This paper examines the unverified premise at the foundation of Fyodor Dostoevsky's Crime and Punishment — that Raskolnikov is intelligent — and traces how 160 years of readers, scholars, and institutions accepted this self-proclamation without questioning it. Using only the novel's internal architecture and Dostoevsky's own documented words, it maps four surfaces of a single structure — the title, Porfiry, Sonya, and the plague dream — all pointing at the same verdict that was present before page one. This paper examines Fyodor Dostoevsky as the origin of the mechanism it describes.
Bella Sera (Sat,) studied this question.