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

Exploring the idea of Raskolnikov, creating its living, full-blooded image, wanting to show it from all sides, Dostoevsky surrounds Raskolnikov with a system of doubles, each of which embodies one of the facets of Raskolnikov's idea and nature, deepens 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 as (and this is the main thing) a trial of the personality, character, psychology of a person, which reflected the features of Russian reality of the 60s of the last century: the search for truth, truth, heroic aspirations, "staggering" , "delusions".

Pamphletery in a novel is a method of introducing characters into the work, representing to some extent a portrait characteristic of the appearance and behavior of the protagonist. These characters are Raskolnikov's doubles.

Raskolnikov's spiritual twins are Svidrigailov and Luzhin. The role of the former is to convince the reader that Raskolnikov's idea leads to a spiritual impasse, 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 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 connoisseur of moral virtues; a cheater who knew the beatings of his partners, and a strong-willed merry fellow, fearlessly standing under the barrel of a revolver aimed 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 discontent corrodes him, the deeper he tries to drive him under the mask.

In Svidrigailov, who trampled on moral and human laws, Raskolnikov sees the full depth of a possible fall for himself. They are united by the fact that both of them challenged public morality. Only one managed to completely free himself from the pangs of conscience, the other cannot. Seeing the torment of Raskolnikov, Svidrigailov remarks: “I understand what questions you have in the course: moral or what? Issues of a citizen and a person? And you are on their side: why do you need them now? Heh heh! Then what is still a citizen and a person? And if so, then there was no need to meddle: there’s nothing to take on other than your own business ” . In the novel there is no direct reference to the atrocities of Svidrigailov, 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 deceased Marfa Petrovna” ) , about a footman and a deaf-mute girl driven to suicide (“... a deaf-mute, a girl of fifteen or even fourteen years old ... was found strangled in the attic ... however, a denunciation appeared that the child was cruelly insulted by Svidrigailov”, “we also heard about the story of the man Philip, who died from torture, six years ago, even during serfdom ... forced, or rather, inclined him to a violent death, the uninterrupted system of persecution and penalties of Mr. Svidrigailov"). 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 reinforcement 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. The awakened conscience forced him to save the children of Katerina Ivanovna 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 for a person who has transgressed the moral laws of society, no other way than self-condemnation.

Pyotr Petrovich Luzhin is another double of Raskolnikov. He is incapable of murder, does not profess any ideas that undermine bourgeois society - on the contrary, he is entirely for the dominant idea in this society, the idea of "reasonably selfish" 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 consent from her, that you are most glad that ... that she is a beggar ... because it is more profitable to take a wife from poverty in order to rule over her later ... and reproach those that she favors you? .. " .

Luzhin is an entrepreneur of the middle class, he is a “little man” who has become rich, who really wants to become a “big” person, to turn from a slave into a master of life. Thus, Raskolnikov and Luzhin coincide precisely in the 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 usurer, and Luzhin to destroy Sonya, since they both proceed from the wrong premise that they are better than other people, in particular those who become their victims. Only the understanding of the problem itself and Luzhin's methods are much more vulgar than Raskolnikov's. But this is the only difference between them. Luzhin trivializes, and thereby discredits, the theory of "reasonable egoism."

Only his own benefit, career, success in the world excite 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 (accusation at Sonya's funeral of stealing money).

This double character was brought out 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 a revolt in the souls of people who do not want to be crushed by the economic ideas of bourgeois society.

Confronting Raskolnikov with twin 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, murder, no matter how noble goals it is argued.

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

The antipodes (“people with opposite views, beliefs, characters”) of the protagonist are designed to show the disastrous nature of Raskolnikov’s theory - to show both the reader and the hero himself.

Thus, bringing all the characters of the novel into relation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory born by 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 is to meet - Porfiry Petrovich, the Marmeladov family (Semyon Zakharych, Katerina Ivanovna, Sonya), Lebezyatnikov.

People close to Raskolnikov personify the conscience he rejected; they have not stained themselves with anything, living in the underworld, 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 versatile and objectively, willingly forgiving them minor weaknesses and mercilessly scourging complacency, vulgarity and selfishness. For him, the feeling of camaraderie is sacred. He immediately rushes to the aid of Raskolnikov, brings a doctor, sits with him when he wanders. But he is not inclined to forgiveness and reprimands Raskolnikov: “Only a monster and a scoundrel, if not mad, could do the same to them as you did; and consequently, you are crazy ... ".

Common sense and humanity immediately suggested to Razumikhin that his friend's theory was very far from justice: “I am most outraged that you decide blood according to your conscience.”

Unlike Raskolnikov, Razumikhin objected to the rejection of individual will: “... they demand complete impersonality, and in this they find the most relish! How would you not be yourself, how would you least resemble yourself! This is what they consider to be the highest progress.”

Avdotya Romanovna Raskolnikova almost from the first minutes of the meeting enters into an argument with her brother. Raskolnikov, speaking of the money given the day before by the Marmeladovs, is trying to condemn himself for frivolity:

"-... To help, you must first have the right to have such, not that:" Crevez, chiens, si vousn'etes pas contents! (“Die, dogs, if you are unhappy!”) He laughed. Is that right, Dunya?

“No, not like that,” Dunya answered firmly.

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

And Dunya, indeed, faces a choice. She could kill Svidrigailov in self-defense, without breaking the law, and free the world from the scoundrel. But Dunya cannot "transgress," and this manifests her highest morality and Dostoevsky's conviction that there is no such situation when murder can be justified.

Dunya condemns his brother for the 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, 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 inspires Raskolnikov that his crime is no secret to the investigators, and therefore it is pointless to hide anything. Thus, the investigator conducts a merciless and thoughtful attack, as it were, from two ends, realizing that in this case he can only count on the morbid state of the victim and his morality. Talking with Raskolnikov, the investigator saw that this person is one of those who denies the foundations of modern society and considers himself entitled, at least alone, to declare war on this society. And in fact, Raskolnikov, irritated by the ridicule of Porfiry Petrovich, and, being careful not to betray himself with any evidence, confirms the suspicions of the investigator, giving himself away ideologically:

“- ... I allow blood. So what? After all, society is too well provided with exiles, prisons, judicial investigators, penal servitude - why bother? And look for the thief!

- Well, and if we find it?

- That's where he's going.

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

- What do you care about her?

- Yes perishing so, on humanity-with.

- Whoever has it, suffer if he realizes the mistake. This is the punishment for him, - apart from 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 a duty to declare in advance” . He speaks directly about Raskolnikov: "... he killed, but he considers himself an honest person, despises people, walks like a pale angel ...".

However, with the harshest reviews about Raskolnikov, Porfiry Petrovich understands that he is not a criminal who covets someone else's property. The most terrible thing for that society, the foundations of which are guarded by the investigator, is precisely in the fact that the criminal is guided by theory, driven by conscious protest, and not base instincts: “It’s also good that you only killed the old woman. And if you came up with another theory, then, perhaps, you would have done a hundred million times more ugly thing!

Marmeladov Semyon Zakharych spoke with Raskolnikov before the crime. In fact, it 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 are painfully thinking about the possibility of getting rid of suffering. But if for Marmeladov the only hope left was for the other world, then Raskolnikov had not yet lost hope of resolving the questions that tormented him on earth.

Marmeladov firmly stands on one point, which can be called the “idea of self-abasement”: beatings “are not only pain, but also pleasure” for him, and he teaches himself not to pay attention to the attitude of those around him as a pea jester, and spend the night he is already used to where he has 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 « I didn’t consider myself worthy of it.”

Not a righteous life, but the absence of pride 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 opposite 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 exaltation over the “trembling creature” and in order to save 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 half-heartedly, but he nevertheless caught that in her speeches they alternately sound: indignation at the behavior of others, a cry of despair, a cry of a person who “has nowhere else to go”; and suddenly boiling vanity, the desire to rise in their own eyes and in the eyes of the 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 whole 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, special, but only on broader grounds than before. We have gone further in our beliefs. We are in denial! If Dobrolyubov had risen from the coffin, I would have argued with him. And Belinsky would have rolled up! .

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

Lebezyatnikov's reasoning coincides in some things with Raskolnikov's reasoning. Raskolnikov sees in humanity a faceless mass, an "anthill" (excluding "extraordinary" people), - Lebezyatnikov says: "everything is from the environment, and the person himself is nothing". The only difference is that Raskolnikov needs power over this "anthill", and 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, first of all, personifies the truth of Dostoevsky. If one word defines the nature of Sonya, 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 to the murder) make the image of Sonya a piercingly Christian image. It is from the Christian positions, and these are the positions of Dostoevsky, that the verdict is pronounced on Raskolnikov in the novel.

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

Sonechka's suffering is the spiritual path of a person who is trying to find his place in an unfairly arranged world. Her sufferings provide the key to a sympathetic understanding of other people's suffering, another's grief, make him morally more sensitive and vitally more experienced and tempered. Sonya Marmeladova feels that she, too, is to blame for Raskolnikov’s crime, takes this crime to heart and shares her fate with those who “crossed” it, since she believes that every person is responsible not only for his actions, but also for all the evil that happens in the world .

In a conversation with Sonya Raskolnikova, he himself begins to doubt his position - it’s not for nothing that he so wants to get an affirmative answer to his not entirely clear 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" vanishes like fog at the first contact with reality. But he himself doomed himself to suffering - while Sonya suffers innocently, she pays 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. This explains his utmost sincerity.

“And not money, the main thing, I needed, Sonya, when I killed; I didn’t need money so much as something else ... I had to find out something else, something else pushed me under my arms: I had to find out then, and quickly find out, whether I was a louse, like everyone else, or a man? Can I cross or can't I? Do I dare to bend down and take it, or not? Am I a trembling creature, or do I have a right?

- Kill? Do you have the right? Sonya threw up her hands.

The thought of Raskolnikov horrifies her, although just a few minutes ago, when he confessed to her in the murder, she was seized 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 again beside him, almost touching him shoulder to shoulder. Suddenly, as if pierced, she shuddered, screamed, and threw herself, without knowing why, on her knees before him.

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

In the furious dispute between Raskolnikov and Sonya, the ideas of self-affirmation of Katerina Ivanovna and self-abasement of Semyon Zakharych sound anew.

Sonechka, who also “transgressed” and ruined her soul, that same humiliated and insulted person 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, which, 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 folk Christian principle, the Russian folk element, Orthodoxy: patience and humility, boundless love for God and man.

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

- No, isn't it? Here, take this one, cypress. I have another left, copper, 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 says to Raskolnikov : “Go now, this very minute, stand at the crossroads, bow down, first kiss the earth that you defiled, and then bow to the whole world, on all four sides, and say to everyone, out loud: “I killed!” Then God will send you life again.”. Only the Orthodox people, in the person of Sonya Marmeladova, can condemn Raskolnikov's atheistic, revolutionary rebellion, force him to submit to such a court and go to hard labor "to accept suffering and redeem himself with it."

It is thanks to the all-forgiving love of Sonechka and the Gospel that Raskolnikov repents. It 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, faith and hard labor received from her. “They were both pale and thin; but in these sick and pale faces already shone the dawn of a renewed future, a full resurrection into a new life. They were resurrected by love, the heart of one contained endless sources of life for the other ... he was resurrected, and he knew this, he felt everything completely renewed with his being ... ".

It is known that Dostoevsky often endowed his heroes with his own spiritual experience. In Raskolnikov in hard labor there is a lot from Dostoevsky, his hard labor experience. Penal servitude became a salvation for Raskolnikov, just as it once saved Dostoevsky, since it was there that the story of the rebirth of convictions began for him. Dostoevsky believed that it was hard labor that gave him the happiness of direct contact with the people, the feeling of fraternal union with them in common misfortune, gave him knowledge of Russia, an understanding of the truth of the people. It was in hard labor that Dostoevsky composed for himself a symbol of faith in which everything was clear and holy for him.

The saving path from atheism and unbelief to popular truth in the name of Christ will also be passed by Raskolnikov in the epilogue of the novel, because "Under his pillow lay the Gospel", and the thought of Sonya shone in the mind with the light of hope: “How can her convictions not now be my convictions? Her feelings, her aspirations at least...”. Sonya, this convict virgin, will help Raskolnikov to join the people again, because the feeling of openness and separation from humanity tortured him.

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

In the epilogue, the last 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, godlessness inevitably turns into human-godliness. If there is no God, I am God myself. The "strong man" longed for liberation from God - and achieved it; freedom was limitless. But in this infinity, death awaited him: freedom from God revealed itself 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 but 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). Dostoyevsky's novel "Crime and Punishment" can be considered polyphonic, i.e. polyphonic. The heroes of the novel are in search of justice, they lead heated political and philosophical disputes, reflect on the damned issues of Russian society. The writer allows people with a variety of convictions, with a variety of life experiences to speak with complete frankness. Each of these people is driven by their own truth, their beliefs, sometimes completely unacceptable to others. In the clash of different ideas and beliefs, the author seeks to find the highest truth, the only true idea that can become common to all people.

Speaking about the polyphony of the novel, we mean not only the fact that people with the most diverse beliefs get the right to vote in them, but also the fact that the thoughts and actions of the characters in the novel exist in close cohesion, mutual attraction and mutual repulsion, each character expresses one or 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 unites the world he depicts and highlights the main thing in the ideological and moral atmosphere of this world.

The monologue is also traced in the structure of the novel. This is the author's thought, which is expressed in the ideological position of the characters.

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

The genre of the novel.

The novel "Crime and Punishment" is based on a detective genre form. The criminal-adventurous intrigue appears either on the surface of the plot (murder, interrogations, false accusations, confession in the police office, hard labor), or hides behind conjectures, allusions, analogies. And yet, the classic detective story seems to be displaced: there is no mystery of the crime, the author immediately introduces the criminal. The stages of the plot are determined not by the investigation, but by the movement of the protagonist to repentance.

The love story of Sonya and Raskolnikov runs through the whole work. In this sense, "Crime and Punishment" can be classified as a genre love-psychological novel. Its action unfolds against the backdrop of the appalling poverty of the inhabitants of the attics and basements of the aristocrat of St. Petersburg. The social environment described by the artist gives reason to call "Crime and Punishment" social novel.

Pondering into Raskolnikov's thoughts before and after the murder, analyzing the struggle of passions in Svidrigailov's soul or the mental anguish of old Marmeladov, we feel the great power of Dostoevsky the psychologist, who convincingly connected the psychology of the heroes with their social position. In "Crime and Punishment" features are also visible socio-psychological novel.

Raskolnikov is not a simple killer out of 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 acute political problems, thus formulating ideological direction of the work.

F. Dostoevsky's novel "Crime and Punishment" is a "psychological account of one crime" committed by Rodion Raskolnikov. And although Raskolnikov is the main character, a whole system of images of his twins and antipodes has been created in the novel. 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, others can be destroyed. Dostoevsky develops this theory further, and then Raskolnikov's "twins" appear on the pages of the novel. “We are one field of berries,” Svidrigailov says to Rodion, emphasizing their similarities.

What unites Raskolnikov with the "greatest 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 is 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 cut.”

Arkady Svidrigailov is a more complex nature. On the one hand, he is a criminal on whose conscience several deaths, on the other hand, he helps to bury Marmeladov and arranges the fate of orphans. But what does he have in common with Raskolnikov? It is related that he also considers himself an outstanding 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 still a cynic who rejects all the moral laws of society. Svidrigailov is already on the side of good and evil. All his actions and lifestyle lead to the justification of Raskolnikov's idea. That is why they are "of the same field". 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 the 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, killed her soul. But she went for 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 the innocent, but because he turned out to be weak, a “louse”, a “trembling creature”.

Porfiry Petrovich, an investigator, a smart and subtle psychologist, refutes Raskolnikov's theory of strong personalities. And if the “eternal Sonya” led the hero to a “turnout with guilt”, 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 these torments. Pangs of conscience.

"Twins" and antipodes of Raskolnikov emphasize the complexity and inconsistency of his nature. His soul is shattered. There is an unceasing struggle between the dark and the light, the good and the evil. Dostoevsky convincingly showed us that even the most sinful, fallen ones can find their place in life. The great humanist shows in the novel the path to the salvation of a lost soul.

In any novel by Dostoevsky there is a character who puts forward an idea. Rodion Raskolnikov, the protagonist of the novel "Crime and Punishment", puts forward a theory where people are divided into "ordinary", living by the rules and not violating moral and legal laws, and "extraordinary", having the right to cross the line of the law and control the destinies of ordinary people. Fyodor Dostoevsky shows how an idea is born, realized and outlives itself over time.

Raskolnikov is surrounded by characters who refute or support his theory, are an example of it, that is, they are divided into twins, supporters of "Napoleonomania", or antipodes, supporters of "messiahism". These characters show the fallacy of the theory to the reader and to Raskolnikov himself.

Svidrigailov, Luzhin and Lebeziatnikov are the twins of Rodion Raskolnikov. Each of the characters 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 rational 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 conscience. The good deeds he has done do not save his soul, as planned in theory, so the death of the hero reveals Raskolnikov's self-deception.

Luzhin, a wealthy man, trying to achieve even greater wealth, is full of pathos, which is similar to Rodion Raskolnikov, exalting 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 lie exposes Lebeziatnikov, and Raskolnikov himself repents before Porfiry.

Lebezyatnikov, who works in the ministry, is 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 promotes his ideas, trying to arouse protest in them. Lebezyatnikov also blindly believes in his idea, like Raskolnikov.

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

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

Sonya, a poor and patient girl, goes into prostitution to provide for herself and her family. Despite the hardships of life, she is kept at the expense of faith in God. She reads to Raskolnikov an excerpt about the resurrection of Lazarus in one of the episodes of the novel, and this becomes a kind of confrontation between Raskolnikov's faith and theory. This episode shows the instability of Rodion's idea and the unwavering 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 proved that in this work the heroes surrounding Raskolnikov show the fallacy of the theory, promoting their ideas.

Updated: 2018-05-13

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Mirror image of a hero

In Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, Raskolnikov's doubles are a number of heroes. When 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 intention 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 protagonist. In fact, Dostoevsky does not have a single superfluous character. Each of the characters carries its own semantic load and serves to more fully reveal the personality of the protagonist. The theme of duality in the novel "Crime and Punishment" is very important.

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

Twins of Rodion Raskolnikov

The only friend

According to the plot of the story, Dmitry Razumikhin appears as the first of the hero's doubles. The young man is the opposite of the main character. He is active, sociable and cheerful. The student steadfastly endures the blows of fate, makes plans and does not fall into despair. His friend, on the contrary, is gloomy and taciturn, unable to cope with life's problems. Against the backdrop of Razumikhin's optimism, Raskolnikov's apathy becomes brighter and more understandable to the reader. "Scoundrel man! And the scoundrel is the one who considers him a scoundrel! the young man is convinced. F. M. Dostoevsky also points to the similarity of the characters. They are young and smart, decent and noble. Both dream of a great future, only they choose different ways to achieve the goal. Razumikhin works tirelessly, trying to cope with poverty, and the impatient Raskolnikov commits a crime for the sake of an idea.

Revered 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 actually has a mean and deceitful nature. What character trait of our hero is convexly 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, slanders Sonya, caring only about his own well-being. Raskolnikov, testing his theory, acts in the same way. The image of Petr Petrovich Luzhin helps to understand the egoistic essence of the main character's idea.

Gloomy Svidrigailov

The enigmatic figure of Svidrigailov causes the reader's hostile attitude. This is a vicious person for whom there are no laws of morality and morality. He is capable of murder, molestation of young children, betrayal of his wife and other vile deeds. But his phrase: “We are one field of berries,” addressed to Raskolnikov, makes us understand that the characters have similar features. Rodion Raskolnikov, like the mysterious Mr. Svidrigailov, commits a crime. Through his fault, people are dying, but he does not feel remorse. Such behavior makes him related 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 the orphaned children of Marmeladov, gives money to Sonya Marmeladova. But his disgusting essence does not change from this. Acquaintance with him shows what terrible consequences the denial of the commandments of Christianity and impunity can lead to.

Lebezyatnikov Andrey Semyonovich

This hero, according to the author's intention, in a grotesque form reflects the youth's fascination with 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 it is to Rodion Raskolnikov.

Wise Investigator

Porfiry Petrovich, to some extent, can also be attributed to the twins of the protagonist. A wise person understands a confused student, 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

Separate character traits of a young man are displayed in the heroines of the story. Describing Avdotya Romanovna Raskolnikova, the writer points out her outward resemblance to her brother, 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 life of the hero is Sofya Semyonovna Marmeladova. Believing in God, the good Sonya is different 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, and Rodion Raskolnikov is sure 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 protagonist, to consider 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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