The image of Rodion Raskolnikov based on the novel Crime and Punishment (Dostoevsky F. M.). Crime and punishment portrait characteristics of Raskolnikov Description of Raskolnikov in crime punishment

He characterizes him as follows: “Gloomy, gloomy, arrogant and proud; lately, and perhaps much earlier, hypochondriac and hypochondriac. Magnanimous and kind. He does not like to express his feelings and would rather do cruelty than express his heart in words ... Terribly sometimes taciturn! He has no time for everything, everyone interferes with him, but he himself lies, does nothing. Never interested in what everyone is interested in at the moment. He values ​​himself terribly highly and, it seems, not without some right to do so.

Crime and Punishment. 1969 feature film 1 episode

In some scenes of "Crime and Punishment" (see its summary), the reader sees how, behind this bark of dryness and pride, created from insults, humiliation and life's bitterness, a tender and loving heart sometimes opens. Raskolnikov is drawn mainly to the "humiliated and offended." He becomes close to the unfortunate Marmeladov, listens to the whole life story of his long-suffering family, goes to their home, and gives them the last money. He picks up Marmeladov, who found himself under the feet of a horse on the pavement, takes care of him, and Raskolnikov is pleased with the childlike enthusiastic gratitude of his little sister Sonya, who embraced him.

It is these impressions that fill him with a joyful feeling of life: “He was full of a new, immense sensation of suddenly surging full and powerful life. This feeling could be similar to the feeling of a person sentenced to death, who is suddenly and unexpectedly announced forgiveness. “Enough,” he said resolutely and solemnly, “away with mirages, away with feigned fears, away with ghosts ... There is life! Haven’t I lived now!”

A moment of love, pity, compassion, a feeling of spiritual closeness to people, a universal brotherhood, gives him a feeling of a full and joyful life. Thus, the properties of Raskolnikov's spiritual nature are in complete contradiction with his theory, with his provisions. Dostoevsky shows what, despite all his views, Raskolnikov possessed a tender, impressionable and painfully sensitive soul to human suffering. He suffers from all the nightmares of city life, he evokes a tender and trusting attitude towards his children, in his past he experienced a love story for a humpbacked girl whom he wanted to brighten up life, so that a further turning point in Raskolnikov's life is sufficiently explained by these traits of his personality. .

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The main character of the novel F.M. Dostoevsky is a student of Rodion Raskolnikov. It is through the story of the fate of this character that the writer tries to convey his thoughts to the reader.

The whole work is, in fact, an exposure of the first near-Nietzschean ideas that gained some popularity at the end of the 19th century. It is no coincidence that the hero comes from a student environment, most of all subject to the most diverse trends and unrest.

Rodion is an attractive, smart, but extremely poor young man, he lives in a shabby apartment and cannot continue his studies. The idea of ​​the superiority of some people over others takes root in the head of the hero. He, of course, refers himself to the highest category, and considers the rest to be a useless gray mass. Following his own logic, the Nietzschean theorist decides to kill the vile old woman in order to use her money for good deeds.

However, Dostoevsky immediately shows the hero's struggle with himself. Raskolnikov constantly doubts, then abandoning this idea, then returning to it again. He sees a dream in which, as a child, he cries over a downtrodden horse, and understands that he cannot kill a person, but when he accidentally hears that the old woman will be at home alone, he nevertheless decides to commit a crime. Our hero has developed an impeccable plan, but everything ends with a real massacre: he kills not only Alena Ivanovna, but also her pregnant sister, and runs away in a panic, taking with him only a handful of jewelry. Raskolnikov is not a villain or a madman, but lack of money, illness and hopelessness drive him to despair.

Having committed a crime, Rodion loses his peace. His illness worsens, he is bedridden and suffers from nightmares in which he relives what happened again and again. The ever-increasing fear of exposure torments him, and from within the hero is tormented by conscience, although he himself does not admit it. Another feeling that became an integral part of Raskolnikov was loneliness. Crossing the law and morality, he separated himself from other people, even his best friend Razumikhin, his sister Dunya and mother Pulcheria become alien and incomprehensible to him. He sees his last hope in the prostitute Sonya Marmeladova, who, in his opinion, has also crossed the law and morality, and therefore can understand the killer. Perhaps he was hoping for an acquittal, but Sonya urges him to repent and accept the punishment.

In the end, Raskolnikov is disappointed in himself and surrenders to the police. However, Rodion still continues to believe in his theory of "they have the right" and "trembling creatures." Only in the epilogue does he realize the meaninglessness and cruelty of this idea, and, having renounced it, the hero embarks on the path of spiritual rebirth.

It is through the image of Raskolnikov that Dostoevsky overthrows egocentrism and Bonapartism, and elevates Christianity and philanthropy.

Rodion Raskolnikov is a poor student who decided to check whether he is a trembling creature or a person, and thus committed a terrible crime - murder, the main character of Dostoevsky's novel Crime and Punishment.

On the pages of the work, the author introduces us to the life story of Raskolnikov, while raising a number of important philosophical, moral, social and family issues. Rodion Raskolnikov is a key figure in the story, around which all other events are tied and the development of storylines depends.

Characteristics of the main character

("Rodion Raskolnikov" - illustration for the novel, artist I.S. Glazunov, 1982)

In the very first chapter of the novel, we meet its main character, Radion Raskolnikov, a former law student at the Moscow University. He lives in a gloomy and cramped little room, is poorly dressed, which speaks of his very plight, has a thoughtful, extremely closed and sickly appearance. Having no means of subsistence, he is in a difficult financial situation, he has no money either for food, or for studies, or to pay for an apartment.

His appearance, despite the gloominess and gloom, is quite attractive: tall, thin and slender figure, dark expressive eyes, dark blond hair. The young man has a sharp mind and has a good education, but his humiliating condition hurts pride and pride, making him gloomy and withdrawn. Any help from outside is instantly refuted by him, because it humiliates his dignity and violates independence.

In order to somehow survive, he is forced to go to the old pawnbroker who lives next door and pawn her last valuable things for mere pennies. Gradually, in his brain, exhausted by the problems of survival, the idea of ​​dividing all people into the most ordinary and having the right to do whatever they want arises. Being under the influence of his exorbitant pride and pride, Raskolnikov comes to the idea of ​​his chosenness and great destiny. He decides to kill and rob the old money-lender, who has become for him the embodiment of the evil and suffering of poor people, thus checking the correctness of his idea and making his contribution to a better future for himself and his family.

Having survived long and painful hesitation, Raskolnikov nevertheless fulfills his plan. He kills the pawnbroker Alena Ivanovna, and at the same time her wretched sister Lizaveta, who unwittingly became a witness to a cruel crime. Being in a terrible state after what he did, Raskolnikov realizes that he could not become a "superman" as he wanted, and cannot even take the money that he previously planned to steal from the "ugly old woman", as he calls her.

(In his closet, Raskolnikov is haunted by mental anguish)

Realizing that his theory does not “work”, Raskolnikov will fall into severe mental anguish, he is haunted by the fear of exposure, terrible memories and spilled blood, a feeling of complete hopelessness and loneliness. He comes to the understanding that his act was absolutely senseless and brought grief to him and everyone around him. And yet, Rodion does not repent of his deed, he is disgusted and sickened by the fact that he did not prove his theory. Tortured and suffering, he perceives this as the lot of strong people who are able to withstand such trials, but he still does not understand that he is already beginning to repent and needs forgiveness and understanding.

Only having met the meek and sincere Sonya Marmeladova, who is also in a difficult and distressed situation, on his life path, he opens up to her and confesses to the crime he has committed. Thus begins the revival of Raskolnikov's almost already dead soul, he returns to goodness and light, finds God. Not the first time, but still Rodion publicly confesses to the crime and is sent to hard labor.

The image of the main character in the work

The plot of the novel was conceived by Fyodor Dostoevsky when he himself was serving hard labor for his political convictions, and was in a difficult state of moral decay and degradation. There he met personalities who conquered him with fortitude and unusual destinies, it was their spiritual experience that became the basis for writing the future masterpiece of world classical literature.

The image of the main character Raskolnikov had real prototypes in life, this is the young Muscovite Gerasim Chistov, who killed two women with an ax and robbed them, and the second is the Frenchman Pierre-Francois Lacener, who called himself a “victim of society” and did not see anything bad in his crimes. The idea of ​​a “superman”, as well as the division of people into gray masses and having the right to commit any act, even murder, was borrowed by Dostoevsky from Napoleon’s book “The Life of Julius Caesar”.

(Having confessed to the crime, Raskolnikov is serving hard labor)

The fate of the protagonist Raskolnikov was taken by Dostoevsky as an example for everyone around, for us to realize the main problem of all mankind throughout the history of its existence. No crimes can go unpunished, life will put everything in its place and turn out to be much smarter and more resourceful than us, everyone will be rewarded according to his merits.

Through moral torments and psychological tests, Dostoevsky raises the moral and ethical problems of society, once again proves to all of us the relevance and vital importance of Christian principles and norms. The novel has a deep philosophical and religious meaning, written more than one hundred and fifty years ago, and is still relevant in our troubled times, because it shows us the way to the revival of material and spiritual values.

If we talk about the polyphony of Dostoevsky's novels, we can single out not only the fact that characters with very different beliefs get the right to vote in them, but also the fact that the thoughts and actions of the characters exist in close linkage, mutual attraction and mutual repulsion. Crime and Punishment is no exception.

On the pages of the novel, more than ninety characters pass, flicker or actively participate in the action. Of these, about ten are primary, having sharply defined characters, views, which play an important role in the development of the plot. The rest are mentioned sporadically, only in a few scenes and do not have an important impact on the course of action. But they are not introduced into the novel by accident. Each image is needed by Dostoevsky in his search for the only true idea; the heroes of the novel reveal the course of the author's thought in all its turns, and the author's thought unites the world he depicts and highlights the main thing in the ideological and moral atmosphere of this world.

Therefore, in order to understand the character, views, motives of Raskolnikov's behavior and actions, it is necessary to pay attention to Dostoevsky's correlation of his image with other characters in the novel. Almost all the characters in the work, without losing their individual identity, to one degree or another explain the origin of Raskolnikov's theory, its development, failure and, ultimately, the collapse. And if not all, then most of these faces attract the attention of the protagonist for a long time or for a moment. Their actions, speeches, gestures from time to time pop up in Raskolnikov's memory or instantly affect his thoughts, forcing either to object to himself, or, on the contrary, to assert himself even more in his convictions and intentions.

Dostoevsky's characters, according to the observations of literary critics, usually appear before the reader with already established convictions and express not only a certain character, but also a certain idea. But it is equally obvious that none of them personifies the idea in its pure form, is not schematic, but is created from living flesh, and, moreover, the actions of the heroes often contradict the ideas that they are the bearers of and which they themselves wanted to would follow.

Of course, it is impossible to characterize the impact of all the characters in the novel on the main character, sometimes these are very small episodes that not every reader will remember. But some of them are of key importance. I want to talk about such cases. Let's start with the Marmeladov family.

Semyon Zakharovich Marmeladov- the only one of the main characters of the novel, with whom the author brought Raskolnikov together before the crime. The conversation of a drunken official with Raskolnikov is, in fact, Marmeladov's monologue; Rodion Raskolnikov does not insert even three remarks into it. There is no dispute out loud, but Raskolnikov’s mental dialogue with Marmeladov could not fail, because both of them are painfully pondering the possibility of getting rid of suffering. But if for Marmeladov only hope remained for the other world, then Raskolnikov has not yet lost hope of resolving the questions that torment him here on earth.

Marmeladov firmly stands on one point, which can be called the “idea of ​​self-abasement”: beatings “not only cause pain, but also pleasure happen to him,” and he accustoms himself not to pay attention to the attitude towards him as to the pea jester of those around him, he and I’m already used to spending the night where I have to ... The reward for all this is the picture of the “Last Judgment” that arises in his imagination, when the Almighty accepts Marmeladov and similar “pigs” and “ragmen” into the kingdom of heaven precisely because not a single one of them “himself I considered myself worthy."

So, not a righteous life in itself, but the absence of pride is the key to salvation, according to Marmeladov. Raskolnikov listens attentively to him, but he does not want to humiliate himself. Although the impression from his confession, Raskolnikov left a deep and quite definite: if you sacrifice yourself, lose your honor, then not for thirty rubles, like Sonya, but for something more substantial. Thus, despite the opposite of the ideas professed by these two heroes, Marmeladov not only did not dissuade, but, on the contrary, further strengthened Raskolnikov in his intention to commit murder in the name of exaltation over the “trembling creature” and for the sake of saving the lives of several noble, honest people.

When Dostoevsky pondered the idea of ​​the novel The Drunk Ones, Marmeladov was given the role of the protagonist in it. Then Semyon Zakharych entered another novel - about Raskolnikov, receding into the background before this hero. But the author's interpretation of the image from this did not become less complicated. A weak-willed drunkard, he brought his wife to consumption, let his daughter go on a yellow ticket, left small children without a piece of bread. But at the same time, the author cries out with the whole story: oh, people, have at least a drop of pity for him, take a closer look at him, is he really that bad? for the first time he lost his place through no fault of his own, “but due to a change in the states, and then he touched it”; most of all tormented by the consciousness of guilt before the children ...

What Raskolnikov learned from Marmeladov, and what he saw at his house, could not pass without a trace for Rodion Romanovich himself. Thoughts about the meek daughter of Marmeladov and his wife, who was bitter to the limit, from time to time excite the sick imagination of a young man who painfully decides for himself the question of the possibility of a crime in order to protect the unfortunate. And the dream he soon had about a nag beaten to death was to a large extent inspired by a meeting with the unfortunate, "driven" Katerina Ivanovna.

Marmeladov's wife appears on the pages of the novel four times, and all four times Raskolnikov meets her after the strongest shocks of his own, when he, it would seem, is not up to those around him. Naturally, the protagonist never enters into lengthy conversations with her, and he listens to her half-heartedly. But still, Raskolnikov catches that in her speeches, indignation at the behavior of others alternately sounds, whether it be her husband or the hostess of the room, a cry of despair, the cry of a man who has been cornered, who has nowhere else to go, and suddenly boiling vanity, the desire to rise in his own eyes and in the eyes of the listeners to a height unattainable for them.

And if the idea of ​​self-deprecation is connected with Marmeladov, then with Katerina Ivanovna the idea - or rather, not even an idea, but a painful mania - self-affirmation. The more hopeless her position, the more unrestrained this mania, fantasy, or, as Razumikhin put it, "self-indulgence." And we see that any attempt to endure inwardly in the conditions that a ruthless society condemns people to does not help: neither self-abasement nor self-affirmation saves from suffering, from the destruction of the personality, from physical death. At the same time, Katerina Ivanovna's desire for self-affirmation echoes the thoughts of Raskolnikov himself about the right of the elect to a special position, about power "over the whole anthill." In a reduced, parodic form, another hopeless path for a person appears before him - the path of exorbitant pride. It is no accident that Katerina Ivanovna's words about the noble boarding house sunk into Raskolnikov's mind. A few hours later, he reminded her of them, to which he heard in response: “Pension, ha ha ha! Glorious tambourines beyond the mountains! .. No, Rodion Romanych, the dream has passed! We have all been abandoned." The same sobriety awaits ahead of Raskolnikov himself. But even the painful dreams of Katerina Ivanovna, her pathetic "megalomania" do not reduce the tragedy of this image. Dostoevsky writes about her with bitterness and tireless pain.

And the image occupies a very special place in the novel. Sonechka Marmeladova. In addition to the fact that she is the conductor of the author's ideas in the novel, she is also the double of the protagonist, so the significance of her image can hardly be overestimated.

Sonya begins to play an active role at the moment of Raskolnikov's repentance, seeing and experiencing other people's suffering. It imperceptibly appears in the novel from the arabesques of the St. Petersburg street background, first as a thought, as Marmeladov’s story in a tavern about a family, about a daughter with a “yellow ticket”, then indirectly - as a figure of Raskolnikov’s fleeting vision from “their world” on the street: some a girl, fair-haired, drunk, just offended by someone, then a girl in a crinoline, in a straw hat with a fiery feather feather, sang along with the organ grinder, flashed by. All this bit by bit Sonya's outfit, she will appear in it, right from the street, at the bedside of her dying father. Only everything inside her will be a refutation of the noisy beggarly attire. In a modest dress, she will come to Raskolnikov to call him to the wake, and in the presence of his mother and sister, she will timidly sit next to him. This is symbolic: from now on, they will follow the same path, and to the end.

Raskolnikov was the first person to treat Sonya with sincere sympathy. No wonder the passionate devotion that Sonya answered him. It doesn’t even occur to her that Raskolnikov sees in her almost the same criminal as he himself is: both, in his opinion, are murderers; only if he killed the worthless old woman, then she committed, perhaps, an even more terrible crime - she killed herself. And thus forever, like him, doomed herself to loneliness among people. Both criminals should be together, Raskolnikov believes. And at the same time, he doubts his thoughts, finds out whether Sonya herself considers herself a criminal, torments her with questions beyond her consciousness and conscience. Rodion Raskolnikov, undoubtedly, is drawn to Sonya as an outcast to an outcast. In the handwritten versions of the novel there is such an entry on behalf of Raskolnikov: “How will I hug the woman I love. Is it possible? What if she knew that her killer was hugging her. She will know it. She must know this. She should be like me…”

But this means that she must suffer no less than he does. And about the suffering of Sonya Marmeladova, Raskolnikov formed an idea for himself from the half-drunk story of Semyon Zakharych at their first meeting. Yes, Raskolnikov himself suffers, suffers deeply. But he condemned himself to suffering - Sonya suffers innocently, paying with moral torments not for her sins. It means that she is immeasurably above him morally. And that is why he is especially drawn to her - he needs her support, he rushes to her "not out of love, but as to providence." That is why Raskolnikov first tells her about the crime committed. The thought of Raskolnikov horrifies Sonya: “This man is a louse!”. And at the same time, she is very sorry for Raskolnikov, she already knows that nothing can atone for this crime, that the most terrible punishment for sin is every minute self-condemnation, her own inability to forgive herself, to live without remorse. And Sonya herself, after Raskolnikov's terrible confession, begins to believe that they are people of one world, that all the barriers that separated them - social, intellectual - have collapsed.

Sonya herself leads the hero “out of the darkness of delusion”, grows into a huge figure of suffering and goodness, when society itself has lost its way and one of its thinking heroes is a criminal. She has no theories other than faith in God, but that is faith, not ideology. Faith, like love, belongs to the realm of the irrational, incomprehensible, this cannot be explained logically. Sonya never argues with Raskolnikov; Sonya's path is an objective lesson for Raskolnikov, although he does not receive any instructions from her, except for advice to go to the square to repent. Sonya suffers in silence, without complaint. Suicide is also impossible for her. But her kindness, meekness, spiritual purity amaze the imagination of readers. And in the novel, even convicts, seeing her on the street, shouted: “Mother, Sofya Semyonovna, you are our tender, sickly mother!” And all this is the truth of life. This type of people like Sonya is always true to himself, in life they meet with varying degrees of brightness, but life always prompts reasons for their manifestation.

The fate of Sonya Marmeladova Raskolnikov correlates with the fate of all "humiliated and insulted." In her, he saw a symbol of universal grief and suffering, and, kissing her feet, he "bowed down to all human suffering." Raskolnikov owns the exclamation: “Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands!”. Many researchers believe that Sonya is the embodiment of the author's ideal of Christian love, sacrificial suffering and humility. By her example, she shows the way to Raskolnikov - to restore lost ties with people through gaining faith and love. With the power of her love, the ability to endure any torment, she helps him overcome himself and take a step towards resurrection. Although the beginning of love for Sonya is painful, for Raskolnikov it is close to sadism: while suffering himself, he makes her suffer, secretly hoping that she will discover something acceptable to both, offer anything but a confession ... In vain. “Sonya represented an inexorable sentence, a decision without change. Here - either her road, or his. In the epilogue, the author shows the reader the long-awaited birth of mutual, all-redeeming love, which should support the heroes in hard labor. This feeling grows stronger and makes them happy. However, the complete restoration of Raskolnikov is not shown by Dostoevsky, it is only announced; The reader is given a lot of room for reflection. But this is not the main thing, and the main thing is that the ideas of the author in the novel are nevertheless embodied in reality, and it is with the help of the image of Sonechka Marmeladova. It is Sonya who is the embodiment of the good sides of Raskolnikov's soul. And it is Sonya who carries within herself the truth that Rodion Raskolnikov comes to through painful searches. This highlights the personality of the protagonist against the background of his relationship with the Marmeladovs.

On the other hand, Raskolnikov is opposed by people who were closest to him before he came to the idea of ​​allowing himself the right to kill an “insignificant creature” for the benefit of many. This is his mother, Pulcheria Alexandrovna, sister Dunya, fellow university student Razumikhin. They personify for Raskolnikov the conscience "rejected by him". They have not stained themselves with anything, living in the underworld, and therefore communication with them is almost impossible for the main character.

A noble son with the manners of a commoner, Razumikhin combines a merry fellow and a hard worker, a bully and a caring nanny, a quixote and a deep psychologist. He is full of energy and mental health, he judges the people around him versatilely and objectively, willingly forgiving them minor weaknesses and mercilessly scourging complacency, vulgarity and selfishness; at the same time, he evaluates himself in the most sober way. This is a democrat by convictions and by way of life, who does not want and does not know how to flatter others, no matter how high he puts them.

Razumikhin is a man whose friend it is not easy to be. But the feeling of friendship is so sacred to him that, seeing a comrade in trouble, he abandons all his affairs and hurries to help. Razumikhin is so honest and decent himself that he never for a moment doubts his friend's innocence. However, he is by no means inclined towards forgiveness in relation to Raskolnikov either: after his dramatic farewell to his mother and sister, Razumikhin reprimands him directly and sharply: “Only a monster and a scoundrel, if not crazy, could do the same to them as you did; and consequently, you are crazy ... ".

They often write about Razumikhin as a limited person, "smart, but ordinary." Raskolnikov himself sometimes calls him mentally "a fool", "a fool". But I think that Razumikhin is more likely to be distinguished not by narrow-mindedness, but by ineradicable good nature and faith in the possibility of sooner or later finding a solution to the “sick issues” of society - you just need to tirelessly seek, not give up: to the truth." Razumikhin also wants to establish truth on earth, but he never has thoughts that even remotely resemble the thoughts of Raskolnikov

Common sense and humanity immediately tell Razumikhin that his friend’s theory is very far from justice: “I am most outraged that you allow blood in conscience.” But when Raskolnikov's appearance in court is already a fait accompli, he appears in court as the most ardent witness for the defense. And not only because Raskolnikov is his friend and brother of his future wife, but also because he understands how inhuman the system is that pushed a person to a desperate rebellion.

Avdotya Romanovna Raskolnikova according to the original plan, she was supposed to become like-minded brother. The following entry by Dostoevsky has been preserved: “He certainly speaks to his sister (when she found out), or in general speaks of two categories of people and inflames her with this teaching.” In the final version, Dunya almost from the first minutes of the meeting enters into an argument with his brother.

The line of relations between Raskolnikov's brother and sister is one of the most difficult in the novel. The ardent love of a young provincial for her older brother, a smart, thinking student, is beyond doubt. He, with all his selfishness and coldness, before committing the murder, dearly loved his sister and mother. The thought of them was one of the reasons for his decision to transgress the law and his own conscience. But this decision turned out to be such an unbearable burden for him, he cut himself off so irreparably from all honest, pure people that he no longer had the strength to love.

Razumikhin and Dunya are not the Marmeladovs: they hardly mention God, their humanism is purely earthly. And, nevertheless, their attitude to Raskolnikov's crime and to his very "Napoleonic" theory is as unshakably negative as that of Sonya.

Do you have the right to kill? Sonya exclaimed.

I am most outraged that you allow blood in conscience, - says Razumikhin.

But you shed blood! Dunya screams in despair.

Raskolnikov seeks to dismiss with contempt any argument of each of them against the "right to commit a crime", but it is not so easy to brush aside all these arguments, especially since they coincide with the voice of his conscience.

If we talk about heroes who, as it were, have the voice of conscience of the protagonist, one cannot help but recall the caustic, “grinning” conscience of Raskolnikov, the investigator Porfiry Petrovich.

Dostoevsky managed to bring out a complex type of an intelligent and well-wishing investigator for Raskolnikov, who would not only be able to expose the criminal, but also penetrate with all depth into the essence of the theory of the protagonist, make him a worthy opponent. In the novel, he is assigned the role of the main ideological antagonist and "provocateur" of Raskolnikov. His psychological duels with Rodion Romanovich become the most exciting pages of the novel. But at the will of the author, it also acquires an additional semantic load. Porfiry is a servant of a certain regime, he is saturated with an understanding of good and evil from the point of view of the code of prevailing morality and the code of laws, which the author himself, in principle, did not approve of. And suddenly he acts as a father-mentor in relation to Raskolnikov. When he says: "You can't do without us," it means something completely different than a simple consideration: there will be no criminals, and there will be no investigators. Porfiry Petrovich teaches Raskolnikov the highest meaning of life: "Suffering is also a good thing." Porfiry Petrovich speaks not as a psychologist, but as a conductor of a certain tendency of the author. He suggests relying not on reason, but on direct feeling, trusting nature, nature. “Surrender to life directly, without arguing, do not worry - it will carry you straight to the shore and put it on your feet.”

Neither relatives nor people close to Raskolnikov share his views and cannot accept "blood permission in good conscience." Even the old lawyer Porfiry Petrovich finds many contradictions in the theory of the protagonist and tries to convey to Raskolnikov's mind the idea of ​​its incorrectness. But, perhaps, salvation, an outcome can be found in other people who share his views in some way? Maybe we should turn to other characters in the novel in order to find at least some justification for the "Napoleonic" theory?

At the very beginning of the fifth part of the novel, Lebezyatnikov. Undoubtedly, his figure is more parodic. Dostoevsky presents him as a primitively vulgar version of a "progressive", like Sitnikov from Turgenev's novel Fathers and Sons. Lebezyatnikov's monologues, in which he sets forth his "socialist" convictions, are a sharp caricature of Chernyshevsky's famous novel What Is to Be Done? Lebezyatnikov's lengthy reflections on communes, on freedom of love, on marriage, on the emancipation of women, on the future structure of society, seem to the reader a caricature of an attempt to convey to the reader "bright socialist ideas."

Dostoevsky depicts Lebezyatnikov exclusively by satirical means. This is an example of a kind of "dislike" of the author to the hero. Those heroes whose ideology does not fit into the circle of Dostoevsky's philosophical reflections, he describes in a devastating manner. The ideas preached by Lebezyatnikov and previously of interest to the writer himself disappoint Dostoevsky. That is why he describes Andrei Semenovich Lebezyatnikov in such a caricature: “He was one of that countless and diverse legion of vulgar people, dead bastards, and petty tyrants who have not studied everything, who immediately stick to the most fashionable walking idea, in order to immediately vulgarize it, in order to instantly caricature everything, which they sometimes most sincerely serve. For Dostoevsky, even "sincere service" to humanistic ideals does not in the least justify a vulgar person. In the novel, Lebezyatnikov performs one noble deed, but even this does not ennoble his image. Dostoevsky does not give heroes of this type a single chance to take place as a person. And although the rhetoric of both Raskolnikov and Lebezyatnikov is humanistically colored, Andrei Semenovich, who did not commit significantly bad deeds (as well as good ones, by the way), is incomparable with Raskolnikov, who is capable of significant deeds. The spiritual narrowness of the first is much more disgusting than the moral illness of the second, and no "clever" and "useful" speeches raise it in the eyes of the reader.

In the first part of the novel, even before the crime was committed, Raskolnikov learns from his mother’s letter that his sister Dunya is going to marry a completely wealthy and “seemingly kind person” - Pyotr Petrovich Luzhin. Rodion Raskolnikov begins to hate him even before he met him personally: he understands that it is not love that pushes his sister to this step, but a simple calculation - this is how you can help your mother and brother. But subsequent meetings with Luzhin himself only strengthen this hatred - Raskolnikov simply does not accept such people.

But why is Pyotr Petrovich not a groom: everything in him is decent, like his light waistcoat. At first glance, it seems so. But Luzhin's life is a continuous calculation. Even marriage with Dunya is not a marriage, but a sale: he called the bride and future mother-in-law to Petersburg, but did not spend a dime on them. Luzhin wants to succeed in his career, he planned to open a public law firm, to serve law and justice. But in the eyes of Dostoevsky, the existing legitimacy and that new judgment, which he once hoped for as a blessing, is now a negative concept.

Luzhin represents the type of "acquirer" in the novel. Hypocritical bourgeois morality is embodied in his image. He takes it upon himself to judge from the height of his position in life, outlining cynical theories and recipes for acquisition, careerism, and opportunism. His ideas are ideas leading to a complete rejection of goodness and light, to the destruction of the human soul. To Raskolnikov, such morality seems many times more misanthropic than his own thoughts. Yes, Luzhin is not capable of murder, but by nature he is no less inhuman than an ordinary murderer. Only he will not kill with a knife, an ax or a revolver - he will find a lot of ways to crush a person with impunity. This property of his is manifested in its entirety in the scene at the commemoration. And according to the law, people like Luzhin are innocent.

The meeting with Luzhin gives another impetus to the hero's rebellion: "Should Luzhin live and do abominations, or should Katerina Ivanovna die?" But no matter how Raskolnikov hates Luzhin, he himself is somewhat similar to him: “I do what I want.” With his theory, he appears in many ways as an arrogant creature of an age of competition and ruthlessness. Indeed, for the prudent and selfish Luzhin, human life in itself is of no value. Therefore, when committing a murder, Rodion Raskolnikov seems to approach such people, puts himself on the same level with them. And very close fate brings the protagonist to another character - the landowner Svidrigailov.

Raskolnikov hates the ancient lordly depravity, such as the Svidrigailovs, the masters of life. These are people of unbridled passions, cynicism, abuse. And if changes are needed in life, then also because to put an end to their revelry. But no matter how surprising it may be, it is Svidrigailov who is the plot double of the protagonist.

The world of Raskolnikov and Svidrigailov is depicted by Dostoevsky with the help of a number of similar motifs. The most important of them is that both allow themselves to "step over". After all, Svidrigailov is not at all surprised that Raskolnikov committed a crime. For him, crime is something that has entered life, is already normal. He himself is accused of many crimes, and he does not directly deny them.

Svidrigailov preaches extreme individualism. He says that man is naturally cruel and is predisposed to commit violence against others to satisfy his desires. Svidrigailov tells Rodion Raskolnikov that they are "of the same field." These words frighten Raskolnikov: it turns out that Svidrigailov's gloomy philosophy is his own theory, brought to its logical limit and devoid of humanistic rhetoric. And if Raskolnikov's idea arises from a desire to help a person, then Svidrigailov believes that a person deserves nothing more than a "stuffy bath with spiders." This is Svidrigailov's idea of ​​eternity.

Like all doubles in Dostoevsky, Svidrigailov and Raskolnikov think a lot about each other, due to which the effect of a common consciousness of the two characters is created. In fact, Svidrigailov is the embodiment of the dark sides of Raskolnikov's soul. So, the poet and philosopher Vyacheslav Ivanov writes that these two heroes are related as two evil spirits - Lucifer and Ahriman. Ivanov identifies Raskolnikov's rebellion with the "luciferic" principle, sees in Raskolnikov's theory a rebellion against God, and in the hero himself - an exalted and noble mind in his own way. He compares Svidrigailov's position with Ahrimanism, there is nothing here but the absence of vital and creative forces, spiritual death and decay.

As a result, Svidrigailov commits suicide. His death coincides with the beginning of the protagonist's spiritual rebirth. But along with the relief after the news of Svidrigailov's death, a vague anxiety comes to Raskolnikov. After all, one should not forget that Svidrigailov's crimes are reported only in the form of rumors. The reader does not know for sure whether he did them. This remains a mystery; Dostoevsky himself does not give an unequivocal answer about Svidrigailov's guilt. In addition, throughout the course of the novel, Svidrigailov does almost more "good deeds" than the rest of the characters. He himself tells Raskolnikov that he did not take upon himself the "privilege" to do "only evil." Thus, the author shows another facet of Svidrigailov's character, once again confirming the Christian ideas that in any person there is both good and evil, and the freedom to choose between them.

Raskolnikov, Svidrigailov, Luzhin and Lebeziatnikov form ideologically significant pairs among themselves. On the one hand, the extremely individualistic rhetoric of Svidrigailov and Luzhin is contrasted with the humanistically colored rhetoric of Raskolnikov and Lebezyatnikov. On the other hand, the deep characters of Raskolnikov and Svidrigailov are contrasted with the petty and vulgar characters of Lebezyatnikov and Luzhin. The status of the hero in Dostoevsky's novel is determined primarily by the criterion of the depth of character and the presence of spiritual experience, as the author understands it, therefore Svidrigailov, "the most cynical despair", is placed in the novel much higher than not only the primitive egoist Luzhin, but also Lebezyatnikov, despite his certain altruism .

In interaction with the rest of the characters of the novel, the image of Rodion Romanovich Raskolnikov is fully revealed. In comparison with the smart, but ordinary Razumikhin, Raskolnikov's personality is uncommon. The soulless business man Luzhin is potentially a greater criminal than Raskolnikov, who committed the murder. Svidrigailov, a dark personality with immoral ideas about life, seems to warn the protagonist against the final moral fall. Next to Lebezyatnikov, who always adjoined the "walking idea", Raskolnikov's nihilism seems lofty in its naturalness.

From this interaction it also becomes clear that none of the ideologies of the above heroes is a reliable and convincing alternative to Raskolnikov's theory, deeply suffered and honest in its own way. Apparently, the author wanted to say that any abstract theory addressed to humanity is in fact inhuman, because there is no place in it for a specific person, his living nature. It is no coincidence that in the epilogue, speaking of Raskolnikov's enlightenment, Dostoevsky contrasts "dialectics" and "life": "Instead of dialectics, life came, and something completely different should have developed in consciousness."

Rodion Romanovich Raskolnikov leaves the university, he does not want to become a family teacher, conversations with his only friend Razumikhin weigh him down, he is imprisoned in his room with a low ceiling. Going out into the street, he tries to avoid meeting the housewife, he tries to go down the stairs unnoticed. The company of other people irritates him. Walking through the streets, he tries not to see the people he meets.

Raskolnikov suffers from cruel misanthropy. Raskolnikov's desire to communicate normally with people is completely overshadowed by this misanthropy. This man, who is so disliked by reality, runs away from it and plunges into fantasies. He is struck by misanthropy to the very heart. Compared to the reality of the present, his illusory reality has more persuasiveness, and it is she who controls his actions. After all, it was not that he burned with a meaningful desire to commit murder, no, at first this murder appeared to him in his fantasies. And this fantasy so filled his imagination that he could no longer stop himself.

When Raskolnikov in the novel “Crime and Punishment”, on the eve of the crime, goes “for a trial” to an old pawnbroker, he, looking around the room, thinks: “And then, therefore, the sun will shine the same way!” In fact, at this time, he still has doubts about whether he will commit murder, but he speaks of him as if he had already committed it. When he actually commits the murder, he is in a lunatic state and, in fact, does not remember himself. When he raises the axe, his actions are controlled by fantasies. We can say that his reality is his fantasy. After the murder, fear seizes him, but he feels that this murder was not committed by him, but by someone else.

The murder is the main event of the novel, around which the plot is built. But for Raskolnikov himself, it does not have a decisive meaning, because he himself is in a solid shell of his fantasies, which do not give him the opportunity to realize that he has lost the ability to communicate with the outside world. The realization that he committed the murder with his own hands does not become the source of his suffering and torment. Having gone to Siberian exile, at first he thinks of the "murderer" as a complete stranger and does not feel remorse. His feelings - repentance, joy, sadness - have nothing to do with reality, they are autonomous - and this is precisely what constitutes the main problem of the hero.

Both Golyadkin from The Double and Ordynov from The Mistress are also loners, captivated by their fantasies, but, unlike them, Raskolnikov in the novel Crime and Punishment has an idea of ​​"justice" - let it be the truth of his fantasies. He believes that humanity is an overwhelming minority, to which everything is allowed, and the majority is material for the minority, and therefore a person belonging to the "minority" has the right to violate the norms of the "majority", and this is "fair". On this point, Raskolnikov agrees to a certain extent with Stavrogin, who preaches Russian messianism and the idea of ​​a God-man.

In real life, we often encounter such a type of loner, whose perception and character are different from others, who is not capable of empathy and perceives life in gloomy colors. As a defense against a sense of disharmony, such a person tries to eliminate his sufferings at the expense of some "correct" theory, which allegedly defends some kind of "justice". In psychiatry, this phenomenon is well known: a person is firmly attached to some idea and uses it for his own defense and justification.

In the monologue substantiation of his "justice" Raskolnikov is very eloquent. Asserting the right of the strong to protest against the established order, he even more asserts the properties of his nature, suffering from misanthropic irritation and woeful discord with the world. Paradoxically, Raskolnikov's idea of ​​justice, which further enhances his loneliness, attracts him to contacts with other people. He is forced to constantly present evidence of the truth of his "justice". His ideas, serving as a shield for self-defense, support him, but at the same time they are also a weapon for the offensive and the manifestation of aggression directed against others.

What keeps people from killing? The commandment "Thou shalt not kill." And therefore it should be trampled on. You should "don't care" about her. If you do this, you will be a hero, you will prove your “justice”. Here I am, maybe I will be able to prove my strength. Raskolnikov explains his motives to Sonya in this way: I wanted to prove my heroism and therefore killed.

And before this novel, Dostoevsky repeatedly brought loners to the stage. These characters wanted to find a friend and be saved by destroying the wall of their loneliness, but the matter began and ended with suffering in the "underground", from which they could not get out. And if Golyadkin managed to get out of it, he immediately ended up in a psychiatric hospital. As for Raskolnikov in the novel "Crime and Punishment", he, brandishing the ax of his "justice", pounces with it on completely strangers. Incapable of empathy, this lonely man, through a gruesome murder, makes contact with the world as a criminal.

"Crime and Punishment" is Dostoevsky's first truly "criminal" work.

An ordinary person who has managed to overcome his internal problems is unlikely to want to re-examine the complex of aggressiveness that Raskolnikov uses for self-defense. The "justice" that the suffering young man talks about is very often the expression of extreme selfishness. And an adult is unlikely to want to look at it again.

But Dostoevsky does not turn his eyes away from tragedy - that terrible and convulsive self-defense that Raskolnikov chose. He explores not only his psychology and inner world, not only the discord with the world that torments him, which lead to murder. Dostoevsky describes in detail Raskolnikov's bodily reflexes and his physiology. It can be said that the picturesqueness of the description of a young man stricken with a crisis, which has not been seen until now, is achieved precisely through the depiction of his bodily behavior.

“At the beginning of July, in an extremely hot time...” – this is how the novel begins – with a description of a stuffy summer evening. The uncertain gait of Raskolnikov, who does not want to return to his closet, his disgust at the stench that surrounds him, his strange joy that he feels from the prophetic words he overheard on the evening streets of St. Petersburg, the weight of the ax outweighing his will ... All these sensations are spelled out with detail and authenticity.

The feverish horror of Raskolnikov, who committed the murder, is also transmitted to the reader. Having become a murderer, Raskolnikov does not lose his ideas about "justice", but he cannot get rid of fear either. Unruly hands, chills that “almost jumped out of my teeth”, trembling in the knees, shortness of breath, heat in the whole body, tension and cold to the point of pain ... Dostoevsky mercilessly presents the reader with the bodily and physiological details of the behavior of his hero.

The power of influence on the reader of Crime and Punishment lies in the consistent description of the smallest changes that occur in the mood, perception, nervous and bodily state of this young man living in the world of his fantasies.

From the very beginning of his creative activity, Dostoevsky described the life of loners who do not know how to build relationships with others. This is Golyadkin and Ordynov, these are the main characters, on whose behalf the narrations of "White Nights" and "Notes from the Underground" are conducted. All of them are incapable of normal and balanced communication and are restless people. Because of this, no one takes them for their own, and they spend their days alone. Describing their loneliness and suffering, Dostoevsky called them "stillborn".

According to Dostoevsky, such “stillborns” are deprived of inner harmony, they are “wounded”, and irritation, discontent, and pain constantly ooze from this wound. And although this type passionately dreams of getting rid of disharmony, gaining a sense of fusion and peace in relations with other people and with nature, reviving a sense of belonging, but it lacks concern for others and spiritual softness. Society weighs them down, they feel like they are in a trap from which they want to escape. This is the sick type. His soul is split: he wants sympathy and involvement, but he himself rebels against them.

Raskolnikov belongs to the same "forked" type of extreme loner. His closet under the very roof of the house is the most suitable place to see no one. And yet his fantasies about "justice" do not completely poison him. In his soul, a dream is glimmering to escape from his terrible imprisonment. On the street, he tries to rescue the girl from the clutches of the libertine. Having met Sonya's half-sister, Polechka, on the stairs in Marmeladov's house, he asks her to pray for herself. When Marmeladov, drunk in the smoke, falls under the carriage, Raskolnikov immediately comes to his aid, recognizing Marmeladov as his acquaintance. That is, in Raskolnikov there is still a deeply hidden sympathy and desire for life. He wants to extend a helping hand, he wants such a hand extended to him. When Porfiry asks him if he believes in a “new Jerusalem”, where all people will be like brothers, Raskolnikov answers in the affirmative without the slightest hesitation. This reveals his deeply hidden dream of mutual sympathy and help. Just like the hero of Notes from the Underground, he splits in two: he wants to be not like everyone else, but he also wants to feel the warmth of human hands.

Raskolnikov's friend Razumikhin sees his duality well. Razumikhin characterizes Raskolnikov in this way: he is a naturally good person, but there is also a coldness in him that does not allow him to take care of others. "It's as if two opposite characters alternate in him."

Dostoevsky himself does not discuss with us the question of how correct Raskolnikov's ideas about "justice" are. Of course, Dostoevsky knows all about the "philosophy of the stillborn", and Porfiry ridicules the philosopher Raskolnikov. It was important for Dostoevsky to describe how his hero, this lone dreamer, is reborn for sympathy, how he frees himself from the captivity of fantasies and returns to life.

In order to show how Raskolnikov restores ties with the world, the author brings to the stage a prostitute Sonya - a person full of human feelings. It is difficult for other characters (and Raskolnikov's mother too) to say what state he is in now, but Sonya clearly sees his torment stemming from his discord with nature and people. Sonya is an uneducated person, and she has no thoughts of debunking Raskolnikov's theories about justice. But she pities him and takes his suffering to heart. When Raskolnikov from Crime and Punishment decides whether to turn himself in to confession, she silently urges him to do so. When he goes to Siberian exile, she resignedly follows him. There are no cures for the illness that Raskolnikov suffers, all that remains is to be there and wait - Sonya and Dostoevsky know about this.

And in the epilogue of the novel, we see how Raskolnikov gets rid of his hardness of heart. For the reader, this epilogue may come as a surprise. Dostoevsky, on the other hand, wanted to say that in Raskolnikov, this young man who was in captivity of his mental constructs, human feelings had finally awakened. And now he has been reborn for a living life, where there is a place to rejoice and grieve along with other people.