigaïlov's intentions toward Dounia; Svidrigaïlov wants to observe and perhaps manipulate Raskolnikov | Raskolnikov suspects Svidrigaïlov of blackmail; Svidrigaïlov claims only casual interest | Svidrigaïlov reveals his engagement to a young girl and hints at mysterious business, then leaves |
| 35 | Svidrigaïlov tells Raskolnikov about his past with Marfa Petrovna and his pursuit of Dounia, revealing his seduction tactics and current engagement to a young girl. | Svidrigaïlov wants to explain his character and justify his actions; Raskolnikov wants to understand his true intentions | Svidrigaïlov's cynical philosophy clashes with Raskolnikov's moral outrage | Svidrigaïlov reveals his engagement and leaves, with Raskolnikov resolving to follow him |
| 36 | Raskolnikov follows Svidrigaïlov and encounters Dounia, who is lured by Svidrigaïlov to his rooms where he confesses the murders to her and attempts to trap her. | Svidrigaïlov wants to seduce or control Dounia using knowledge of the crime; Dounia wants to escape and help her brother | Svidrigaïlov locks Dounia in his rooms and threatens her; Dounia resists with a revolver | Dounia shoots at Svidrigaïlov, misses, and he releases her; he then takes the revolver and leaves |
| 37 | Svidrigaïlov spends his final evening distributing money to those connected to Raskolnikov, then checks into a shabby hotel where he experiences nightmares and visions before shooting himself. | Svidrigaïlov seeks to settle his affairs and end his life | His internal torment, fever dreams, and the weight of his crimes prevent peace | He shoots himself at dawn near a fortress gate |
| 38 | Raskolnikov visits his mother to bid farewell, then meets Dounia who already knows his intention, and finally goes to the police office to confess to the murders. | Raskolnikov must confess his crime and face punishment | His pride, his theory of extraordinary men, and his love for his family war against his decision | He confesses to the murders at the police office |
| 39 | Raskolnikov visits Sonia to receive a cross, then wanders through the city before returning to the police office to formally confess his crimes. | Raskolnikov seeks spiritual preparation and then makes his confession official | His pride and contempt for others clash with his need for redemption and Sonia's faith | He confesses fully to the police, with Sonia following him |
| 40 | Nine months after his crime, Raskolnikov is imprisoned in Siberia; his trial reveals his confession and the court sentences him to eight years of penal servitude, while his mother falls ill and dies. | Justice is served through trial and sentencing; the family must adapt to Raskolnikov's imprisonment | The court struggles to understand his motives; his mother's mind breaks under the strain | Raskolnikov is sentenced to eight years; his mother dies of brain fever |
| 41 | Raskolnikov recovers from illness in the Siberian prison and experiences a spiritual awakening when Sonia visits him, leading to their mutual declaration of love and the promise of redemption through suffering. | Raskolnikov must find meaning in his imprisonment and accept his punishment | His pride and theory prevent repentance; his isolation from other prisoners deepens his despair | Love for Sonia awakens him to a new life and the possibility of resurrection |
Setups and payoffs AI
Story and structure · lens A8 · compare across books
| Planted | Pays off | |
|---|---|---|
| Raskolnikov observes the pawnbroker's flat and learns her routines. (Ch 1) | He uses this knowledge to commit the murder when Lizaveta is away. (Ch 7) | |
| Marmeladov tells Raskolnikov about his family's poverty and Sonia's prostitution. (Ch 2) | Raskolnikov becomes emotionally invested in Sonia and eventually confesses to her. (Ch 30) | |
| Raskolnikov's mother writes about his sister's engagement to Luzhin. (Ch 3) | Raskolnikov demands his sister refuse the engagement and Dounia breaks it off. (Ch 22) | |
| Raskolnikov prepares an axe and a noose to hide it. (Ch 6) | He uses the axe to murder the pawnbroker and Lizaveta. (Ch 7) | |
| Raskolnikov hides the stolen goods under a stone in a courtyard. (Ch 8) | The hidden goods are eventually discovered and used as evidence against him. (Ch 40) | |
| Sonia reads the story of Lazarus to Raskolnikov. (Ch 24) | The story becomes a symbol of resurrection and redemption for Raskolnikov. (Ch 41) | |
| Luzhin gives Sonia money and later claims she stole a hundred roubles. (Ch 27) | Lebeziatnikov exposes Luzhin's frame-up and Raskolnikov reveals his true motive. (Ch 29) | |
| Svidrigaïlov listens to Raskolnikov's confession to Sonia through a hidden door. (Ch 24) | Svidrigaïlov uses this knowledge to trap Dounia and reveal the crime to her. (Ch 36) |
she laid thirty roubles on the table before her in silence. She did not utter a word, she did not even look at her (Ch 2, para 21)
Yes, I want a fortune (Ch 3, para 29)
I shall go to him... on the next day after It, when It will be over and everything will begin afresh (Ch 5, para 5)
Speech fingerprints Count
Dialogue and voice · lens C3 · compare across books
| Character | Share of attributed speech | Lines | Words a line | Questions per 100 lines | Exclaims per 100 | Pet words |
|---|---|---|---|---|---|---|
| Raskolnikov | 26% | 398 | 13.8 | 37.7 | 29.9 | don't, it's, want, tell, just, that's |
| Razumihin | 17% | 193 | 18.5 | 50.8 | 53.4 | that's, what's, don't, it's, about, morrow |
| Svidrigaïlov | 10% | 101 | 20.4 | 47.5 | 33.7 | about, that's, don't, it's, i've, tell |
| Dounia | 10% | 128 | 15.9 | 33.6 | 31.2 | don't, mother, brother, rodya, that's, pyotr |
| Pyotr Petrovitch Luzhin | 8% | 74 | 23.6 | 47.3 | 28.4 | it's, word, that's, ivanovna, indeed, things |
| Porfiry Petrovitch | 7% | 76 | 17.9 | 52.6 | 48.7 | don't, just, that's, it's, right, want |
| Sonia | 6% | 107 | 11.9 | 45.8 | 59.8 | don't, understand, katerina, ivanovna, live, better |
| Pulcheria Alexandrovna | 6% | 78 | 15.5 | 37.2 | 53.8 | rodya, dounia, pyotr, petrovitch, heavens, leave |
| Katerina Ivanovna | 5% | 58 | 17.2 | 27.6 | 82.8 | look, poof, hands, always, pockets, cough |
| Zametov | 3% | 37 | 15.2 | 35.1 | 35.1 | fire, reading, petersburg, quarter, about, that's |
We give a line to a speaker only when one cast name appears in the narration of that paragraph, so many lines stay unattributed. Treat the figures as a sample.
Sentence length per chapter Count
Pace · lens D2 · compare across books
Mean sentence 13.9 words, median 10. 46% of sentences are under 10 words and 8% over 30. In the last fifth of the book, chapters run at 80% and sentences at 103% of the earlier average.
Emotional arc shape Count
Pace · lens D7 · compare across books
Computed shape: Man in a hole (fall then rise) (fit 0.68 on a scale of 0 to 1).
We score the mood of each paragraph with a standard word list, then average across 20 equal slices of the book and smooth it. It is a rough reading of word mood, not of plot, and old styles of English can fool it. Shapes follow Reagan and others (2016).
When the lead and the first dialogue arrive Count
Openings and endings · lens F3, F4 · compare across books
First line of dialogue: after 304 words (Ch 1, para 5), 0.1% into the book.
The lead, Raskolnikov, is first named after 1,679 words (Ch 1, para 12). In a first person book the narrator may be on the page from the first line before we learn the name.
Mystery clue list AI
Genre craft · lens G4 · compare across books
| Clue | Kind | Laid | Explained | |
|---|---|---|---|---|
| Raskolnikov counts exactly seven hundred and thirty steps from his lodging to the pawnbroker's house. | clue | Ch 1 | Ch 40 | |
| Raskolnikov observes a large key three times bigger than others with deep notches. | clue | Ch 1 | Ch 40 | |
| A student argues for killing the old woman as a moral act just as Raskolnikov is planning the murder. | clue | Ch 6 | Ch 40 | |
| The door is left unfastened, allowing Lizaveta to enter unexpectedly. | clue | Ch 7 | Ch 40 | |
| Zametov hears Raskolnikov rave about ear-rings, chains, and a sock during delirium. | clue | Ch 10 | Ch 40 | |
| Nikolay is found with the murdered woman's earrings behind the door. | clue | Ch 11 | Ch 25 | |
| Raskolnikov's article on extraordinary men and their right to transgress law. | clue | Ch 19 | Ch 33 | |
| Porfiry knows Raskolnikov's name was written on the pledges with the date. | clue | Ch 19 | Ch 33 | |
| Raskolnikov nearly confesses to Zametov: 'And what if it was I who murdered the old woman and Lizaveta?' | clue | Ch 13 | Ch 38 | |
| Svidrigaïlov reveals he has been listening to Raskolnikov's confessions through a hidden door. | clue | Ch 36 | Ch 36 |
a man ought not to be indebted to his wife, but that it is better for a wife to look upon her husband as her benefactor (Ch 3, para 39)
It’s impossible, they’ll both be released. To begin with, the whole story contradicts itself. (Ch 8, para 145)
And another thing that was of special interest to you was your own sock. You whined, ‘Give me my sock. (Ch 10, para 88)
Antagonist AI
Character · lens B7 · compare across books
| Who | Porfiry Petrovitch |
|---|---|
| Goal | To prove Raskolnikov guilty of the murders and bring him to justice. |
| Methods | Psychological manipulation, careful observation of Raskolnikov's behaviour, hinting at knowledge without direct accusation, and allowing false confessions to pressure the guilty. |
| Shows their hand | Ch 33 |
| Our note | Porfiry directly accuses Raskolnikov and offers him a chance to confess, revealing his investigation strategy. |
Tension curve AI
Pace · lens D6 · compare across books
Tension score per chapter, 1 to 5 (our AI reading). The novel moves rapidly through the crime and investigation in the first half, then slows for psychological exploration and moral reckoning in the second half. The final chapters accelerate toward confession and resolution.
Subplot thread map Both
Story and structure · lens A7 · compare across books
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Raskolnikov's crime and guilt | |||||||||||||||||||||||||||||||||||||||||
| Police investigation and Porfiry's pursuit | |||||||||||||||||||||||||||||||||||||||||
| Raskolnikov's family relationships | |||||||||||||||||||||||||||||||||||||||||
| Sonia's redemptive love | |||||||||||||||||||||||||||||||||||||||||
| Svidrigaïlov's threat and obsession | |||||||||||||||||||||||||||||||||||||||||
| Luzhin's revenge plot |
- Raskolnikov's crime and guilt: The central thread following Raskolnikov from planning the murder through commission, investigation, and confession.
- Police investigation and Porfiry's pursuit: Porfiry's methodical psychological investigation of Raskolnikov, using subtle tactics and false confessions.
- Raskolnikov's family relationships: The tension between Raskolnikov's isolation and his family's love, culminating in his mother's death.
- Sonia's redemptive love: Sonia's unwavering devotion to Raskolnikov despite his crime, leading to his spiritual transformation.
- Svidrigaïlov's threat and obsession: Svidrigaïlov's pursuit of Dounia and knowledge of the crime, culminating in his suicide.
- Luzhin's revenge plot: Luzhin's wounded vanity and scheme to frame Sonia, exposing his mercenary nature.
Motif tracker AI
Theme and motif · lens J3 · compare across books
- Fever and delirium (Ch 5, 8, 9, 10, 11, 37, 41): Raskolnikov's psychological state oscillates between clarity and confusion, reflecting his moral struggle.
- The axe and blood (Ch 6, 7, 8, 13, 17): The instruments and evidence of the crime that haunt Raskolnikov and threaten discovery.
- Poverty and sacrifice (Ch 1, 2, 3, 4, 14, 28, 31): The economic desperation that drives characters to moral compromise and suffering.
- The cross and redemption (Ch 24, 39, 41): Sonia's cross becomes a symbol of spiritual transformation and salvation through faith.
- Water and drowning (Ch 13, 37, 38): Water represents temptation toward escape through death, which Raskolnikov ultimately rejects.
- Extraordinary versus ordinary men (Ch 1, 6, 19, 30, 33): Raskolnikov's theory that some men transcend morality is tested and ultimately rejected.
Trifles, trifles are what matter! Why, it’s just such trifles that always ruin everything (Ch 1, para 8)
poverty is not a vice, that’s a true saying. Yet I know too that drunkenness is not a virtue (Ch 2, para 7)
He will come in that day and He will ask: ‘Where is the daughter who gave herself for her cross (Ch 2, para 36)
All who met him were loathsome to him--he loathed their faces, their movements, their gestures. (Ch 9, para 16)
Signature words Count
Prose style · lens H3 · compare across books
Words this book uses far more than the other books on our shelf (log odds, at least 8 uses). Names often top the list.
Commercial facts card Research
Commercial facts · lens L1, L2, L4 · compare across books
| First published | 1866 |
|---|---|
| Author died | 1946 |
| Copyright | Public domain in the UK (author died 1946, so life plus 70 years has passed) and in the US (first published 1866, before 1931). Translated by Constance Garnett (died 1946). |
| Length | 204,405 words in 41 chapters; about 13.6 hours to read |
| Genre | Literary |
| Sales and adaptations | Coming in a later phase, with sources. |
Method: counts come from a clean public domain plain text, split into chapters and paragraphs with stable IDs (for example c3p12 is chapter 3, paragraph 12, in reading order). Lenses marked AI are our AI reading of each chapter, made once and stored. Every quote shown was checked word for word against the text; 35 AI quotes for this book failed that check and were dropped.
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