“Polya!” Katerina Ivanovna cried, “run to Sonya, quickly. If you don't find her there, never mind, tell them that her father has been run over by a carriage and that she should come here at once...as soon as she gets back. Quickly, Polya! Here, put on a kerchief!”

“Run fas' as you can!” the boy suddenly cried from his chair, and, having said it, relapsed into his former silent, straight-backed sitting, wide-eyed, heels together, toes apart.

Meanwhile the room had become so crowded that there was no space for an apple to fall. The police had left, except for one who stayed for a time and tried to chase the public thronging in from the stairs back out to the stairs again. In their stead, almost all of Mrs. Lippewechsel's tenants came pouring from the inner rooms, crowding in the doorway at first, but then flooding into the room itself. Katerina Ivanovna flew into a rage.

“You might at least let him die in peace!” she shouted at the whole crowd. “A fine show you've found for yourselves! With cigarettes!

Hem, hem, hem! Maybe with your hats on, too! ... Really, there's one in a hat...Out! At least have respect for a dead body!”

Coughing stopped her breath, but the tongue-lashing had its effect. Obviously, Katerina Ivanovna even inspired some fear; the tenants, one by one, squeezed back through the door, with that strange feeling of inner satisfaction which can always be observed, even in those who are near and dear, when a sudden disaster befalls their neighbor, and which is to be found in all men, without exception, however sincere their feelings of sympathy and commiseration.

Outside the door, however, voices were raised about the hospital, and how one ought not to disturb people unnecessarily.

“So one ought not to die!” cried Katerina Ivanovna, and she rushed for the door, to loose a blast of thunder at them, but in the doorway she ran into Mrs. Lippewechsel herself, who had just managed to learn of the accident and came running to re-establish order. She was an extremely cantankerous and disorderly German woman.

“Ach, my God!” she clasped her hands. “Your trunken husband has a horse trampled! To the hospital mit him! I am the landlady!”

“Amalia Ludwigovna! I ask you to consider what you are saying,” Katerina Ivanovna began haughtily. (She always spoke in a haughty tone with the landlady, so that she would “remember her place,” and even now she could not deny herself the pleasure.) “Amalia Ludwigovna...”

“I have told you how-many-times before that you muss never dare say to me Amal Ludwigovna. I am Amal-Ivan!”

“You are not Amal-Ivan, you are Amalia Ludwigovna, and since I am not one of your base flatterers, like Mr. Lebezyatnikov, who is now laughing outside the door” (outside the door there was indeed laughter, and someone cried: “A cat-fight!”), “I shall always address you as Amalia Ludwigovna, though I decidedly fail to understand why you so dislike this appellation. You see for yourself what has happened to Semyon Zakharovich; he is dying. I ask you to close this door at once and not allow anyone in. Let him at least die in peace! Otherwise, I assure you, tomorrow your action will be made known to the governor-general himself. The prince knew me as a young girl, and very well remembers Semyon Zakharovich, to whom he has shown favor many times. Everyone knows that Semyon Zakharovich had many friends and protectors, whom he himself abandoned out of noble pride, aware of his unfortunate weakness, but now” (she pointed to Raskolnikov) “we are being helped by a magnanimous young man who has means and connections, and whom Semyon Zakharovich knew as a child, and rest assured, Amalia Ludwigovna . . .”

All this was spoken in a rapid patter, faster and faster, but coughing all at once interrupted Katerina Ivanovna's eloquence. At that moment the dying man came to and moaned, and she ran to him. He opened his eyes and, still without recognition or understanding, began peering at Raskolnikov, who was standing over him. He breathed heavily, deeply, rarely; blood oozed from the corners of his mouth; sweat stood out on his forehead. Not recognizing Raskolnikov, he began looking around anxiously. Katerina Ivanovna looked at him sadly but sternly, and tears flowed from her eyes.

“My God! His whole chest is crushed! And the blood, so much blood!” she said in despair. “We must take all his outer clothes off! Turn over a little, Semyon Zakharovich, if you can,” she cried to him.

Marmeladov recognized her.

“A priest!” he said in a hoarse voice.

Katerina Ivanovna went over to the window, leaned her forehead against the window frame, and exclaimed in desperation:

“Oh, curse this life!”

“A priest!” the dying man said again, after a moment's silence.

“They've go-o-one!” Katerina Ivanovna cried at him; he obeyed the cry and fell silent. He was seeking for her with timid, anguished eyes; she went back to him and stood by his head. He calmed down somewhat, but not for long. Soon his eyes rested on little Lidochka (his favorite), who was shaking in the corner as if in a fit and stared at him with her astonished, childishly attentive eyes.

“A...a...” he pointed to her worriedly. He wanted to say something.

“What now?” cried Katerina Ivanovna.

“Barefoot! Barefoot!” he muttered, pointing with crazed eyes at the girl's bare little feet.

“Be quiet!” Katerina Ivanovna cried irritably. “You know very well why she's barefoot!”

“Thank God, the doctor!” Raskolnikov cried joyfully.

The doctor came in, a trim little old man, a German, looking about him with mistrustful eyes; he went over to the sick man, took his pulse, carefully felt his head, and with Katerina Ivanovna's help unbuttoned his shirt, all soaked with blood, and bared the sick man's chest. His whole chest was torn, mangled, mutilated; several ribs on the right side were broken. On the left side, just over the heart, there was a large, ominous yellowish-black spot, the cruel blow of a hoof. The doctor frowned. The policeman told him that the injured man had been caught in a wheel and dragged, turning, about thirty paces along the pavement.

“It's surprising that he recovered consciousness at all,” the doctor whispered softly to Raskolnikov.

“What is your opinion?” the latter asked.

“He will die now.”

“There's no hope at all?”

“Not the slightest! He is at his last gasp...Besides, his head is dangerously injured...Hm. I could perhaps let some blood...but...it would be no use. In five or ten minutes he will certainly die.”

“Try letting some blood, then!”

“Perhaps...However, I warn you it will be perfectly useless.”

At that point more steps were heard, the crowd in the entryway parted, and a priest, a gray-haired old man, appeared on the threshold with the Holy Gifts.^[67] A policeman had gone to fetch him while they were still in the street. The doctor immediately gave way to him, and they exchanged meaningful glances. Raskolnikov persuaded the doctor to stay at least for a little while. The doctor shrugged and stayed.

Everyone stepped aside. The confession lasted a very short time. The dying man probably did not understand much of anything; and he could utter only abrupt, inarticulate sounds. Katerina Ivanovna took Lidochka, got the boy down from his chair, went to the corner near the stove, knelt, and made the children kneel in front of her. The little girl went on shaking; but the boy, upright on his bare little knees, raised his hand regularly, making a full sign of the cross, and bowed to the ground, bumping with his forehead, which seemed to give him special pleasure. Katerina Ivanovna was biting her lips and holding back her tears; she, too, was praying, straightening the boy's shirt from time to time, and she managed to throw a kerchief over the girl's bare shoulders, taking it from the top of the chest of drawers as she prayed and without getting up from her knees. Meanwhile, curious people began opening the door from the inner rooms again. And more and more spectators, tenants from all down the stairs, crowded into the entryway, but without crossing the threshold. The whole scene was lighted by just one candle-end.