What Is to Be Done?
Key figure in Vera's emancipation and the rational egoist philosophy.
A Vital Question
Engages in the central debate, articulating rational egoist principles.
II: The First Consequences of the Fool’s Deed
Sends a brief letter stating he has left to disturb their peace, expressing love for both Vera and Kirsanov; his action is the catalyst for the chapter's emotional turmoil.
Part II: First Love, and Legal Marriage
The tutor who offers Vera a rational and principled path to independence through a legal marriage.
I
A medical student hired as a tutor for Feódor; described as no longer young, of medium height, with dark auburn hair, regular features, and a proud, courageous expression. He is solemn and uninterested in romance, focused on his studies.
II
Detailed biography: his background, poverty, friendship with Kirsánof, dedication to medical science, and renunciation of romantic adventures.
Chapter III
Attends tea, refuses tea to calm Marya Alekséyevna's fears, scrutinizes Storeshnikof with a steady stare, misjudges Vera as proud and calculating.
IV
Attends the party; initially avoids dancing by playing cards, then dances with Viérotchka; reveals his mysterious 'bride' and discusses women's secret; his view of Viérotchka changes from suspicion to sympathy.
V
Described as having magical words that attract abused and persecuted creatures; Vera thinks he sees her as wonderful because he loves her.
VI
Maintains a facade of a fortune-hunter to deceive Marya Alekséyevna, while subtly communicating his true intentions to Viéra Pavlovna through double meanings.
VII
Brings books for Viérotchka, endures Marya Alekséyevna's tests, and agrees to reduce his lesson fee, demonstrating his patience and strategic nature.
VIII: The Temptation of Hamlet
Explains the theory of rational egoism, arguing that all actions stem from self-interest, and advises Viéra to choose what benefits her most.
IX
Defended by the narrator against accusations of materialism; his rational egoism and practical morality are contrasted with both Marya Alekséyevna's vulgarity and the hypocritical idealism of 'enlightened' critics.
Chapter X
Devotes his time to finding a governess position for Viéra Pavlovna, walking long distances and placing advertisements.
XI
Arranges a governess position for Vera through Kirsánov, devises a coded letter system, and plays cards with Marya Alekséyevna to allay suspicion.
XIII
Arranges for Vera to become a governess with Mrs. B., but the plan falls through when the mother's potential legal action is considered.
XIV
Lopukhóf delivers the bad news gently, tries to console Viérotchka, and hints at a new plan, showing his protective and thoughtful nature.
XV
Feigning weariness and a quarrel with his sweetheart's parents, he orchestrates a dinner bribe to secure Marya Alekséyevna's goodwill and distract her from his true intentions.
XVI
Lopukhóf is heard speaking cheerfully in the other room, giving Viérotchka a glimmer of hope that he might have a plan.
XVII
Hosts the dinner, plies Marya Alekséyevna with alcohol, and orchestrates a toast to Vera's wedding as a strategic move.
XVIII
Accepts Vera's conditions, praises her ideas, and agrees to treat her as an equal, though he initially tries to flatter her.
XIX
Engaged to Viéra Pavlovna; reflects on his materialist views and worries about her potential gratitude; decides he has made no sacrifice.
Chapter XX
Plans a meeting with Vera on the boulevard and supports her escape; they have already married.
XXI
Arranges the wedding, finds a house, and marries Viéra Pavlovna.
XXIII
Visits Marya Alekséyevna, calmly asserts his position, and arranges a peaceful separation regarding Vera.
XXIV: A Word of Praise for Marya Alekséyevna
Referenced as the first noble-minded man Marya Alekséyevna met, whom she mistakenly judged as a scoundrel.
Part III: Marriage and Second Love
Vera's first husband, whose absence and legacy shape the new marriage.
I
He has secured pupils and translation work; he and Vera maintain separate rooms and a formal routine, which the landlords find strange.
II
Supports Vera's plan for a sewing cooperative; places an advertisement in the Police News; accompanies Vera to her parents' home.
III: Viéra Pavlovna’s Second Dream
Present as 'mílenki' and engages in the philosophical discussion about dirt and reality.
V
Husband who makes tea in the morning, works at a manufacturer's office, and is esteemed by young visitors.
Chapter VI
Joins the picnic, participates in debates and physical contests, showing his competitive side.
VII
Falls ill with pneumonia; downplays his condition but accepts Kirsánof's care.
VIII
Described as a prototype of the new type of person; his background and character are compared to Kirsánov's.
IX
One of the two people of this type previously seen; now compared with Kirsánof.
Chapter X
Compared to Kirsánof: thinner, dark chestnut hair, gleaming dark eyes, aquiline nose, thick lips, oval face, tall and somewhat broader across the shoulders.
XI
Visits Kirsánof to understand his strange mood; feels bitter and disappointed by his friend's behavior.
Chapter XII
Lopukhóf is ill, prompting Viéra Pavlovna's constant watch and Kirsánof's visits.
XIII
Recovering from illness, agrees to visit the cooperative, and discusses the influence of others' solicitude.
XV
Acts as doctor for the sewing cooperative; treats Nástenka's consumption and answers her questions about her health.
XVI
Lopukhóf often stays home on his sofa, preferring solitude while Kirsánof escorts Viéra Pavlovna.
XVII
Lopukhóf is referenced as a man of firm character, and Kirsánof imagines what he would advise in this situation.
XVIII
Remains unaware of Kirsánof's deliberate distancing, even encouraging him to attend to other obligations.
XIX: Viéra Pavlovna’s Third Dream
Viéra's husband, who comforts her after her nightmare.
XX
Comforts Vera, reflects on his honorable actions, and feels deep satisfaction from her trust and love.
XXI
Lopukhóf introspects about his wife's dream and her waning love for him, applying his materialist theory to understand Kirsánov's estrangement and Vera's feelings.
A Theoretical Conversation
Engages in a theoretical conversation with Kirsánof, defending the idea that suppressing desires is harmful and that giving pleasure is rational.
XXIII
Observes Kirsánof's self-possession with scientific interest, but remains unaware of the growing tension.
XXIV
Receives Vera's confession with calmness and reassures her, writing a note to keep Kirsánov away.
XXV
Initiates a conversation about shared living arrangements, reveals his awareness of Vera's feelings, and urges her to follow her heart.
XXVI
Finds Vera's letter, remains composed, distracts her with news of his promotion, and decides to visit his parents to give her space.
XXVII
Packs for his trip to Riazan, calmly manages the farewell, and speaks of freedom and health.
XXVIII
Returns to Petersburg in mid-June, stays three weeks, leaves for Moscow on factory business, and is implied to be the one who faked his suicide.
Rakhmétov's Visit and the Letter
Referenced as the author of the letter; praised by Vera for his kindness.
XXXI: A Colloquy with the Sapient Reader, and His Banishment
Portrayed as an ordinary person; he independently judged his own actions and used Rakhmetov as a tool to convey his thoughts to Vera.
Part IV: Second Marriage
His apparent suicide sets the stage for Vera's second marriage, though he later returns as Beaumont.
I
The deceased subject of the letter, who reflects on his own reserved nature and the mistake of misjudging Vera's need for social interaction.
II
Deceased; his character and actions are analyzed by Vera, particularly his theory of egotism and his decision to fake his suicide.
III
The long letter from the correspondent was meant to impart thoughts of Lopukhóf to Viéra Pavlovna and Kirsánof.
V
Leaves for Riazan, sending a letter that discourages Vera from following him.
VII
Referenced in Vera's reflection on their past relationship; she claims his love was not true love.
VIII
Vera's first husband, who provided support only in critical moments but otherwise kept aloof from her daily activities.
IX
Mentioned as Vera's husband, a doctor who devotes his leisure time to her and supports her ambition.
XI
Honored by the naming of Vera and Kirsánof's son Mítya.
Part V: New People, and the Finale
Fakes his suicide to free Vera, later returns as Charles Beaumont, demonstrating the rational egoist principle of sacrificing personal desire for the greater good.
XXIII
Referred to as 'Mosolof' in the chapter; he is a calm presence, suggests the lady in mourning is merely tired, and takes the lead in the evening's fun.
