At the top of the stairs, a small sooty door stood ajar. A tallow candle-end lit up a wretched room, no more than ten paces long, clearly visible from the entrance. The place was strewn with clutter, especially children’s clothes, scattered everywhere. A torn sheet hung across the back corner—probably hiding a bed behind it. Inside the room stood only two chairs and a shabby, threadbare settee, before which was an old, unpainted pine kitchen table, bare and without a cover. On the edge of the table, a nearly burnt-out tallow candle in an iron candlestick flickered feebly. So Marmeladov had a room of his own, not just a corner, but it was a passageway room. The door leading to the inner rooms or cubicles—into which Amalia Lippeveschel’s apartment was divided—was slightly open. Loud noises and shouting came from within. People were laughing, playing cards, drinking tea.