Crime and punishment is the story of Svidrigailov. Who is Svidrigailov. The novel Crime and Punishment. Svidrigailov

One of the main characters of the novel is Arkady Ivanovich Svidrigailov. He is a nobleman about fifty years old, a calm and well-mannered person. The story of Svidrigailov is very interesting: being a lover of wild life, he “walked” around St. Petersburg until he married Marfa Petrovna. She took him to the village, wanting to pacify her husband's voluptuousness, but even there our hero falls in love with Dunya. He also uses the wealth of his wife, and even when she dies, Svidrigailov immediately goes back to St. Petersburg for Dunya.

In St. Petersburg, Arkady Ivanovich finds Raskolnikov and asks him to arrange a meeting with his beloved. Seeing that Svidrigailov is a vicious, rude person who values ​​only debauchery in life, Rodion refuses him. Because of the hopelessness of his situation, Svidrigailov is overly frank with Raskolnikov, he even finds special pleasure in this. By chance, in St. Petersburg, Svidrigailov settled next to Sonya Marmeladova. He heard the conversation between Sonya and Raskolnikov, when Rodion confessed to the murder of an old pawnbroker. Svidrigailov told Raskolnikov that he knew everything, but promised to remain silent. After meeting with Rodion, Arkady Ivanovich lures Dunya to his apartment, where she almost kills him with a revolver. Realizing that his love is doomed, Svidrigailov commits suicide.

In the novel, Svidrigailov is Raskolnikov's double. He personifies debauchery, lust and idleness of life. But unlike Raskolnikov, Svidrigailov is a weak person, because he cannot withstand all the difficulties and chooses suicide. It is possible that Arkady Ivanovich could have gone astray if his feelings were mutual, because he often feels remorse and sees the ghost of Marfa Petrovna.

Svidrigailov is an ordinary person who hides his demons under the guise of benevolence. He commits many sins, but never comes to the right path. His mysteriousness and secrecy disappear at the moments of his revelations and “uncoverings”, and his demonic nature turns out to be ordinary voluptuousness.

The 19th century is deservedly called the "Golden Age" of Russian literature. During this period, it reaches unprecedented heights and gives us many famous masters of the word. One of them - Fyodor Mikhailovich Dostoevsky - a sophisticated preparator of the darkest corners of the human soul. He is the author of five great novels: "Poor People", "Demons", "The Brothers Karamazov", "The Idiot", "Crime and Punishment". In the last of them, the writer plunges us into the deep inner world of the characters, into their thoughts and experiences.

Option 2

In Dostoevsky's polyphonic novel Crime and Punishment, one of the voices belongs to the hero, whose villainy and baseness, it seems, cannot be doubted. His secondary role, however, determines one of the leading lines of the novel, connected with the motif of duality and the resurrection of Raskolnikov.

The novel story of Svidrigailov is full of all sorts of disgusting events: cheating, a debt hole, driving a deaf-mute girl and Philip to suicide, the torment of Marfa Petrovna, the persecution of Dunya, and, finally, Svidrigailov kills himself.

The hero consistently and cynically destroys his soul, not at all embarrassed by his behavior. But Dostoevsky could not create just a flat image of a corrupting hero, and only the volume of the character becomes obvious when he falls in love with Dunya and becomes a witness to Raskolnikov's confession of a crime before Sonya. There is no logic in his throwing and attempts to change when he declares to Raskolnikov that they are “of the same field”, and when he almost threatens Duna, blackmailing her and trying to achieve her love.

But in these throwing and strange actions, an attempt to find at least some way out of the terrible situation in which Svidrigailov found himself, thinking that he could not feel pangs of conscience, but it turned out that this was not so, because the image is the ghost of his late wife, so who did a lot for him and died untimely, perhaps through his fault, haunts him relentlessly.

There are a lot of descriptions of Svidrigailov's appearance in the novel, but one of the portrait details speaks a lot: his face, framed by blond, slightly graying hair, scarlet lips, sparkling eyes - all this resembles a mask. It is the mask of Svidrigailov that is the component of his demonic nature, even when he tries to remove it by donating money to Sonya and Dunya, for example, he does not succeed - his delusion is so great to get rid of him at a time. But Svidrigailov's nature is weak, and the demons inside him are victorious, the mask will become a mask, and Svidrigailov will forever go "to America", as he calls his suicide.

Svidrigailov is called the double of Raskolnikov, this is no coincidence. As in a mirror, Raskolnikov is destined to see what happens to a person who imagines himself having the right to decide the fate of other people and manage their lives. In one of his conversations with Raskolnikov, Svidrigailov suggests that eternity is a bath with spiders, these spiders are his demons, his vices, passions, with which he will remain, laying his hands on himself and not allowing his soul to be cleansed of filth.

Svidrigailov's love for Dunya does not save, because through coercion, and not through humility and patience, he goes to this love, but the old methods do not work, it is not the circumstances that Svidrigailov needs to change, but himself in the circumstances. A meeting with a five-year-old girl before her death becomes a symbol of hopelessness for the hero, since he sees the unredeemed suffering of a child as a sign of the complete imperfection of the world, in which, in his opinion, he no longer has a place. This fatal mistake of the hero becomes his sentence.

Composition on the theme of Arkady Svidrigailov

In F.M. Dostoevsky's novel "Crime and Punishment" attention is focused on the inner component of the characters, and not on their actions. One of the heroes of this work is a wealthy nobleman Arkady Svidrigailov. He and Luzhin are the moral twins of the protagonist Rodion Raskolnikov. Svidrigailov implements Rodion's theory. He gets what he wants, in every possible way. This leads his Arkady to moral devastation and spiritual degradation.

Although the hero does not look his age, he is about fifty years old. He is short, broad-shouldered, and dresses rather dapper. Thick hair and a beard complemented the image, and blue eyes gave a cold look with a share of disdain. For Raskolnikov, there was something threatening in this seemingly attractive image, because Svidrigailov was used to achieving his goals by any means.

There was a lot of talk and rumors around the figure of Svidrigailov. It was said of him that he was to blame for the death of his wife, since he himself had poisoned her. They also attributed to Svidrigailov that he had driven his servant to suicide. Even Dunya, whom Arkady is in love with, feels the danger posed by this man. Svidrigailov himself does not deny that he does everything only of his own free will and desire. At the same time, he does not try to justify his behavior, as Raskolnikov and Luzhin do.

Svidrigailov is the image that Raskolnikov could have become if he had crossed moral boundaries. Arkady has a cold restraint and does not feel remorse, unlike Rodion. Svidrigailov is not tormented by past sins or recent crimes.

The similarity of the characters is first noted by Svidrigailov, but there is one difference. For Arkady Ivanovich, who got rid of moral principles, the equality of good and evil has become a vital truth. At the same time, all this drives Raskolnikov into a state of panic. Despite his position in life, Svidrigailov does a lot of good deeds.

The tragic split personality of the hero leads to the fact that he begins to feel disgust for life and emptiness. Svidrigailov becomes a warning to Raskolnikov, shows his possible future. Composition In a good conversation, everyone saves his mind (according to the proverb grade 4)

In a good conversation, everyone saves his mind - this is how the proverb says. But what kind of conversation is "good"? Probably not only one that gives rise to pleasant sensations and seems “good”.

The landowner Svidrigailov sets off Raskolnikov. He has what Raskolnikov lacks - the strength of nature, which allows him to cross the line fearlessly. Svidrigailov sets off Raskolnikov's weakness and bookishness, his theorizing, which excludes the very possibility of that immediate strong desire, which determines the ability to overstep the line. Having fallen in love with Dunya, Svidrigailov does not stop before the murder of his wife and remains unpunished. In contrast to Raskolnikov, after the crime Svidrigailov turns out to be viable, he continues to seek Dunya's love, and only when he is convinced of the complete hopelessness of his feelings, he kills himself.
Svidrngailov is a strong, rich nature, able to combine crime and generosity, possessing a large reserve of will. Svidrigailov is exactly the kind of person who can calmly dare to cross the line of morality. Next to him, Raskolnikov is a weak-willed theorist, unable to cope with his own idea.

Svidrigailov began his life career as a cavalry officer, but since the most attractive side of this service is ambition, the observance of certain rules of honor, camaraderie, due to his inability to have all these feelings, he quits the service; for him, there were only one of its negative sides: constraint, compulsory labor, etc. After that, he begins to live only sensual pleasures, which have the usual outcome - ruin and satiety. It is clear that such a person does not think about choosing ways to receive money - he becomes a cheater; the question never arose in his mind whether this occupation was moral; the only thing he considers it necessary to say about this period of his life is that he was beaten for cheating. He is even somewhat proud of this: according to his concepts, only the beaten have a good manner. Finally, he becomes a beggar, a resident of the Vyazemsky house, but even such a fall does not bother him at all; he does not feel the humiliation of such a position, not even that shame that is characteristic of all those who have sunk so low in life; in a word, the dirt, in the literal and figurative sense, of the Vyazemsky house does not get on his nerves, although it is obvious that for a person of his upbringing such a life should be extremely difficult.

But then fate squeezed ass over him: a rich woman pays his debts, with the help of money she covers up his case of rape, makes him her husband. Svidrigailov cynically arrogates to himself the right to take her maids as concubines and widely uses this right, so he vegetates in the village for several years. He is tired of everything, nothing interests him, nothing excites him; he is completely indifferent to his wife, children; he does not understand the social obligations of the landowner, because the moral feelings underlying them do not exist for him. Life becomes a burden; in vain his good-natured wife took him abroad: due to the lack of aesthetic feelings, interest in public life, he was just as bored there as at home.
However, during this time he does not do anything bad. Some are even ready to consider him a kind person; but how foreign to him sympathy for his neighbor is evident from the fact that, for entertainment, he persecuted his lackey to such an extent, laughing at his convictions that
drove the latter to suicide. Of course, Svidrigailov is not to blame for the death of this lackey: after all, he did not feel and did not understand what cherished convictions could mean for a person, because he himself could not have convictions, there was nothing cherished, dear. But here he meets a girl who arouses attraction in him, but his courtship remains unsuccessful; Svidrigailov thinks that the girl does not give herself to him because he is married. Doubts that if he could marry her, then she, like a poor woman, would agree to his proposal, do not arise in his brain; he does not allow the thought that he can arouse disgust, since the consciousness of his own vileness and the assessment of the moral charms of this girl are inaccessible to him.
Then he removes the only, in his opinion, obstacle - his wife, the woman who saved him from a debt prison and hard labor, who loved him and cared for him, leaves the children and goes after Dunya Raskolnikova; but here he discovers the final impossibility of achieving his goal.
It may seem that some kind of moral feeling was revived in him when he did not take advantage of Dunya's helpless position, but another explanation is simpler and more accurate - Svidrigailov, like a refined libertine, wanted reciprocity, but was convinced that Dunya had a physical disgust for him. Sated Svidrigailov did not find exactly what he was looking for; the satisfaction of animal passion for him, as an exhausted person, did not have a special price; so that the seeming generosity of Svidrigailov was simply the result of his satiety. Svidrigailov scatters money and dies, not even remembering his children in his dying moments; only pictures of his personal life flash in his head, he does not remember a single friend, not a single close person; he has no one to say goodbye to, no one to regret. He dies indifferent to everything, even to himself; in turn, no one will regret him, he left nothing, no one's interests suffered from his death.

Meanwhile, Svidrigailov was educated, educated, rich, handsome; he had every right to a happy life, but moral blindness made his life difficult, drove him to suicide - a natural way to end the satiety of life, since there was nothing left to bind to it: no desires, no interests, nothing in the future .

Back in the 1880s, the psychiatrist researcher V. Chizh recognized the figure of Svidrigailov as “the best in all Dostoevsky’s works”: “Perhaps, of all the types created by Dostoevsky,
Svidrigailov alone will remain immortal.” This great artistic achievement was due to the general system of constructing the images of the novel, sharpened by the social topical era. “Of course, it is decently dressed and I am not considered a poor person,” Svidrigailov is recommended, “after all, the peasant reform bypassed us: forests and flood meadows, income is not lost, but ...”.

Before us is a large landowner, already limited by the "peasant reform" in his material wealth and personal power, although "forests and flood meadows" remained behind him. Dostoevsky introduces into his biography an episode of the torture of a courtyard man, led to suicide by his master's "system of persecution and punishment".

According to draft notes, the hero's slave-owning instincts turned out to be even sharper; "he spotted the serfs" and "used the innocence" of his peasant women. Dostoevsky accurately dates the fact of bringing him to the noose of the courtyard Philipp by the end of the 1850s: “It happened about six years ago, back in the days of serfdom.” It is worth remembering that just before the writing of Crime and Punishment, a peasant reform was carried out. Announced in the manifesto of 1861, it was carried out in 1863, when more than 80 percent of the serfs were "placed in finally defined relations with their former landowners."
The transitional biennium did little to change the manners of the landlords, and in Dostoevsky's journals there is a number of evidence of the continuing cruel traditions of serfdom, especially in relation to the long-suffering courtyard people.

Dostoevsky's journal, which noted that "the peasant question is a question of the nobility," cited on its pages a number of characteristic cases of modern chronicle: about the cruel treatment of the landowner with the Tsvorov people; about the ugly act of a landowner of the Miussky district with a girl who had lived in his family for more than six years as a governess [an attempt to beat her with a “double chubuk”, the girl’s flight, etc.); the whole episode is strongly reminiscent of Dunechka's departure from the Svidrigailov estate in a peasant cart in the pouring rain; finally, the suicide of a thirteen-year-old peasant girl, who hanged herself in a room on a belt tied to a pole, is reminiscent of the case of Resslich's niece, who strangled herself in the attic after she was "cruelly offended by Svitsrigaipov." This motif of the “offended girl” is heard several times in Crime and Punishment [a drunken girl on K-m Boulevard, Razumikhin’s dispute with Porfiry, Svidrigailov’s nightmare before suicide].

Subsequently, this motif was developed in full in "Demons" ["Confessions of Stavrogin"], but already in the era of "Crime and Punishment" this theme attracted the author's close attention. According to Sofia Kovalevskaya, back in the spring of 1865, Dostoevsky told her and her sister A. Korvin-Krukovskaya a scene from a novel he had planned about how “a landowner hero, middle-aged, very well and subtly educated,” recalls, “how one day, after a wild night and encouraged by drunken comrades, he raped a ten-year-old girl.

The intriguing vitality of Svidrigailov's image is also explained by his real sources. The hero, on the instructions of Dostoevsky, was written off from his comrade in Omsk penal servitude Aristov. In the drafts of the novel, he appears under this name. A young nobleman, not devoid of education, handsome and intelligent, with an eternal mocking smile on his lips, he represented
a complete type of moral monster, "monster, moral Kwaimodo". Aristov "was some kind of piece of meat, with teeth and a stomach, and with an unquenchable thirst for the grossest, most brutal bodily pleasures, and for the satisfaction of the smallest and most whimsical of these
pleasures, he was able to kill in cold blood, slaughter, in a word, everything, if only the ends were hidden in the water ... This was an example of what one bodily side of a person could reach, not internally restrained by any norm, any legality, ”

Svidrigailov was conceived as a certain fifty-year-old Aristov and retained in his appearance and characteristics a number of distinct features of the prototype. But in the process of artistic development, the image was softened and even received some features of moral nobility (taking care of Sonya, the little Marmeladovs, the rejection of Dunya). Dostoevsky resorted here to a special experiment: he placed the type of life that struck him in a different environment and took it at a different age, retaining all the originality of an extraordinary human individual.

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In his famous philosophical and psychological work Crime and Punishment, Dostoevsky created a whole galaxy of vivid and ambiguous images that still amaze readers today with their complexity, brightness and eccentricity.

One of these characters in the novel is the rare scoundrel and scoundrel Arkady Ivanovich Svidrigailov. His image was created by the author in order to draw a parallel between him and the main character Rodion Raskolnikov, because they are in similar life situations: both of them committed a crime, had a “mysterious relationship” with an old pawnbroker. And although Svidrigailov calls them “berries of the same field” with Rodion, this is not entirely true, because he has long been on the side of evil and has no doubts about the correctness of his choice.

Characteristics of the main character

Arkady Ivanovich is a rather attractive and youthful fifty-year-old man of noble origin. He is well dressed and makes a favorable impression on those around him, although Raskolnikov subtly notices that his face with cold and thoughtful blue eyes and thin scarlet lips looks like a mask (and rather unpleasant), behind which its owner successfully hides his vile essence.

Svidrigailov is a former officer who left his service a long time ago and indulged in the idle life of a cheater in the capital until he fell into a debt hole. From there, a rich woman Marfa Petrovna rescues him, she pays all his debts, takes him to her village, where she becomes his wife. However, he does not feel a drop of love and gratitude for her, and continues to lead an immoral lifestyle there. The vicious and immoral Svidrigailov causes the suicide of a poor peasant girl of fifteen, whom he seduces and abandons. With particular sophistication and cruelty, he also drives the poor servant Philip to suicide. Moreover, having become the cause of the death of two people, Svidrigailov has absolutely no remorse, does not repent and calmly continues to lead his depraved life.

(Svidrigailov shamelessly flirting with Dunya)

Unlike Raskolnikov, who also committed a crime, and now suffered and tormented himself with the question of whether he had the right to do so or not, Svidrigailov is absolutely calm and confident in his actions. He does everything to satisfy his base desires, and he absolutely does not care whether other people suffer from this or not. His soul is no longer at the crossroads of good and evil, he is consciously on the side of evil and does not repent of any of his crimes, because he does not even consider them to be such. He lives, striving to further satisfy his lust, and the evil in him continues to grow and expand.

(Dunya shoots Svidrigailov, in the role of Victoria Fedorov, film by L. Kulidzhanova "Crime and Punishment", USSR 1969)

Having met Raskolnikov's sister Dunya in his house, who appeared there as a servant, the libertine Svidrigailov falls in love with her and begins to harass her. A pure and chaste girl angrily rejects his courtship, and he, in order to achieve what he wants, brings his wife to a terrible sin - suicide. Trying to persuade the girl to get in touch with him, Svidrigailov resorts to various tricks, blackmailing her with revealing the secret of her murderer brother, but Dunya, driven to despair, shoots him with a revolver to stop this cruel and unscrupulous man. Only then does he understand how disgusting she is, and having truly fallen in love with this brave and pure girl, he lets her go.

The image of the hero in the work

(Svidrigailov to Raskolnikov:)

The image of Arkady Ivanovich Svidrigailov, a man without conscience and honor, was specially created by Dostoevsky as a warning to the main character, Raskolnikov, who he can become if he drowns out the voice of conscience and can live on without fully atoning for the crime he committed.

Svidrigailov worries and torments Rodion with his mysteriousness and power over him, with the words that they are "of the same field." In fact, this terrible person is the embodiment of his dark half, that part of Raskolnikov's soul, with which he constantly tries to fight, because it can lead him to a complete moral fall and switch to the side of evil.

(Petrenko Alexei Vasilyevich as Svidrigailov, Lensoviet Theatre, St. Petersburg)

Broken by the act of his beloved woman, Svidrigailov realizes how empty and meaningless his life is. His conscience begins to torment him, and in the last hours of his life he tries to somehow make amends with God and people: he transfers money to Duna, helps Sonya Marmeladova and her family. Belated remorse overtakes him and he, unable to bear this burden, commits suicide. He turned out to be too weak and cowardly, and could not, like Raskolnikov, repent and suffer a well-deserved punishment.

Svidrigailov characterization and image in Dostoevsky's novel Crime and Punishment

Plan

1. The versatility of the heroes of the novel "Crime and Punishment".

2. Svidrigailov. Characteristics and image of the hero

2.1. Immoral villain

2.2. Svidrigailov and Raskolnikov

2.3. Love for Dunya

3. The end of Svidrigailov

In his difficult novel “Crime and Punishment”, F. M. Dostoevsky depicted several vivid and vivid images that still impress readers with their originality and complexity.

First of all, this, of course, is the main character himself, a hardworking, sympathetic young man who decided to cross the line of what is permitted. This is Sonya Marmeladova - a destitute, deprived of childhood, impoverished and self-selling girl, capable of strong feelings and sincere devotion. This is Sonya's father, and Luzhin, and, of course, Svidrigailov.

Arkady Ivanovich appears before the readers as a handsome man of fifty, well-dressed, looking younger. He is a nobleman and former officer, was married to a wealthy woman. It would seem that life smiles at this hero, he is full of strength and conceit, because the circumstances surrounding him are developing successfully. But not everything is so simple. Svidrigailov is an immoral and vicious person, without conscience and moral principles. Because of such dirty beliefs, he breaks the life of himself and others, becomes unhappy himself and makes those around him unhappy.

At a young age, he quits the service, because it is difficult for him to obey the army routine, live on friendly terms with his comrades and observe the norms of decency. Having no permanent income and spending all his savings on a riotous lifestyle and game, Svidrigailov becomes a beggar. He is imprisoned for cheating and debts. At this time, he is assisted by a rich woman. Marfa Petrovna pays a lot of money to free a man, marries him and leaves with him for the village.

Another person, imbued with gratitude for this loving noblewoman, would respect and appreciate her. But Arkady Ivanovich was not like that. He humiliates his wife and shamelessly cheats on her. “I had such squalor in my soul and a kind of honesty to declare to her directly that I can’t be completely faithful to her,” declares this vicious person, and still boasts of his immorality. But his adventures in the village do not end there.

With unprecedented sophistication and cruelty, Svidrigailov mocks the peasant, and thereby drives him to suicide. And his immoral relationship with a fifteen-year-old girl causes disapproval and condemnation in the reader. The unfortunate girl kills herself, but this has no effect on the villain. He, without feeling remorse, continues to enjoy life and depravity.

Committing crimes and excesses, Arkady Ivanovich does not suffer, like Raskolnikov, who is tormented whether he has the right to take a person's life. Svidrigailov commits his atrocities without hesitation, and it's scary. For him there is no crime or offense, for him there is only the need to satisfy his desires and lusts, regardless of how it affects others. And although he tells the main character that they are both “of the same field”, this is not so.

Svidrigailov does not doubt his evil deeds, he does not waver between good and evil. He has long been on the side of evil and does not feel the slightest sign of remorse. In contrast to Raskolnikov, Arkady Ivanovich does not withdraw into himself after the crime. He continues to live and strives to get everything from life. The relationship between Svidrigailov and Raskolnikov's sister Dunya is amazing and extraordinary. The girl comes to serve in the family of Arkady Ivanovich, where he notices her and is imbued with love for her. Most likely, the man was captivated by the spiritual beauty and purity of the young maid. She behaves meekly and humbly, with zeal she does housework, she is kind and accommodating. But this flexibility has another side.

Dunya is an honest, chaste girl, she preserves her purity and innocence. No threats and intimidation, no gifts and no flattery can shake her determination to resist the hated master. Svidrigailov cannot come to terms with this. He thinks that his wife is interfering with the girl. Therefore, a man commits a terrible act - he becomes the culprit in the death of his wife, the mother of his children, who all the time saved him and saved him from the consequences of his dirty deeds. After that, Arkady Ivanovich goes to Dunya to force her to give herself to him.

He blackmails the girl with the secret of her brother and indulges in other terrible tricks to seduce the unfortunate. But Dunya, driven to despair, understands that she can become a puppet in the hands of a cruel, unprincipled person, whom she abhors and despises, and decides to kill. The first shot missed the villain, and the second time the girl could not shoot and threw back the revolver. Svidrigailov, who was not frightened by either the assassination attempt or the real threat, was broken by Dunya's despair and grief, her extinguished gaze and dull indifference. He realized that he was disgusted by his beloved, that she would never and never love him sincerely and voluntarily. “So you don’t love? .. And you can’t? Never? Never!" - this quiet short conversation decides the further fate of the heroes. Arkady Ivanovich, who truly loves this steadfast, pure young woman, lets her go and decides to commit suicide.

His existence is meaningless, without a beloved who could become his joy and salvation, he sees no reason in his existence. Svidrigailov commits suicide, but, oddly enough for a negative hero, in the last hours of his life he does noble deeds that save the lives of others. The man leaves money to his bride, who is young and innocent, and Sonechka, thanks to which she can change her profession and follow Raskolnikov into exile to take care of his mental well-being. Arkady Ivanovich also arranges the lives of the Marmeladov children. If not for his good deeds, who knows how the life of the main characters would have ended. And so we have the hope that by his suicide Svidrigailov saved Sonya and Rodion, that they will live happily ever after.

– Who is Svidrigailov? How is his first information in the novel characterized?

(The first information in the novel about Svidrigailov characterizes him .. as a villain, a debauchee. They say that he was involved in the case of “murder”, he was guilty of the suicide of the serf footman Philip, that he cruelly insulted the girl, poisoned his wife Marfa Petrovna, that he was a cheater, that he was not At the same time, throughout the whole novel, he does a number of good deeds: he saved Dunya from shame, restored her good name, wants to help Dunya get rid of Luzhin, took upon himself the arrangement of the fate of the orphaned Marmeladov family. )

– He has a conscience by nature, but does good and evil out of boredom. This is a man without convictions and without activity. A real person cannot live without convictions and without activity. Svidrigailov understood this and executed himself, having lost his "last goal - to achieve Dunya's disposition). This hero goes the furthest: stepping over other people's lives, he also steps over his own conscience, that is, he fully corresponds to Raskolnikov's idea of ​​​​strong personalities. But instead expected, from his point of view, the triumph of the idea in the dislocated world of Svidrigailov, she suffers a complete collapse. "Arithmetic", according to which one can kill one "harmful" old woman, and then, having done a hundred good deeds, atone for this sin, is refuted by Svidrigailov's "experiments": on his account there are more good deeds than all other heroes of the novel, but, firstly, the good deeds done by him can in no way justify the crimes of the past, and, secondly, it is not able to revive his sick soul. conscience is eventually released and bursts into the realm of the conscious, giving rise to suffocating nightmares in which reality and unreality fantastically continue in each other and coalesce into e one continuous hallucination. Svidrigailov is the chosen one who “crossed over”, and “crossed over” more than once, and without moral torment (here it is, Raskolnikov’s ideal!), But at the same time he did not become Napoleon. The life outcome of Svidrigailov is not only his suicide, but also the death of Raskolnikov's idea, which reveals the monstrous self-deception of the protagonist.

- Is Svidrigailov right when he asserts that he and Raskolnikov are “of the same field”, that there is a “common point” between them?

(We see Svidrigailov as a person devoid of all moral foundations, not recognizing any moral prohibitions; he lives according to the principle “everything is allowed.” Raskolnikov, allowing himself “blood according to conscience”, also denies the moral responsibility of a strong person for his actions; moral norms, according to him opinion, exist only for the lowest category of people - "trembling creatures". The truth, which Raskolnikov came to as a result of long reflections, Luzhin and Svidrigailov use as a guide to action.)

The first information in the novel about Svidrigailov characterizes him as a villain, a debauchee. From the same letter to Raskolnikov's mother, it becomes known that Mr. Svidrigailov "had a passion for Dunya" and in every possible way sought her reciprocity. His identity remains a mystery to both the reader and Raskolnikov. There were rumors that Svidrigailov was the cause of the death of a fourteen-year-old deaf-mute girl, the serf Philip, as well as Marfa Petrovna herself, his wife.

At the first meeting, Rodion had the impression of this person as a person who decided on something and “on his mind”, as well as a very good company or who knows how to “be a decent person on occasion”, and upon closer acquaintance - as a cynic . The former cheater, bought out by Marfa Petrovna "for thirty thousand pieces of silver", who lived without a break in the village for seven years and became a "decent master" during this time, now he does not know what to do with himself out of boredom. Svidrigailov himself recognizes himself as "a depraved and idle man." After the death of his wife, he is going to marry a sixteen-year-old girl, taking advantage of the fact that her father is disabled, and her mother, in addition to her own daughter, has two more nephews in her arms. His principle: "Everyone is looking after himself and he lives the most cheerfully, that it is better for everyone to cheat himself."

Svidrigailov overhears Raskolnikov's conversation with Sonya (when he confesses to the murder of an old pawnbroker) and offers Rodion his help: “Run, young man! .. I say sincerely. No money, right? I'll let you on the road." But then, using information about his brother, he blackmails Dunya, forcing her to come to him on a date. He promises Dunya to save his brother by sending him abroad if she is favorable to him; but then, having received a refusal, he again turns into a cynic capable of violence.

The image of Svidrigailov is contradictory. Throughout the novel, he also does good deeds: he saved Dunya from shame, restored her good name, is ready to help her get rid of Luzhin, arranged the fate of the Marmeladov orphans. But all this - both good and evil - he does out of boredom. By nature, he has a conscience, but he has no convictions, he is not engaged in useful activities. Having lost his last goal - to achieve the location of Dunya, Svidrigailov commits suicide. I believe that Svidrigailov is one of those heroes who "has no one to go to ... nowhere else to go." By the death of this hero, the author affirms the idea that a real person cannot live without convictions and without activity.

Svidrigailov claimed that he and Raskolnikov were "of the same field." And for the most part, he's right. He himself is deprived of all moral foundations, does not recognize any moral prohibitions. Raskolnikov, allowing himself "blood according to his conscience", also thereby denies the moral responsibility of a strong person for his actions. Moral norms, according to the protagonist, exist only for ordinary people, "trembling creatures."

When comparing Raskolnikov with the images of Luzhin and Svidrigailov, it becomes clear that they all adhere to the same theory. Only Raskolnikov still could not live according to this theory, and Luzhin and Svidrigailov, on the contrary, use the power that material well-being gives them, use those around them for their own purposes. Pushing these heroes together, the author thereby refutes the theory, revealing its inhuman essence. That human thing that lives in Rodion helps him to “resurrect”, not to lose his soul.