What Is to Be Done?
Central figure whose life and choices embody the question of what is to be done.
A Vital Question
Listens and reflects on the implications of the debate for her own life and choices.
II: The First Consequences of the Fool’s Deed
Sews and sings a French song about work and enlightenment, but is overcome with melancholy upon receiving Lopukhof's farewell letter; she blames herself for his death and decides to leave Petersburg.
Part I: The Life of Viéra Pavlovna in Her Parents’ Family
The protagonist, living under her mother's harsh control and facing pressure to marry for social advancement.
I
The protagonist, a young woman navigating her mother's oppressive schemes and her own desire for autonomy.
III
Confronts Storeshnikof, refuses the sleigh ride, and locks herself in her room.
IV
Receives Julie's warning and advice; shows innocence and gratitude, weeping and kissing Julie.
V
The young person at the center of the plot; Julie advises Storeshnikof to marry her.
VI
Viérotchka refuses the sleigh ride and later argues passionately for her independence, rejecting Julie's advice to marry Storeshnikof.
VII
Firmly refuses Storeshnikof's marriage proposal, threatening to leave or harm herself if forced.
Chapter VIII
Refuses Storeshnikof's proposal out of respect for Anna Petrovna, as reported by her father.
IX
Refuses Storeshnikof's proposal but postpones her final answer out of pity for his apparent sincerity; maintains her independence.
Part II: First Love, and Legal Marriage
The protagonist, seeking freedom from her family's control and an arranged marriage.
I
Introduced as Viérotchka, a young girl facing a forced marriage; she is described as tall, well-proportioned, with black hair and eyes, a Southern type of face, and good health. She is initially indifferent to meeting Lopukhóf, preferring to be left in peace.
Chapter III
Plays piano mechanically, sings 'La donna è mobile,' avoids looking at her suitor, blushes at her mother's vulgarity.
IV
Celebrates her birthday; dances and laughs with her whole soul, showing her ordinary, joyful nature; engages in deep conversation with Lopukhóf about women's condition and love.
V
Reflects on her conversation with Lopukhóf, feeling calm and realizing her ideas are shared by others.
VI
Observes Lopukhóf's conversation with her mother and perceives his hidden meaning, realizing he is speaking to her in earnest beneath the jest.
VII
Viérotchka is the subject of her mother's supervision and Lopukhóf's attention; she spends time with Lopukhóf playing piano and singing.
VIII: The Temptation of Hamlet
Engages in a philosophical discussion with Lopukhóf about self-interest and tests the theory by considering a rich suitor.
IX
Referenced as the recipient of Lopukhóf's advice regarding Storeshnikof's offer and as the object of Marya Alekséyevna's scheming; her understanding of 'self-interest' comes from books.
Chapter X
Desperate to escape her situation, she asks Lopukhóf for help and begins calling him 'my friend'.
XI
Desperate to escape her home, she eagerly awaits news of a governess position and plans a secret meeting with Lopukhóf.
XII: Viérotchka’s First Dream
The dreamer who experiences liberation from confinement and paralysis, and is called to free others.
XIII
The subject of the arrangement; her difficult home life and forced marriage are discussed.
XIV
Viérotchka is hopeful but crushed by the failure of the governess plan; she is pale and distressed, yet insists on hearing Lopukhóf's alternative solution immediately.
XV
Returns home with Lopukhóf, appearing pale and silent, which prompts her mother's intense observation.
XVI
Viérotchka is in deep despair, contemplating suicide as a way out of her oppressive situation, yet she is intrigued by Lopukhóf's apparent cheerfulness.
XVII
Plays along with Lopukhóf's scheme by saying 'yes' to the wedding toast, understanding his hidden intentions.
XVIII
Articulates her vision of an egalitarian marriage, insisting on financial independence and separate living spaces to avoid dependence.
XIX
Newly engaged to Lopukhóf; he worries she may feel indebted to him for rescuing her from her family.
Chapter XX
Counts down the days to freedom, meets secretly with Lopukhóf, and finally escapes her mother's house after revealing her marriage.
XXI
The bride, eager for freedom, marries Lopukhóf and leaves her family home.
XXIII
Referenced as having married Lopukhóf and left home; her belongings are inventoried by Marya Alekséyevna.
XXIV: A Word of Praise for Marya Alekséyevna
Mentioned indirectly as the first woman Marya Alekséyevna encountered who was neither stupid nor villainous, causing her confusion.
Part III: Marriage and Second Love
Central figure navigating her second marriage and personal growth.
I
Now living with Lopukhóf, she works as a tutor and explains their unusual domestic customs to the landlady, emphasizing the importance of maintaining respect and love through formal behavior.
II
Visits Julie to seek orders for her sewing shop; later reveals her plan to start a sewing union to Lopukhóf; reconciles with her mother.
III: Viéra Pavlovna’s Second Dream
Dreams and participates in the game of Confession, expressing frustration with abstract discussions.
IV
Founder and organizer of the sewing cooperative; she introduces profit-sharing, manages the business, and dreams of the shop becoming self-sufficient.
V
Described in her domestic routine, enjoying cream, managing the household, teaching, and hosting guests.
Chapter VI
Attends the picnic with the group, contributing to the festive atmosphere.
VII
Anxious and devoted nurse to her husband; refuses to rest despite exhaustion.
VIII
Mentioned as the subject of the predicted new romance involving Kirsánov.
IX
Now faced with a choice between Lopukhóf and Kirsánof.
XI
Puzzled and distressed by Kirsánof's sudden change in behavior; tries to understand his offense.
Chapter XII
Viéra Pavlovna shows extraordinary attachment to her husband during his illness; Kirsánof notes her moral and physical development over three years.
XIII
Hosts Kirsánof, suggests visiting the cooperative, and notices Kirsánof's grief upon meeting Nástenka.
XIV: Nástenka’s Story
Listens compassionately to Nástenka's confession, drawing parallels to her own difficult past.
XV
Listens to Nástenka's story; visits Nástenka during her illness; involved in the sewing cooperative.
XVI
Viéra Pavlovna spends her evenings with Kirsánof, going to the shop, the opera, and parties, while maintaining her household.
XVII
Vera is the woman whose tranquillity Kirsánof is trying to protect, though she is not directly present in the chapter.
XVIII
Notices no change in Kirsánof's behavior, but begins to have a dream.
XIX: Viéra Pavlovna’s Third Dream
Protagonist who experiences a disturbing dream questioning her love for her husband.
XX
Experiences melancholy and a disturbing dream, moves into her husband's apartment, and deepens her emotional and physical bond with Lopukhóf.
XXI
Vera is asleep after a dream; Lopukhóf reflects on her emotional state and her possible love for Kirsánov.
XXIII
Begins to notice subtle inconsistencies in Kirsánof's behavior, prompted by an inner 'visitor,' and starts questioning his past absence.
XXIV
Struggles with her emerging love for Kirsánov and confesses to Lopukhóf.
XXV
Struggles with her feelings for Kirsanov, tries to distract herself with work, quarrels with Lopukhov but reconciles.
XXVI
In extreme emotional distress, writes and destroys letters confessing her love for another man, then is calmed by Lopukhóf's practical talk.
XXVII
Emotionally distressed as Lopukhóf departs; she insists on going with him but is persuaded to wait.
XXIX: An Extraordinary Man
Recovers from her emotional crisis, decides to sell her belongings and leave the shop, sends for Mrs. Mertsálova and Rachel.
Rakhmétov's Visit and the Letter
Receives a letter from Lopukhóf via Rakhmétov; is emotionally overwhelmed and scolded for her past mistakes.
XXXI: A Colloquy with the Sapient Reader, and His Banishment
Defended as an ordinary decent person; her character is already known to the reader; she is hot-tempered, fond of jesting, eats with appetite, and drinks sherry.
Part IV: Second Marriage
Marries Kirsanov and continues her work with the sewing cooperative, embodying the ideals of the new woman.
I
The recipient of the letter, whose character is analyzed as sociable and who suffered from the mismatch in temperament with Lopukhóf.
II
The author of the letter, reflecting on her feelings and justifying her actions after Lopukhov's suicide.
III
Noticed the warped sincerity in the letters between Kirsánof and the correspondent.
IV
Resting after a morning of hard work establishing a new union shop; reflects on her current happiness and the progress of the cooperatives.
V
Struggles with her decision to follow Lopukhóf, oscillating between determination and doubt.
Chapter VI
Reflects on her past and present, feeling a vague dissatisfaction that she eventually identifies as stemming from comparisons with her husband.
VII
Reads Nekrasov's poem with Kirsanov, discusses women's strength and the nature of love, reflects on her past with Lopukhov.
VIII
Resolves to find a vocation that demands her full commitment, seeking equality with Kirsanov.
IX
Reflects on the limited opportunities for women and decides to become a doctor with her husband's support.
X
Decides to study medicine, tests her nerves at the hospital, and reflects on independence.
XI
Now married to Kirsánof, she studies medicine, manages her household, and cares for her son Mítya.
XIII
Her daily life and social evenings are described; she is part of a circle of young families living harmoniously.
XIV
Reflects on three years of marriage, discusses love and independence, and expresses happiness about physical changes like giving up corsets.
XV: Viéra Pavlovna’s Fourth Dream
The dreamer who beholds the goddess and learns that the goddess is her own self, kindled by love and equality.
Chapter XVI
Co-manages the sewing cooperative and sale-shop, dreams of expansion, but scales back ambitions after advice.
XVII: A Letter from Ekaterina Vasílyevna Pólozova
The founder of the sewing cooperative, who shows Katerina around and explains the workings of the shop.
Part V: New People, and the Finale
Central figure whose sewing cooperative and personal life exemplify the new ideals of rational egoism and women's emancipation.
I
Referenced indirectly through Katerina's gratitude to her husband.
XII
Hosts Katerina at her workshop; her personality and enterprise make a strong impression, though Katerina focuses more on the work than on Vera herself.
XV
Mentioned as the subject of Beaumont's inquiry; Katerina initially suspects he loves her but dismisses the idea.
XIX
Receives Katerina's news with excitement, deducing Beaumont's identity and calling for Aleksandr.
XXI
Moves into the adjoining flat with Kirsánof; visits the factory.
XXII
Hosts gatherings, drives young people to Katerina's rooms, participates in musical games and discussions about the sewing cooperatives.
XXIII
Exchanges glances with her husband and Beaumont, participates in storytelling, and expresses concern about the lady in mourning.
Endnotes
Mentioned as the pioneer who stimulated the study of medicine by women in Russia.
