Crime and punishment are twin antipodes. Lesson-study "Doubles and antipodes of Rodion Raskolnikov in the novel by F.M.

Exploring Raskolnikov’s idea, creating its living, full-blooded image, wanting to show it from all sides, Dostoevsky surrounds Raskolnikov with a system of doubles, each of whom embodies one of the facets of Raskolnikov’s idea and nature, deepening the image of the protagonist and the meaning of his moral experiences. Thanks to this, the novel turns out to be not so much a trial of a crime, but (and this is the main thing) a trial of personality, character, human psychology, which reflected the features of Russian reality of the 60s of the last century: the search for truth, truth, heroic aspirations, “vacillation” , "misconceptions".

Pamphletizing in a novel is a technique of introducing characters into the work who represent, to one degree or another, a portrait of the main character’s appearance and behavior. These characters become Raskolnikov's doubles.

Raskolnikov's spiritual doubles are Svidrigailov and Luzhin. The role of the first is to convince the reader that Raskolnikov’s idea leads to a spiritual dead end, to the spiritual death of the individual. The role of the second is the intellectual decline of Raskolnikov’s idea, such a decline that will turn out to be morally unbearable for the hero.

Arkady Ivanovich Svidrigailov is the darkest and at the same time the most controversial figure in the novel. This character combines a dirty slut and a sensitive judge of moral virtues; a sharper who knew beatings of his partners, and a strong-willed merry fellow, fearlessly standing at the point of a revolver pointed at him; a man who has worn a mask of self-satisfaction all his life - and all his life he is dissatisfied with himself, and the more his discontent eats away, the deeper he tries to drive it under the mask.

In Svidrigailov, who trampled moral and human laws, Raskolnikov sees the full depth of his possible fall. What they have in common is that they both challenged public morality. Only one managed to completely free himself from the torment of conscience, the other cannot. Seeing Raskolnikov’s torment, Svidrigailov remarks: “I understand what questions are on your mind: moral or what? Questions of a citizen and a person? And you are at their side: why do you need them now? Heh, heh! Then what is still a citizen and a person? And if that’s the case, then there was no need to meddle: there’s no point in minding your own business.” . In the novel there is no direct indication of Svidrigailov’s atrocities; we learn about them from Luzhin. Luzhin talks about the allegedly murdered Marfa Petrovna ( “I am sure that he was the cause of the death of the late Marfa Petrovna” ) , about a footman and a deaf-mute girl driven to suicide (“... a deaf-mute girl of about fifteen or even fourteen... was found hanged in the attic... however, a denunciation came that the child had been cruelly insulted by Svidrigailov,” “they also heard about the story of the man Philip, who died from torture, about six years ago, still during serfdom... the continuous system of persecutions and penalties of Mr. Svidrigailov forced him, or better to say, persuaded him to a violent death"). Raskolnikov, having learned this about Svidrigailov, does not stop thinking: this is what a person who has crossed all laws can become!

Thus, Raskolnikov’s theory about the possibility of standing above people, despising all their laws, did not find its support in the fate of Svidrigailov. Even an inveterate villain cannot completely kill his conscience and rise above the “human anthill”. Svidrigailov realized this too late, when life had already been lived, renewal was unthinkable, the only human passion was rejected. His awakened conscience forced him to save Katerina Ivanovna’s children from starvation, pull Sonya out of the abyss of shame, leave money to his bride and kill himself at the end of his ugly existence, thereby showing Raskolnikov the impossibility of any other path for a person who has transgressed the moral laws of society except self-condemnation.

Pyotr Petrovich Luzhin is another Raskolnikov double. He is not capable of murder, does not profess any ideas that undermine bourgeois society; on the contrary, he is entirely in favor of the dominant idea in this society, the idea of “reasonably-egoistic” economic relations. Luzhin's economic ideas - the ideas on which bourgeois society stands - lead to the slow murder of people, to the rejection of goodness and light in their souls. Raskolnikov understands this well: “... is it true that you told your bride... at the very hour when you received her consent that you are most glad that... that she is a beggar... because it is more profitable to take a wife out of poverty in order to then rule over her... and reproach those that she has benefited you?..” .

Luzhin is a middle-class entrepreneur, he is a “little man” who has become rich, who really wants to become a “big man”, to turn from a slave into the master of life. Thus, Raskolnikov and Luzhin coincide precisely in their desire to rise above the position assigned to them by the laws of social life, and thereby rise above people. Raskolnikov arrogates to himself the right to kill the moneylender, and Luzhin to destroy Sonya, since they both proceed from the incorrect premise that they are better than other people, in particular those who become their victims. Only Luzhin’s understanding of the problem itself and methods are much more vulgar than Raskolnikov’s. But that's the only difference between them. Luzhin vulgarizes and thereby discredits the theory of “reasonable egoism.”

Only his own benefit, career, success in the world worries Luzhin. He is by nature no less inhuman than an ordinary murderer. But he will not kill, but will find a lot of ways to crush a person with impunity - cowardly and vile ways (accusing Sonya of stealing money at a wake).

This double character was developed by Dostoevsky as the personification of the world that Raskolnikov hates - it is the Luzhins who push the conscientious and helpless Marmeladovs to death and awaken rebellion in the souls of people who do not want to be crushed by the economic ideas of bourgeois society.

Confronting Raskolnikov with his double heroes, the author debunks the theory of the right to crime, proves that there is and cannot be a justification for the theory of violence and murder, no matter how noble the goals it is argued for.

Antipodes of Raskolnikov. The content of the hero's disputes with them. The ideological and compositional meaning of the image of Sonya Marmeladova.

The antipodes (“people with opposite views, beliefs, characters”) of the main character are intended to show the disastrousness of Raskolnikov’s theory - to show both the reader and the hero himself.

Thus, by bringing all the characters in the novel into relation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory born of the unjust world itself.

The antipodes in the novel are, on the one hand, people close to Raskolnikov: Razumikhin, Pulcheria Alexandrovna, Dunya, - on the other hand, those with whom he will meet - Porfiry Petrovich, the Marmeladov family (Semyon Zakharych, Katerina Ivanovna, Sonya), Lebezyatnikov.

People close to Raskolnikov personify the conscience rejected by him; they have not stained themselves in any way by living in the criminal world, and therefore communication with them is almost unbearable for Raskolnikov.

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 comprehensively and objectively, willingly forgiving them minor weaknesses and mercilessly castigating self-righteousness, vulgarity and selfishness. The feeling of camaraderie is sacred to him. He immediately rushes to Raskolnikov’s aid, brings a doctor, sits with him as he wanders. But he is not inclined to forgiveness and reprimands Raskolnikov: “Only a monster and a scoundrel, if not a madman, could have done to them the way you did; and therefore, you are crazy...”

Common sense and humanity immediately told Razumikhin that his friend’s theory was very far from correct: “What outrages me most of all is that you decide on blood according to your conscience.”

Unlike Raskolnikov, Razumikhin’s refusal of individual will raised objections: “...they demand complete impersonality, and in this they find the most relish! How could I not be myself, how could I be less like myself! This is what they consider the highest progress.”

Avdotya Romanovna Raskolnikova gets into an argument with her brother almost from the first minutes of the meeting. Raskolnikov, speaking about the money given the day before by Marmeladov, tries to condemn himself for frivolity:

“-... To help, you must first have this right, not like: “Crevez, chiens, si vousn’еtes pas contents!” (“Die, dogs, if you are unhappy!”) He laughed. - Is that right, Dunya?

“No, it’s not like that,” Dunya answered firmly.

- Bah! Yes, and you... with intentions! – he muttered, looking at her almost with hatred and smiling mockingly. “I should have figured that out... Well, that’s commendable; It’s better for you... And you reach such a line that if you don’t step over it, you’ll be unhappy, but if you step over it, maybe you’ll be even more unhappy...”

And Dunya really faces a choice. She could have killed Svidrigailov in self-defense, without breaking the law, and freed the world from the scoundrel. But Dunya cannot “transgress,” and this reveals her highest morality and Dostoevsky’s conviction that there is no situation where murder can be justified.

Dunya condemns her brother for a crime: “But you shed blood! – Dunya screams in despair.”

The next antipode of Raskolnikov is Porfiry Petrovich. This insightful and caustic investigator is trying to hurt Raskolnikov’s conscience more painfully, to make him suffer by listening to frank and harsh judgments about the immorality of the crime, no matter what goals it is justified. At the same time, Porfiry Petrovich convinces Raskolnikov that his crime is not a secret to those leading the investigation, and therefore there is no point in hiding anything. Thus, the investigator conducts a merciless and thoughtful attack, as if from two ends, realizing that in this case he can only count on the painful state of the victim and his morality. Talking with Raskolnikov, the investigator saw that this man is one of those who deny the foundations of modern society and consider himself entitled to at least single-handedly declare war on this society. And in fact, Raskolnikov, irritated by Porfiry Petrovich’s ridicule, and, wary only of not giving himself away with any evidence, confirms the investigator’s suspicions, completely betraying himself ideologically:

“-... I allow blood. So what? After all, society is too well endowed with exile, prisons, judicial investigators, hard labor - why worry? And look for the thief!..

- Well, what if we find it?

- That’s where he belongs.

- You are logical. Well, sir, what about his conscience?

- What do you care about her?

- Yes, that’s right, out of humanity, sir.

- Whoever has it, suffer, since he recognizes the mistake. This is his punishment—except hard labor.” .

Porfiry expressed his attitude to Raskolnikov’s theory clearly: “... I do not agree with you in all your convictions, which I consider it my duty to state in advance.” . He speaks directly about Raskolnikov: “... he killed, but he considers himself an honest man, he despises people, he walks around like a pale angel...”

However, despite the harshest reviews of Raskolnikov, Porfiry Petrovich understands that this is not a criminal who has coveted other people’s property. The worst thing for the society whose foundations are protected by the investigator is precisely that the criminal is guided by theory, driven by conscious protest, and not by base instincts: “It’s also good that you just killed the old woman. But if you had come up with another theory, then, perhaps, you would have made the thing a hundred million times uglier!”

Semyon Zakharych Marmeladov spoke with Raskolnikov before the crime. In essence, this was Marmeladov’s monologue. There was no argument out loud. However, Raskolnikov could not have a mental dialogue with Marmeladov - after all, both of them were painfully thinking about the possibility of getting rid of suffering. But if for Marmeladov hope remained only in the other world, then Raskolnikov had not yet lost hope of resolving the issues that tormented him on earth.

Marmeladov firmly stands on one point, which can be called the “idea of self-abasement”: beatings “not only bring pain, but also pleasure,” and he trains himself not to pay attention to the attitude of those around him like a clown, and to spend the night he is already accustomed to where he has to be... The reward for all this is the picture of the “Last Judgment” that arises in his imagination, when the Almighty will accept Marmeladov and similar “pigs” and “strays” into the kingdom of heaven precisely because not a single one of them « I didn’t consider myself worthy of this.”

It is not a righteous life, but the absence of pride that is the key to salvation, Marmeladov believes. And his words are addressed to Raskolnikov, who has not yet decided to kill. Raskolnikov, listening carefully, understands that he does not want to self-deprecate, and the problems of the afterlife do not bother him. Thus, despite the contrasting ideas of these heroes, Marmeladov not only did not dissuade, but, on the contrary, further strengthened Raskolnikov in his intention to commit murder in the name of rising above the “trembling creature” and for the sake of saving the lives of several noble, honest people.

Katerina Ivanovna meets with Raskolnikov four times. He never entered into lengthy conversations with her, and he listened with half an ear, but he still caught that in her speeches they alternately sounded: indignation at the behavior of others, a cry of despair, the cry of a person who has “nowhere else to go”; and suddenly boiling vanity, the desire to rise in one’s own eyes and in the eyes of listeners to a height unattainable for them. Katerina Ivanovna is characterized by the idea of self-affirmation.

Katerina Ivanovna’s desire for self-affirmation echoes Raskolnikov’s thoughts about the right of the “chosen ones” to a special position, about power “over the entire anthill.”

Even Lebezyatnikov is the antipode of Raskolnikov. He talks about communes, freedom of love, civil marriage, the future structure of society and much more. Lebezyatnikov claims that he does not agree with the revolutionary democrats: “We want to start our own commune, a special one, but only on broader grounds than before. We have gone further in our beliefs. We are in denial no more! If Dobrolyubov had risen from his grave, I would have argued with him. And Belinsky would have been killed!” .

But be that as it may, Lebezyatnikov is alien to baseness, meanness, and lies.

Lebezyatnikov's reasoning in some things coincides with Raskolnikov's reasoning. Raskolnikov sees in humanity a faceless mass, an “anthill” (excluding “extraordinary” people), Lebezyatnikov says: “everything comes from the environment, but man himself is nothing”. The only difference is that Raskolnikov needs power over this “anthill,” while Lebezyatnikov seeks to facelessly dissolve in it himself.

Sonya Marmeladova is the antipode of Raskolnikov. She believes that a person can never be a “trembling creature and a louse.” It is Sonya who, above all, personifies Dostoevsky’s truth. If you define Sonya’s nature in one word, then this word will be “loving.” Active love for one's neighbor, the ability to respond to someone else's pain (especially deeply manifested in the scene of Raskolnikov's confession of murder) make the image of Sonya a piercingly Christian image. It is from a Christian position, and this is Dostoevsky’s position, that in the novel the verdict is pronounced on Raskolnikov.

For Sonya Marmeladova, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. A sin remains a sin, no matter who commits it and for what purpose. Personal happiness cannot be a goal. This happiness is achieved through self-sacrificing love, humility and service. She believes that you need to think not about yourself, but about others, not about ruling over people, but about serving them sacrificially.

Sonechka’s suffering is the spiritual journey of a person trying to find his place in an unfair world. Her suffering provides the key to a sympathetic understanding of other people's suffering, other people's grief, making him morally more sensitive and more experienced and seasoned in life. Sonya Marmeladova feels that she too is to blame for Raskolnikov’s crime, takes this crime to heart and shares his fate with the one who “crossed over” it, since she believes that every person is responsible not only for his own actions, but also for every evil that occurs in the world .

In a conversation with Sonya Raskolnikova, he himself begins to doubt his position - it is not for nothing that he so wants to receive an affirmative answer to his not entirely clearly expressed statement - the question of whether it is possible to live without paying attention to the suffering and death of others.

Yes, Raskolnikov himself suffers, suffers deeply. “The most excellent mood” dissipates like fog at the first contact with reality. But he doomed himself to suffering - Sonya suffers innocently, paying with moral torment not for her sins. This means that she is immeasurably superior to him morally. And that’s why he is especially drawn to her - he needs her support, he rushes to her “not out of love,” but as providence. This explains his utmost sincerity.

“And it wasn’t money, the main thing, that I needed, Sonya, when I killed; I didn’t need money so much as I needed something else... I needed to know something else, something else was pushing me under my arms: I needed to find out then, and quickly find out, whether I was a louse, like everyone else, or a human being? Will I be able to cross, or will I not be able to? Do I dare to bend down and take it, or not? Am I a trembling creature, or do I have the right?

- Kill? Do you have the right? – Sonya clasped her hands.”

The thought of Raskolnikov terrifies her, although just a few minutes ago, when he confessed to her the murder, she was overwhelmed with ardent sympathy for him: “As if not remembering herself, she jumped up and, wringing her hands, reached the room; but she quickly returned and sat down next to him again, almost touching him shoulder to shoulder. Suddenly, as if pierced, she shuddered, screamed and threw herself, without knowing why, on her knees in front of him.

- What have you done to yourself! “she said desperately and, jumping up from her knees, threw herself on his neck, hugging him, and squeezing him tightly with her hands.”

In the furious argument between Raskolnikov and Sonya, the ideas of Katerina Ivanovna’s self-affirmation and Semyon Zakharych’s self-abasement are heard anew.

Sonechka, who also “transgressed” and ruined her soul, the same humiliated and insulted that they were, are and will always be as long as the world exists, condemns Raskolnikov for contempt for people and does not accept his rebellion and the ax that, as it seemed to Raskolnikov, was raised for her sake, for the sake of saving her from shame and poverty, for the sake of her happiness. Sonya, according to Dostoevsky, embodies the national Christian principle, the Russian folk element, Orthodoxy: patience and humility, immeasurable love for God and man.

“Do you have a cross on you? – she suddenly asked unexpectedly, as if she had suddenly remembered...

- No, isn't it? Here, take this one, the cypress one. I still have another one, a copper one, Lizavetin.”

The clash between the atheist Raskolnikov and the believer Sonya, whose worldviews are opposed to each other as the ideological basis of the entire novel, is very important. The idea of a “superman” is unacceptable to Sonya. She tells Raskolnikov : “Go now, this very minute, stand at the crossroads, bow down, first kiss the ground that you have desecrated, and then bow to the whole world, in all four directions, and tell everyone, out loud: “I killed!” Then God will send you life again.”. Only the Orthodox people, represented by Sonya Marmeladova, can condemn Raskolnikov’s atheistic, revolutionary revolt, force him to submit to such a court and go to hard labor “to accept suffering and atone for himself with it.”

It is thanks to the all-forgiving love of Sonechka and the Gospel that Raskolnikov repents. She contributed to the final collapse of his inhuman idea.

8. Epilogue of the novel and its significance for understanding the work.

The epilogue of the novel “Crime and Punishment” is important for understanding the work. In the epilogue, Dostoevsky shows that in the future Raskolnikov will be resurrected by Sonechka’s love, the faith received from her, and hard labor. “They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources of life for the other... he was resurrected, and he knew it, he felt his completely renewed being...".

It is known that Dostoevsky often endowed his heroes with their own spiritual experience. In Raskolnikov's penal servitude there is a lot from Dostoevsky, his convict experience. Hard labor became a salvation for Raskolnikov, just as it saved Dostoevsky in its time, since it was there that the story of the rebirth of beliefs began for him. Dostoevsky believed that it was hard labor that gave him the happiness of direct contact with the people, a feeling of fraternal union with them in a common misfortune, gave him knowledge of Russia, an understanding of the people's truth. It was during hard labor that Dostoevsky formed a symbol of faith for himself, in which everything was clear and sacred to him.

Raskolnikov will also take the saving path from atheism and unbelief to the people’s truth in the name of Christ in the epilogue of the novel, because “under his pillow lay the Gospel”, and the thought of Sonya shone in my mind with the light of hope: “Can her beliefs not now also be my beliefs? Her feelings, her aspirations at least...". Sonya, this convict Mother of God, will help Raskolnikov to join people again, because the feeling of isolation and disconnection from humanity has tormented him.

In hard labor, the side of Raskolnikov that was obsessed with vanity, arrogance, pride and disbelief dies. For Raskolnikov “a new history begins, the history of the gradual renewal of man, the history of his gradual rebirth, gradual transition from this world to another, acquaintance with a new, hitherto completely unknown reality”.

In the epilogue, the final trial of Raskolnikov is carried out by the Russian people. The convicts hated him and once attacked Raskolnikov, accusing him of “You are an atheist!” The People's Court expresses the religious idea of the novel. Raskolnikov stopped believing in God. For Dostoevsky, atheism inevitably turns into humanity. If there is no God, I am God myself. The “strong man” longed for liberation from God - and achieved it; freedom turned out to be unlimited. But in this infinity, death awaited him: freedom from God was revealed as pure demonism; renunciation of Christ is like slavery to fate. Having traced the paths of godless freedom, the author brings us to the religious basis of his worldview: there is no other freedom except freedom in Christ; he who does not believe in Christ is subject to fate.

9. Polyphonic and monologue in the structure of the novel.

MM. Bakhtin noted that Dostoevsky created a special type of artistic thinking - polyphonic (poly - many, background - voice). Dostoevsky's novel “Crime and Punishment” can be considered polyphonic, i.e. polyphonic. The heroes of the novel are in search of justice, they engage in heated political and philosophical debates, and reflect on the damned issues of Russian society. The writer allows people with very different beliefs and with very different life experiences to speak with complete frankness. Each of these people is driven by their own truth, their own beliefs, which are sometimes completely unacceptable to others. In the clash of different ideas and beliefs, the author strives to find that highest truth, that only true idea that can become common to all people.

Speaking about the polyphony of a novel, we mean not only that people with very different beliefs have the right to vote, but also that the thoughts and actions of the characters in the novel exist in close connection, mutual attraction and mutual repulsion, each character expresses one or the other. a different course or shade of the author's thought, each is needed by the writer in his search for the only true idea. It is impossible to trace the development of the author's thought without close attention to each of the characters in the novel. Dostoevsky's heroes reveal the course of the author's thought in all its turns, and the author's thought makes the world he depicts unified and highlights the main thing in the ideological and moral atmosphere of this world.

The monologue can also be seen in the structure of the novel. This is the author's thought, which is expressed in the ideological position of the heroes.

In addition, the monologue can be traced in Raskolnikov’s lonely monologues and reflections. Here he becomes stronger in his idea, falls under its power, and gets lost in its ominous vicious circle. After committing a crime, these are monologues in which he is tormented by conscience, fear, loneliness, and anger at everyone.

Genre of the novel.

The novel "Crime and Punishment" is based on the detective genre form. Criminal-adventurous intrigue appears on the surface of the plot (murder, interrogations, false accusations, confession in a police office, hard labor), then hides behind guesses, hints, analogies. And yet the classic detective plot is, as it were, displaced: there is no mystery to the crime, the author immediately introduces the criminal. The stages of the plot are determined not by the investigation, but by the protagonist’s movement towards repentance.

The love story of Sonya and Raskolnikov runs through the entire work. In this sense, “Crime and Punishment” can be classified as a genre love-psychological novel. Its action takes place against the backdrop of the appalling poverty of the inhabitants of the attics and basements of the aristocratic Petersburg. The social environment described by the artist gives reason to call it “Crime and Punishment” social novel.

Reflecting on Raskolnikov’s thoughts before and after the murder, analyzing the struggle of passions in the soul of Svidrigailov or the mental anguish of the old man Marmeladov, we feel the great power of Dostoevsky the psychologist, who convincingly connected the psychology of the heroes with their social status. In “Crime and Punishment” there are also visible features socio-psychological novel.

Raskolnikov is not a simple murderer from poverty, he is a thinker. He tests his idea, his theory, his philosophy of life. In the novel, the forces of Good and Evil are tested in the theories of Svidrigailov, Sonya, Luzhin, which defines Dostoevsky’s work as philosophical novel.

Raskolnikov's theory makes us think about the most pressing political problems, thus formulating ideological the direction of the work.

F. Dostoevsky's novel “Crime and Punishment” is a “psychological account of a crime” committed by Rodion Raskolnikov. And although the main character is Raskolnikov, the novel creates a whole system of images of his doubles and antipodes. All of them are complex and contradictory people. The ideas and principles of each of them are secretly or openly reflected in the thoughts and deeds of the hero himself.

Raskolnikov is the author of the theory of “blood according to conscience,” according to which, for the sake of the happiness of some people, you can destroy others. Dostoevsky develops this theory further, and then Raskolnikov’s “doubles” appear on the pages of the novel. “We are birds of a feather,” Svidrigailov tells Rodion, emphasizing their similarities.

What unites Raskolnikov with the “greats of this world” Pyotr Luzhin and Arkady Svidrigailov? Pyotr Petrovich Luzhin was painfully vain and narcissistic, the main principle of his life was “to love yourself, that everything in the world is based on personal interest.” Luzhin's economic theory is the logical conclusion of Raskolnikov's thoughts. It’s not for nothing that he says to Luzhin: “Bring to the consequences what you preached just now, and it will turn out that people can be slaughtered.”

Arkady Svidrigailov is a more complex nature. On the one hand, he is a criminal with several deaths on his conscience, on the other hand, he helps bury Marmeladov and arranges the fate of the orphans. But what does he have in common with Raskolnikov? What is similar is that he also considers himself an extraordinary person and also “crimes.” He does not kill anyone with an ax, but it is his fault that his wife Marfa Petrovna dies. Svidrigailov is not just an egoist, like Luzhin, not just a villain. He is also a cynic who rejects all moral laws of society. Svidrigailov is already on the other side of good and evil. All his actions and lifestyle lead to the justification of Raskolnikov’s idea. That's why they are "birds of a feather." It turns out that Raskolnikov wants to protect the disadvantaged from the Luzhins and Svidrigailovs, and his false theory brings him closer to these people.

Raskolnikov does not die like Svidrigailov, but through suffering and repentance he tries to return to people. Porfiry Petrovich and the “eternal Sonechka” help him in this. They are the antipodes of the hero in the novel.

Sonya Marmeladova, like Raskolnikov, broke the law - she became a prostitute and killed her soul. But she did it for the sake of her loved ones and committed a crime against herself and her conscience. Raskolnikov decided that “everything is permitted” to him and committed a crime against the old pawnbroker and her sister Lizaveta. Raskolnikov experiences pangs of conscience not because he killed innocent people, but because he turned out to be weak, a “louse,” a “trembling creature.”

Porfiry Petrovich, an investigator, an intelligent and subtle psychologist, refutes Raskolnikov’s theory about strong personalities. And if the “eternal Sonya” led the hero to “turn himself in,” then Porfiry Petrovich convinced Rodion that “you can run away from the law, but you can’t run away from yourself,” that moral torment is stronger than physical. And if a person has committed a crime, he must go through this torment. Pangs of conscience.

Raskolnikov’s “doubles” and antipodes emphasize the complexity and contradictoriness of his nature. His soul is split. There is a constant struggle between dark and light, good and evil. Dostoevsky convincingly showed us that even the most sinful and fallen can find their place in life. The great humanist shows in the novel the path to salvation for a lost soul.

In any Dostoevsky novel there is a character who puts forward an idea. Rodion Raskolnikov, the main character of the novel “Crime and Punishment,” puts forward a theory where people are divided into “ordinary” people who live by the rules and do not violate moral and legal laws, and “extraordinary” people who have the right to cross the line of the law and control the destinies of ordinary people. Fyodor Dostoevsky shows how an idea is born, implemented and becomes obsolete over time.

Raskolnikov is surrounded by characters who refute or support his theory, are its example, that is, they are divided into doubles, supporters of “Napoleonic mania,” or antipodes, supporters of “messiahism.” These characters show the fallacy of the theory to the reader and Raskolnikov himself.

Svidrigailov, Luzhin and Lebezyatnikov are doubles of Rodion Raskolnikov. Each of the heroes puts forward his own theory, which is a reflection of Raskolnikov’s theory. For Svidrigailov this is the theory of self-will and unbelief, for Luzhin it is reasonable egoism, and for Lebezyatnikov it is nihilism.

Svidrigailov steps over his conscience, the lives of other people, laws, that is, he is an ideal representative of Raskolnikov’s theory. But the idea suffers a complete collapse when Svidrigailov commits suicide, unable to withstand the pressure of his conscience. The good deeds he has done do not save his soul, as planned in theory, so the hero's death reveals Raskolnikov's self-deception.

Luzhin, a rich man trying to achieve even greater wealth, is full of pathos, which is similar to Rodion Raskolnikov, extolling himself and extraordinary people. Based on the idea that they are better than others, Luzhin tries to dishonor Sonya, and Raskolnikov kills the old woman, appropriating her wealth for himself. But both cases fail: Luzhin’s lies expose Lebezyatnikov, and Raskolnikov himself repents before Porfiry.

Lebezyatnikov, an employee in the ministry, a supporter of progress, communes, tries to look like a protester and independent, because it is fashionable among young people. He is a vulgar and stupid person, does not recognize the usefulness of art, but is very educated in his own opinion. He propagates his ideas, trying to arouse protest in them. Lebezyatnikov also blindly believes in his idea, like Raskolnikov.

Razumikhin, Sonya and Porfiry are Raskolnikov’s antipodes, trying to push him onto the true path. The Antipodes also put forward their theories, but they contradict the theories of the doubles. Razumikhin's idea is opposed to Luzhin - altruism, Sonya's idea, self-sacrifice and humility, contradicts Svidrigailov's theory, and Porfiry, putting forward a theory of apology for existing norms, is opposed to the nihilist Lebezyatnikov.

Razumikhin, a student and friend of Raskolnikov, is as poor as Raskolnikov himself, but unlike Rodion, he does not despair, but works. He wants every person to serve for the good; Razumikhin himself is a very kind, intelligent and reliable person. When Rodion falls ill, Razumikhin takes care of him, and he also tries to justify Raskolnikov when he is accused of murder.

Sonya, a poor and patient girl, engages in prostitution to provide for herself and her family. Despite the hardships of life, she holds on through her faith in God. She reads to Raskolnikov a passage about the resurrection of Lazarus in one of the episodes of the novel, and this becomes a kind of confrontation between faith and theory of Raskolnikov. This episode shows the instability of Rodion's idea and the unshakable faith of Sonya Marmeladova.

Porfiry, the investigator investigating the murder of the old woman, is a very insightful person, he psychologically influences Raskolnikov, trying to solve the case. Working as an investigator, Porfiry preserves the existing world order, preventing people like Raskolnikov and Svidrigailov from breaking the law.

Thus, we have proven that in this work the heroes surrounding Raskolnikov show the fallacy of the theory by promoting their ideas.

Updated: 2018-05-13

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Mirror image of the hero

In Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, Raskolnikov's doubles are a number of heroes. Reading a work for the first time, we cannot understand all the nuances and subtleties of the content. The detective story completely captures our imagination. A closer look at the writer's intentions raises a number of questions. It seems incomprehensible that some personalities appear on the pages of the book, whose history and fate are far from the life of the main character. In fact, Dostoevsky does not have a single extra character. Each of the characters carries its own meaning and serves to more fully reveal the personality of the main character. The theme of duality in the novel “Crime and Punishment” is very important.

Of course, at the center of the novel is the gloomy figure of Rodion Raskolnikov. It is no coincidence that the author gave his hero a speaking surname. The personality of the young man is contradictory and, like a mosaic, consists of disparate, seemingly unconnected parts. Each of them has its own mirror image in the novel in the form of a separate hero. Let's get to know them in more detail.

Doubles of Rodion Raskolnikov

The only friend

According to the plot of the story, the first of the hero’s doubles is Dmitry Razumikhin. The young man is the opposite of the main character. He is active, sociable and cheerful. The student endures the blows of fate, makes plans and does not fall into despair. His friend, on the contrary, is gloomy and taciturn, and does not know how to cope with life's problems. Against the background of Razumikhin’s optimism, Raskolnikov’s apathy becomes brighter and more understandable to the reader. “Scoundrel man! And the one who considers him a scoundrel is a scoundrel!” - the young man is convinced. F. M. Dostoevsky also points out the similarities of the heroes. They are young and smart, decent and noble. Both dream of a great future, but they choose different paths to achieve their goals. Razumikhin works tirelessly, trying to cope with poverty, and the impatient Raskolnikov commits a crime for the sake of an idea.

Honorable groom

In the mirror image of the main character, we will notice another double. This is the happy chosen one of Sister Raskolnikov, Pyotr Petrovich Luzhin. A hypocritical person who tries to appear honest and noble, in fact has a vile and deceitful nature. What character trait of our hero is clearly depicted in this image? Luzhin, going towards his goal, is guided by the principle: “All means are good.” He takes advantage of Dunya’s plight, slanderes Sonya, caring only about his own well-being. Raskolnikov, testing his theory, acts in the same way. The image of Pyotr Petrovich Luzhin helps to understand the egoistic essence of the main character's idea.

Gloomy Svidrigailov

The mysterious figure of Svidrigailov evokes hostility from the reader. This is a vicious person for whom there are no laws of morality and ethics. He is capable of murder, molesting young children, cheating on his wife and other disgusting acts. But his phrase: “We are birds of a feather,” addressed to Raskolnikov, makes us understand that the heroes have similar traits. Rodion Raskolnikov, just like the mysterious Mr. Svidrigailov, commits a crime. People are dying because of him, but he feels no remorse. Such behavior makes him similar to this negative character. The figure of Svidrigailov is full of contradictions, just like the image of the main character. He is capable of noble deeds: he helps Marmeladov’s orphaned children, gives money to Sonya Marmeladova. But this does not change his disgusting essence. Getting to know him shows what terrible consequences denial of the commandments of Christianity and impunity can lead to.

Lebezyatnikov Andrey Semyonovich

This hero, according to the author, in a grotesque form reflects the passion of young people for new theories. He is a parody of Raskolnikov's obsession with his theory. Lebezyatnikov is stupid, but kind and harmless. Luzhin's meanness is as unpleasant to him as to Rodion Raskolnikov.

Wise investigator

Porfiry Petrovich, to some extent, can also be classified as a double of the main character. A person with experience and experience understands the confused student and sincerely sympathizes with him. He himself managed to stop in time and understand fashionable modern theories and is now trying to save Raskolnikov: “Become the sun, everyone will see you! The sun, first of all, must be the sun!”

Female counterparts of the hero

Certain character traits of the young man are reflected in the heroines of the story. Describing Avdotya Romanovna Raskolnikova, the writer points out her external resemblance to her brother and draws attention to their kindred spirits. The girl is smart, proud and independent, just like her brother. But unlike him, these character traits help her choose the right path in life, understand people and not make fatal mistakes.

The most important person in the hero’s life is Sofya Semyonovna Marmeladova. A believer in God, kind Sonya differs from Raskolnikov. But they also have something in common: both committed a crime, broke the law, became outcasts. Only Sonya considers herself a sinner and longs to accept suffering in order to atone for her guilt, while Rodion Raskolnikov is confident that he is right. In the image of Sonya F.M. Dostoevsky tried to convey to the reader the main idea of the work and finally debunk Raskolnikov’s inhuman theory.

The role of doubles in the novel

Raskolnikov's doubles in Dostoevsky's novel Crime and Punishment help to understand the complex character of the main character, to examine individual character traits, as if through a magnifying glass. Thanks to this technique, we understand the motives of actions and realize the inevitability of punishment for the crime committed.

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