This chapter presents us a full view of the 35-year-old Porfiry, and it is immediately apparent that Raskolnikov has a worthy opponent. For example, in the discussion of Raskolnikov's article on crime, Porfiry wants to know if while he was composing it Raskolnikov didn't consider himself to be an extraordinary person because he has uttered a new word. That is, if Raskolnikov's theory is believed, then he must have considered himself extraordinary, even though he assures Porfiry that he is no Napoleon or Mahomet.
Even though Raskolnikov disclaims his pretensions to being an extraordinary man, nevertheless, what is new, really new and original in his theory (thus possibly making him one of the extraordinary) is that he "sanctions bloodshed in the name of conscience." That is, the great man is obligated to give to the world his new word, and if it means killing a person (or a louse) in order to do so, then the great man must do that.
Porfiry is also very clever when he asks Raskolnikov in a casual, off-handed manner if he by chance saw two painters when he went to the pawnbroker's. This is a trap, and Raskolnikov knows it is because there were no painters on the day he pawned his watch, but there were painters there on the day Alyona was murdered. Raskolnikov is clever enough to discover the trap and thus escape. His perception of this trap again shows the return of his rational powers. Consequently, Porfiry is, as Raskolnikov earlier thought, playing "cat and mouse" games with him.
If there seem to be contradictions in parts of Raskolnikov's theory, such as maintaining that the great will suffer and also later that the great must be above sympathy and dependence on the ordinary, these contradictions are not unintentional on Dostoevsky's part. Instead, it must be emphasized that Raskolnikov at the time of the murder had not worked out his theory in complete detail. The contradictions exist so that later Raskolnikov will have to justify them when he is trying to explain his crime to Sonya.
