It can be said that a person's character is determined by the conditions of his living space, and it is no secret that the environment greatly influences a person's character. This idea is taken to the extreme in Fyodor Dostoevsky's Crime and Punishment, a novel in which cramped apartments, hot, stuffy air, and overpopulated streets dictate the characters' moods and personalities. Dostoevsky places particular emphasis on the rooms and how the characters react to different living conditions. Additionally, Dostoevsky uses room imagery to provide further insight into each character's personality and motivations, heightening the theme of isolation in the novel. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Raskolnikov's room, a messy and oppressive place, is often linked to his madness and blamed for his isolation. The first thing he says about his apartment is that "it's more like a closet than a room" (1). He even confesses: "I sat in my room like a spider. You've been in my lair, you've seen it: low ceilings and a tiny room tighten the soul and mind: and yet I wouldn't want to leave it!" I wouldn't do it on purpose" (386). This small, cramped room is directly linked to the way Raskolnikov isolates himself from other people, as he lives like a hermit both physically and mentally. Furthermore, the fact that his room is dark, messy and unlivable is a testament to his mental state; could one live in such a room without a tendency towards a disordered and dark psyche? This is especially brought to the reader's attention when Sonia visits him for the first time, and he la confronts with, “Why are you looking at my room like that? My mother just said it's like a grave" (223). This scene not only demonstrates the poor condition of his room, but also shows that Raskolnikov is hostile, defensive, and unsure about his situation. The same emotions apply not only for his living conditions but also for his mental condition: he tends to be defensive and insecure about his reasoning and theories. He is particularly defensive about his crime, as he refuses to accept the fact of being mentally ill and rejects even the possibility of having sinned. What is interesting is that Raskolnikov himself recognizes the connection between his room and his isolation, because when he returns, "Raskolnikov entered his small room and stood in the middle of it. it. Why had he come back here? He looked at the yellow and tattered, paper, in the dust - he knew it all by heart - never, never had he felt so fearfully alone" (393). Dostoevsky delves into this symbolism by showing how Raskolnikov reacts to other rooms and other environments. For example, when Raskolnikov was in the midst of a nervous breakdown, he began to think about "the smell of cigars in an unfamiliar tobacconist, in a tavern, in a completely dark back staircase, all soaked in dirty water and strewn with eggshells - everything meanwhile there was an oppression inside him" (254). Not only were these suffocating situations the first things that came to mind, but they also emphasized the oppressive environment that perhaps drove Raskolnikov to madness. This madness is evident at everyone around him and many of them accuse Raskolnikov of mental illness. For example, Razumihin tells Raskolnikov, "judging by your stupid, repugnant and inexplicable actions, and your recent behavior towards your mother and sister, only. a madman might treat them as you did; so you must be mad" (408) . This madness, his refusal to connect with everyone, isclear throughout the novel. His guilt and mental turmoil are even more evident when Raskolnikov is summoned to the police office and is immediately struck by the oppressive atmosphere that reigns there. He thinks: "It's a shame there's no air here; it's suffocating; it makes his head spin more than ever, and his mind too!", and then he faints.(92). This scenario shows that the isolation and oppressive atmosphere seriously affect his mental state. This also shows that his sense of overwhelm is only partly due to the actual air; much of this has to do with the situation itself. In tense situations, Raskolnikov often comments on the suffocating air – a direct representation of the suffocating pressure of his guilt and relationships in his life. He then becomes so absorbed in his own isolation and suffering that he does not even want to be with others. This manifests itself through his strange behavior in relationships, particularly in his relationships with Dounia and his mother. For example, when he abandons them, he says: "maybe everything will return, but now if you love me, abandon me, otherwise I will begin to hate you" (291). This conscious separation from others only intensifies his mental problems. Raskolnikov is not the only character whose room represents their behavior; many secondary characters in the novel show compelling evidence that their rooms make a statement about their personality. For example, Porfiry's study "was a room neither large nor small, furnished with a large writing deskâu - a suitably well-furnished room, with a closed door, beyond which there were doubtless other rooms" (309). His medium-sized, well-furnished room promotes a positive image of Porfiry as an intelligent, wealthy but modest man. Its practical decor implies a practical man. However what is interesting about this description is that "there were undoubtedly other rooms", implying that there is more to Porfiry than face value. Indeed, Porfiry turns out to be a deep and intelligent man. In stark contrast to Porfiry's room, the reader discovers Sonia's room. Newly furnished and incredibly humble, Raskolnikov describes "a small, plain wooden chest of drawers that seemed, as it were, lost in a wilderness. That was all there was in the room" (293). Sonia's meager quarters provide the perfect image of her character: a religious girl who believes in everything even though she has nothing. Another positive character, transmitted by his living conditions, is that of Razumihin. When Raskolnikov stops by Razumihin's party, Raskolnikov notes that Razumihin's "room was quite large; the company consisted of fifteen people" (178). This underlines the connection in Razumihin's life: a large room full of people represents an open mind and a big heart, full of friends. For example, when Raskolnikov left Dounia and Pulcheria, "from that evening Razumihin took his place with them as son and brother" (292). In fact, Razumihin ends up being the only one who truly accepts the connection with others, and therefore is the one who is happiest. On the other end of this spectrum, however, lies Katerina Ivanovna. After the failed dinner, “Amalia Ivanovna stormed around the room, screaming, wailing, and throwing everything she found on the floor” (375). This does not represent Katerina's character, but rather the suffering that ultimately ends her life. Because Katerina blames others instead of accepting her suffering and moving forward, Katerina suffers until her last breath. The destruction of his apartment adds a final note to the destruction of his life, his character, and his sanity. The general environment of the novel proves to be an essential factor in everyone's personality and behaviors..