The heroes are doubles in the novel Crime and Punishment. Raskolnikov and his doubles in Dostoevsky's novel crime and punishment

The narrative structure of Dostoevsky's novel Crime and Punishment is rather complex. In the center of the work is the image of the main character, Rodion Raskolnikov, with his idea "to allow blood to be conscientious." All other characters are somehow connected with Raskolnikov. The main character is surrounded in the novel by "doubles", in whose minds his idea is refracted in different ways.

One of Raskolnikov's doubles in the novel is Pyotr Petrovich Luzhin. Dostoevsky characterizes this hero sharply negatively. He is a rich man, a brilliant businessman who came to St. Petersburg hoping to build his career. “Having made his way out of nothingness,” he was accustomed to “painfully admiring himself,” and he highly valued his intelligence and abilities. Luzhin's main dream was to get married. Most of all he wanted to "elevate to himself", to do good to some poor girl, certainly beautiful and educated, for he knew that women could "win very, very much in Petersburg."

These dreams, painful narcissism - all this testifies to the emotional instability of the hero, to his cynicism. “Having made his way out of insignificance" with the help of money, in his soul and character he remained insignificant.

Luzhin is a businessman who, more than anything in the world, appreciates the money earned by "labor and all kinds of means." He respects himself, considers himself an intelligent, progressive person, working for the good of the whole society. Luzhin even has his own theory, which he gladly develops in front of Raskolnikov. This "theory of rational egoism" says: "love, first of all, one yourself, for everything in the world is based on personal interest." Luzhin believes that if everyone acts guided only by their own interests, then society will have more successful citizens, "arranged private affairs." Consequently, “acquiring solely and exclusively for himself”, a person works for the benefit of “general prosperity”, for the benefit of economic progress.

In life, Petr Petrovich is consistently guided by his theory. Marrying Avdotya Romanovna consoles his painful pride, moreover, it can contribute to his career. Raskolnikov opposes this marriage, and Luzhin quickly finds a way to rectify the situation. In order to denigrate Rodion in the eyes of his family and return Dunya's favor, he accuses Sonya of stealing, having planted a banknote on her.

Analyzing Luzhin's theory, we notice its striking resemblance to Raskolnikov's theory, which is also dominated by a person's personal interest. "Napoleons are allowed everything," Raskolnikov categorically asserts. In the murder of the old woman-pawnbroker, of course, there is also a personal interest of the hero. One of the motives for this murder is Raskolnikov's desire to test his theory, to find out what type of people he himself belongs to: "... am I a trembling creature or have I the right?"

Raskolnikov's theory, in his opinion, is also designed to save humanity from world evil, is aimed at developing progress. Mohammed, Napoleons, Lycurgis are people of the future who "move the world and lead it to the goal." They "destroy the present in the name of the future."

It is characteristic that Luzhin's theory was extremely disliked by Raskolnikov. Perhaps, intuitively, he felt in her a similarity to his own ideas. It is not for nothing that he notices to Petra Petrovich that according to his theory, Luzhin's, it turns out that "people can be cut too." As Yu. Karjakin notes, this similarity probably explains Raskolnikov's unaccountable hatred of Luzhin.

Thus, Luzhin vulgarizes the theory of the protagonist, offering an "economic" version of this theory. Luzhin is Raskolnikov's "double" in life and everyday life.

The extreme expression of Raskolnikov's idea, its philosophical context, we find in the image of Svidrigailov. This image in the novel is very complex. Svidrigailov "is nowhere monolane, not so monotonously black." It is Svidrigailov who restores the good name of Dunya Raskolnikova, revealing to Marfa Petrovna the true state of affairs. He helps the orphaned Marmeladov family by organizing the funeral of Katerina Ivanovna and placing young children in "orphanages". Arkady Ivanovich also helps Sonya, providing her with funds for a trip to Siberia.

This is, of course, an intelligent person, insightful, subtle in his own way. He's very good at understanding people. So, he immediately realized what kind of person Luzhin was, and decided to prevent Avdotya Romanovna from marrying him. As V. Ya. Kirpotin notes, “Svidrigailov is potentially a man of great conscience and great strength,” but all his inclinations have been ruined by his lifestyle, Russian social conditions, and this hero's lack of any ideals or clear moral guidelines. In addition, by nature, Svidrigailov is endowed with a vice, with which he cannot, and does not want to. It is about the hero's penchant for debauchery. He lives, obeying only the call of his own passions.

When meeting with Raskolnikov, Svidrigailov notices that there is "some common point" between them, that they are "of the same berry field." In addition, the writer himself, to a certain extent, brings the heroes closer together, developing the same motive in their depiction. This is the motive of the child, the motive of innocence and purity. About Raskolnikov it is said that he has a "childish smile", in his first dream he sees himself as a seven-year-old boy. Sonya, with whom he is getting closer and closer, reminds him of a child. A childish expression was on Lizaveta's face at the time of Raskolnikov's attack on her. Children appear to Svidrigailov in nightmares, recalling the atrocities he has committed.

And already in the development of this motive, the difference between the heroes is revealed: if Raskolnikov carries this childishness and purity in himself (this is the best in the hero), then for Svidrigailov it is desecrated purity and innocence. It is not for nothing that Raskolnikov feels disgust when talking to Arkady Ivanovich: after all, Svidrigailov is encroaching on what is present in the depths of Rodion's soul.

In the future, the difference between them becomes more and more tangible. Raskolnikov's crime symbolized a protest against the injustice and cruelty of the surrounding world, unbearable living conditions. Of course, his secondary motives were the plight of the hero and his family, and the desire to test his theory. But, having committed the murder, Raskolnikov can no longer live as before: he “seemed to cut himself off from everyone with scissors,” he has nothing to talk about with those around him. A feeling of excruciating alienation from people suddenly overtakes him.

However, as V. Ya. Kirpotin notes, both before and after the crime for Raskolnikov, the concepts of good and evil are significant, ideals have been preserved in his soul. So, after committing a murder, the hero helps the Marmeladovs. Raskolnikov gives the last twenty rubles to the funeral of Semyon Zakharovich.

We do not find anything like this in the nature of Svidrigailov, who is completely devastated, spiritually dead. Great life experience, self-sufficiency, a subtle mind coexist in his soul with cynicism and unbelief. Even love for Duna, which only for a moment awakens in his soul impulses of nobility and truly human feelings, cannot "revive" him. Svidrigailov is bored in life, nothing occupies his mind and heart, he does not believe in anything. For all that, Arkady Ivanovich indulges all his desires, both good and bad. Having killed a very young girl, he does not feel any remorse. Only once, on the night before his death, he is visited by a nightmarish vision in the form of a ruined girl. Moreover, this vile story, apparently, is not the only atrocity of Svidrigailov. There are a lot of gossip and rumors about him, to which, however, he is indifferent. And Arkady Ivanovich himself hardly considers all these stories to be out of the ordinary. There seems to be no moral boundary for this person.

It is characteristic that at first it seems to Raskolnikov that in Svidrigailov “some kind of power over him lurks,” he attracts Rodion. But soon Rodion becomes "hard" and "stuffy" with this man, Raskolnikov begins to consider him "the most empty and insignificant villain in the world."

Thus, along the path of evil, Svidrigailov goes much further than Raskolnikov. And in this respect even the name of this character is symbolic. The name "Arkady" comes from the Greek word "arcados", which means "resident of Arcadia", literally - "shepherd". It is characteristic that in Orthodox culture this word was often used in the sense of "shepherd" - that is, a leader in the spiritual life, a teacher, a mentor. And in a sense, Svidrigailov is indeed Raskolnikov's teacher on the path of evil, since in his cynicism and disbelief he is in many ways “superior” to Rodion. Svidrigailov constantly demonstrates "higher", "masterful" possession of the Raskolnikov theory in the form of its practical incarnations.

The third "double" of Raskolnikov in the novel is Sonya Marmeladova. Its "duality" is only external. Having turned into a prostitute, she, too, was able to "cross the line", a certain moral boundary. However, the motive for Sonya's actions was not selfishness, not an individualistic theory, not a protest against world evil. She sacrifices herself to save Katerina Ivanovna's young children from starvation.

If in the theory of Raskolnikov, harm to society was initially laid down, then Sonya harms only herself. If Rodion is free in his choice between good and evil, then Sonya is deprived of this freedom. Pisarev noted that "Sofya Semyonovna would also have been able to throw herself into the Neva, but, rushing into the Neva, she could not have put thirty rubles on the table in front of Katerina Ivanovna, which is the whole meaning and all the justification of her immoral act."

Sonya is an active nature, she is trying to save her family from inevitable death. On the path of life, she is supported by meekness, kindness, faith in God. Raskolnikov is attracted by Sonya, because he begins to identify her with himself, considering their life situations to be similar. However, he soon notices that he does not understand her, she seems to him strange, "foolish." And this misunderstanding reveals the differences between them. Sonya's "crime" is different from Raskolnikov's, so her soul is alive, filled with faith, love, mercy, Sonya feels her unity with people.

Thus, Raskolnikov has spiritual counterparts in the novel. Their purpose is different. Luzhin and Svidrigailov discredit Raskolnikov's theory with their inner appearance. For all that, Luzhin is a primitive embodiment of the hero's theory, its embodiment at the level of everyday life. Svidrigailov, on the other hand, embodies Raskolnikov's idea at a deep, philosophical level. The image of Svidrigailov, as it were, reveals the bottom of the abyss to which the individualistic theory of the hero leads. Sonya is only an external "double" of the hero, her "duality" is superficial.

In his famous novel Crime and Punishment, the legendary Russian writer F.M. Dostoevsky talked about an ordinary student Rodion Raskolnikov, who developed a theory according to which people are divided into "trembling creatures" - a powerless gray mass - and "having the right" - bright individuals for whom there are no laws, either human or divine. Following his thoughts, the hero kills two women and takes their money and jewelry in order to use them for good in the future. However, throughout the novel, the author debunks his delusions and shows that Rodion is just a confused young man who has committed a grave sin because of a sense of false superiority. So, Dostoevsky introduces doubles of the protagonist into the novel, who demonstrate on themselves what a person can turn into after following Raskolnikov's path.

The first double is Pyotr Luzhin. At first glance, he seems like a worthy person: a respected member of society and a wealthy entrepreneur who agrees to marry Raskolnikov's sister and pull their family out of poverty. However, behind the outer nobility hides an egocentric and vile person. Taking as his wife Dunya, who is in a hopeless situation, he, first of all, wants to please his ego, to make a faithful slave out of the girl, who will be afraid and idolize him. Being offended by Rodion and wanting to prick him, he made the unfortunate Sonya Marmeladova a thief, almost destroying her life. The philosophy of this man is most fully revealed in his "theory of the whole caftan." In his opinion, for the sake of achieving your interests, you can do anything, and the people around you are either tools that you can use, or garbage that gets under your feet. In Luzhin's vulgar and petty view of the world, we can easily see the more mundane outlines of Raskolnikov's theory. As a result, the hero was publicly exposed and convicted twice for the novel.

Another double, whose fate is closely intertwined with the fate of Raskolnikov, is the richer Arkady Ivanovich Svidrigailov. He is mentioned long before his first appearance in a letter from Rodion's mother to her son. A vain egoist who harassed Dunya, thereby depriving her of her job and ruining her reputation in society. Everyone is known as a tyrant and a libertine. This description is not far from reality, and Svidrigailov himself does not consider it necessary to whitewash and justify himself. Like Luzhin, Arkady Ivanovich believes that life was created only for him, and other people are needed only for his entertainment. For Svidrigailov, who has committed many crimes, there is neither good nor evil. Almost immediately, he sees in Raskolnikov, who himself enters the path of egocentrism and self-destruction, a kindred spirit. Once again, we see how the sublime theory of the protagonist about a small evil for the sake of a big good reveals his true face, showing what a person, driven by the idea of ​​his own superiority, can reach. Interestingly, Svidrigailov himself understands this, and therefore reveals Raskolnikov's secret to Sofya Marmeladova and asks her to be with him, apparently hoping that he can still be saved. His fate is comical and tragic at the same time: he who never loved anyone, he sincerely falls in love with Dunya Raskolnikova, for the first time in his life finding a clear goal and a chance for correction, but when the girl rejects him, demonstrating her disgust and hatred, Arkady Ivanovich, realizing the meaninglessness of his existence, commits suicide.

The system of doubles in the novel by F. M. Dostoevsky "Crime and Punishment" (on the example of Raskolnikov, Svidrigailov, Luzhin)

Double heroes are a kind of author's technique, the essence of which lies in the fact that the author offers the reader a way to understand the protagonist through other characters who have similarities with him. This technique is aimed at allowing the reader to get a more complete psychological description of the hero, as well as to fully learn the character of the main character of the work.

Dostoevsky in this case can be called the successor of Lermontov's traditions: it was M. Yu. Lermontov who was the first in his novel "A Hero of Our Time" (1840) to resort to such an author's technique as the use of double heroes to reveal the image of the main character - Pechorin - as fully as possible and comprehensively.

Speaking about the system of double heroes in Dostoevsky's novel Crime and Punishment, it makes sense, first of all, to keep in mind the chain of Raskolnikov - Svidrigailov - Luzhin. Each of them is a separate side of Raskolnikov's theory, but they are both insanely disgusting to the hero. Luzhin rejects Christian morality, believes that progress and religion cannot coexist at all. He believes that selfish benefits play into the hands of the public good. This is evidenced by his "caftan theory". Discussing what “love” means from the point of view of religion, he says: “I tore the caftan in half, shared it with my neighbor, and both of us were left half naked, according to the Russian proverb:“ You will go after several birds with one stone and you will not reach a single one ” ". Arguing about “love” from the point of view of science, he emphasizes: “Science says: love, first of all, one yourself, for everything in the world is based on personal interest. If you love yourself alone, then you will do your business properly, and your caftan will remain intact. The economic truth adds that the more private affairs are arranged in a society and, so to speak, whole caftans, the more firm grounds are for it, and the more the common business is arranged in it. " Raskolnikov absolutely disagrees with Luzhin's theory. He believes that if you develop it, then "it will turn out that people can be cut." The author also argues with Luzhin: he contrasts the theory with life not according to science, but according to his soul. At the end of the novel, when the author describes the state of the hero after the announcement of the verdict, he notes that “instead of dialectics, life came, and something completely different had to develop in the mind”.

Thus, on the pages of his novel, Dostoevsky polemicized with the theory of "reasonable egoism" by N. G. Chernyshevsky and N. A. Dobrolyubov, which was formed largely under the influence of the teachings of D. Mill and G. Spencer. Dostoevsky believed that this theory "by virtue of its rationalistic nature" denies the role of direct moral motivation "(literary critic G. M. Friedlander).

Svidrigailov becomes for Raskolnikov a real personification of human abomination, but at the same time Raskolnikov feels an incomprehensible closeness with Svidrigailov. About himself Svidrigailov says that he is "a depraved and idle person", and briefly describes his biography as follows: "a nobleman, he served two years in the cavalry, then wandered around here in St. Petersburg, then got married." His whole life is aimless, it comes down to only the search for pleasure, and his main theory is the theory of permissiveness. But when Raskolnikov's sister Dunya appears in Svidrigailov's life, the reader sees the transformation of the hero, the struggle of opposite principles. This is especially clear in the scene from the fifth chapter of the sixth part: Svidrigailov invites Dunya to visit, and then tries to force her to love. But seeing that Dunya does not love him, and realizing that he will never love him, he, having experienced "a moment of terrible, silent struggle in his soul," lets her go. Thus, Dostoevsky shows his readers how Svidrigailov's theory of permissiveness is crumbling.

In the novel, Dostoevsky argues with Raskolnikov's theory with the help of double heroes, showing the inconsistency of the hero's belief system against the background of the theories of his doubles. The author does not dare to say his last author's word, he does not reveal his knowledge to the very end, gives every ideologist the opportunity to bring the idea to the end, but it is clear that Dostoevsky's disagreement with Raskolnikov's theory and polemic with it runs through the entire novel.

Searched here:

• the theme of duality in the novel crime and punishment
• the theme of duality in the novel crime and punishment essay
• double system in the novel crime and punishment

It is considered difficult enough. In the center of the novel is the image of Rodion Raskolnikov and his theory. As the story progresses, other characters appear. Of particular importance in the work "Crime and Punishment" Raskolnikov's doubles. Why does Dostoevsky introduce them into the plot? How are Raskolnikov and his counterparts similar? What is the difference? What are their ideas? What are Raskolnikov's doubles - Luzhin and Svidrigailov? More on this later in the article.

Pyotr Petrovich Luzhin - Raskolnikov's double

The author characterizes it rather negatively. Luzhin is rich and a brilliant businessman. He came to Petersburg to arrange his career. "Having broken into people", Peter highly appreciated his own mind, his abilities, he was used to admiring himself and enjoying it. His main dream was to get married. Peter strove to do good to some girl by elevating her to himself. She certainly had to be educated and beautiful. He knew that in Petersburg one could "gain a lot from women." His painful narcissism, all his dreams speak of a certain imbalance in character, of the presence of cynicism in him. With the help of money, "breaking out of nothingness", he remained low inside. Next, let's find out what indicates that Luzhin and Raskolnikov are twins.

The theory of Petr Petrovich

Luzhin is presented as a business man who appreciates money more than anything else, which is earned "by all kinds of means and labor." He considers himself smart, working for the good of people, progressive and respects himself very much. Pyotr Petrovich has his own theory, which he develops with great pleasure in front of Rodion Raskolnikov. His idea of ​​"reasonable egoism" presupposes love first of all for oneself, since everything that happens in the world is based, in his opinion, on its own interest. If all people act according to his theory, there will be many more successful citizens in society. Thus, a person, acquiring everything exclusively for himself, works for the good of the whole society and in the name of economic progress. In life, Luzhin is guided by this theory. The dream of marrying Avdotya flatters his pride. In addition, this marriage can contribute to his future career. Raskolnikov, meanwhile, is against this marriage. But Pyotr Petrovich quickly finds a way to rectify the situation. In order to denigrate Rodion in front of his family and return Dunya's favor, he puts a banknote in Sonya and accuses her of stealing.

Why is Luzhin a double of Raskolnikov?

Analyzing the theory of Petr Petrovich, one can find many analogies with the idea of ​​Rodion. Both in the first and in the second, one's own, personal interest remains a priority. Raskolnikov claims that "Napoleons are allowed everything." According to Petr Petrovich, Rodion's idea is also designed to save humanity from evil and is aimed at achieving progress in development. Only people who are capable of destroying the present for the benefit of the future can move the world and lead it to the goal.

Similarity of opinion is the reason for hate

It should be said, meanwhile, that Raskolnikov did not like Luzhin's idea very much. Probably, on an intuitive level, Rodion felt a similarity to his ideas and thoughts. He points out to Pyotr Petrovich that, according to his "Luzhin" theory, it is permissible to "cut people." Apparently, the similarity in thoughts and vision of the situation in the world determines Rodion's unaccountable hatred for Pyotr Petrovich. As a result, a certain "vulgarity" of Raskolnikov's theory appears. Petr Petrovich proposes an "economic" version of it, one that, in his opinion, is applicable in life and is aimed at achieving goals by material, mainly means. Thus, we can conclude that Luzhin is Raskolnikov's double in everyday life.

Another character with a similar theory

In the course of the narration, another hero appears - Arkady Ivanovich Svidrigailov. This rather complex character with his whole being expresses a kind of "non-uniformity". He "is not uniform anywhere", but in his image the philosophical context of the expression of Rodion's idea can be traced. Thanks to the actions of Svidrigailov (it was he who revealed the true state of affairs to Marfa Petrovna), the good name of Raskolnikov's sister is being restored. Arkady Ivanovich also provides assistance to the Marmeladov family, organizing the funeral of the deceased Katerina Ivanovna and placing orphaned young children in an orphanage. He also helps Sonya, supplying her with funds for a trip to Siberia.

Brief description of Arkady Ivanovich

This person is smart, perceptive, he has his own special "subtlety". He has the ability to understand people perfectly. Thanks to this skill, he was immediately able to determine what Luzhin was. Arkady Ivanovich decides to prevent Peter Petrovich from marrying Avdotya. According to some authors, Svidrigailov is potentially a man of great strength and conscience. However, all these inclinations of his are ruined by the Russian social foundations, the way of life. The hero lacks any ideals, there is no clear moral guideline. Among other things, Arkady Ivanovich by nature possesses a vice, which he not only cannot, but does not want to fight. Speech in this case is about his propensity for debauchery. The hero's life proceeds in subjection to his own passions.

What are the similarities between Rodion and Arkady Ivanovich?

Svidrigailov, when meeting with Raskolnikov, notes a certain "common point" between them, saying that they are "berries of the same field." Dostoevsky himself, to a certain extent, brings these characters closer together, depicting them, develops one motive - childish innocence, purity. In the image of Raskolnikov there are features of a child - he has a "childish smile", and in his first dream he appears as a seven-year-old boy. In Sonia, with whom Rodion is getting closer and closer, traits of innocence and purity are also traced. She reminds Raskolnikov of a child. Lizaveta's face also had a childish expression at the moment when Rodion attacked her. For Arkady Ivanovich, meanwhile, children are a reminder of the atrocities committed by him, coming to him in nightmares. It is this common motive, the very fact of his presence that allows us to say that Svidrigailov and Raskolnikov are doubles.

Differences in the images of Arkady Ivanovich and Rodion

As the story progresses, the differences between the characters become more and more obvious. The crime that Raskolnikov committed was a kind of symbol of protest against the cruelty and injustice of the world around him, the intolerance of living conditions. The secondary motive is the plight of the family and himself. In addition, he was eager to test his theory. However, after the crime, Rodion is no longer able to live differently, as if "he cut himself off from everyone with scissors." Now he has nothing to talk about with those around him, and he is seized by a feeling of painful alienation from all people. Despite this, before and after the crime, ideals are preserved in the image of Raskolnikov - for him the concepts of evil and good are very significant. So, after the atrocity, he helps the Marmeladovs, gives the last 20 rubles to organize the funeral of Semyon Zakharovich. In the image of Svidrigailov, nothing of the kind appears. Arkady Ivanovich appears as a completely devastated and spiritually dead person. In him, unbelief and cynicism coexist with a subtle mind, self-sufficiency, life experience. He is so "dead" that even feelings for Duna are not able to revive him.

Love for her awakened noble impulses and the manifestation of true humanity in Arkady Ivanovich only for a short moment. Svidrigailov is bored with life, he does not believe in anything, nothing takes his heart and mind. Along with this, he indulges his desires: both bad and good. Arkady Ivanovich does not feel remorse for killing a very young girl. And only once her image appears to him in a nightmare - on the night before his death. At the same time, the idea is created that this is his crime - not the only atrocity of the hero: there are many rumors and gossip about him. However, the character himself is very indifferent to them and, in fact, does not consider his actions to be something out of the ordinary.

The embodiment of Rodion's theory in the image of Arkady Ivanovich

Speaking about the fact that Svidrigailov is Raskolnikov's double, one should pay attention to their personal relationship. At first it seems to Rodion that Arkady Ivanovich has some kind of power over him. Raskolnikov is drawn to Svidrigailov. But later Rodion feels a kind of "heaviness", he becomes "stuffy" from this proximity. Gradually, Raskolnikov begins to believe that Svidrigailov is the most insignificant and empty villain on earth. Arkady Ivanovich, meanwhile, goes much further than Rodion along the path of evil. In this respect, even some symbolism of the name Arkady can be traced. It is of Greek origin and literally translates as "shepherd". In Orthodox culture, this word was used in the sense of "shepherd" - a leader, mentor, teacher in spiritual life. In a way, Svidrigailov for Raskolnikov is just that: in his disbelief and cynicism, he surpasses Rodion in many ways. Arkady Ivanovich constantly demonstrates his "mastery", to a certain extent "higher" mastery of Rodion's theory, practically embodying it.

The meaning of the characters in the work

Raskolnikov's doubles are close to him in spirit, but have different purposes. Each of them embodies Rodion's theory in its own way. With their own internal appearance, Raskolnikov's doubles in the novel discredit his ideas. The image of Petr Petrovich seems to be a primitive embodiment of theory at the everyday level. Arkady Ivanovich is a deeper character. Svidrigailov's application of the "Raskolnikov" theory is more profound. He embodies it on a philosophical level. When you analyze the image and actions of Arkady Ivanovich, in some way the bottom of the abyss is exposed, where the "individualistic" idea of ​​the protagonist leads.

Sonya Marmeladova

If the characters described above are Raskolnikov's spiritual counterparts, then this heroine is similar to Rodion exclusively in terms of her "life situation". In any case, the main character of the work thought so. She, like the rest of the characters, was able to cross the line beyond which morality ends. Being an active and active nature, Sofya Semyonovna tries to save her family from death. In her actions, she is primarily guided by faith, kindness, meekness. Sonya attracts Rodion, he begins to identify her with himself. However, like other doubles of Raskolnikov, Marmeladova soon becomes completely different from him. Rodion notices that he ceases to understand her, she even seems to him "holy fool" and strange. Subsequently, the differences between them become more pronounced.

"Atrocity" by Sonya Marmeladova

It should be said that her "crime" differs from the actions of Raskolnikov. Having turned into a prostitute, saving children from starvation, she harms herself. While the rest of the heroes inflict it on others, they ruin other people's lives. Rodion is free to choose between good and evil. Sonya was initially deprived of this choice. Her act is immoral, but justified in some way by motive. Unlike other characters, Sonya's soul is filled with love, faith, mercy, she is "alive" and feels her unity with those around her.

Conclusion

Quite a lot of personalities appear before the reader on the pages of the work. All of them are more or less similar to the main character - Raskolnikov. Of course, this similarity is not accidental. Rodion's theory is so nightmarish that a simple description of his life was not enough. Otherwise, the portrayal of his fate and the collapse of his ideas would be reduced to a simple description of a crime story about a half-baked student. In his work, Dostoevsky tried to show that this theory is not all that new and is completely realizable. Its development and refraction permeates human destinies, people's lives. As a result, an understanding arises that it is necessary to fight against this evil. To confront immorality, everyone has their own means. At the same time, one should not forget that the fight against the enemy with the help of his own weapon becomes meaningless, since it returns again to the same path of immorality.

Psychological doubles of Raskolnikov and their role in the novel.

Dostoevsky's novel "Crime and Punishment" can be read and re-read several times and all the time you can find something new in it. Reading it for the first time, we follow the development of the plot and ask ourselves questions about the correctness of Raskolnikov's theory, about Saint Sonechka Marmeladova and about the "cunning" of Porfiry Petrovich. However, if we open the novel a second time, other questions arise. For example, why exactly those and not other heroes are introduced by the author into the narrative, and what role they play in this whole story. This role, at first glance, is incomprehensible, but later turns out to be quite simple. Dostoevsky wants to show us Raskolnikov's theory not only by his example, for Raskolnikov, alas, is not original in his ideas of Napoleonism. There are other characters in the novel who, in their own way, have embodied the theory of “having the right” in life. These are the so-called psychological doubles of Raskolnikov. But at the beginning it is necessary to determine the circle of persons falling into the category of doubles, because at first glance people who have nothing to do with it, on closer examination, turn out to be its inveterate adherents and theologians. Firstly, Raskolnikov's double, undoubtedly, is Svidrigailov, a mysterious and contradictory personality, but he himself tells us about his similarity to Raskolnikov, telling him: "you and I are of the same berry field." Secondly, the vile Luzhin can also be considered a double of Raskolnikov, his "kinship" with Raskolnikov is also obvious, we will consider this later. It would seem that that's all. But no, we must not forget the sacrifice itself, Alena Ivanovna. She is also a "servant" of Raskolnikov's theory, although this theory "grinds" it later. There is also Lebezyatnikov, but he is more a listener than a follower, for he does not shine with strength of character or intelligence. So, let us consider sequentially these "mirrors" of Raskolnikov and try to understand their role in the novel.

Svidrigailov also has “a kind of theory, the same case on which I find, for example, that a single villainy is permissible if the main goal is good. The only evil and one hundred good deeds! " Svidrigailov is a strong man with a strong character. And these words of his do not in any way speak of the fact that he, like Raskolnikov, is building his life according to theories. He does not think about whether he is a trembling creature or has a right. No, he just thinks all his life that he has the right. He does not deduce the postulates of how to do good and how bad. He does nasty things, deliberately then doing good in order to make amends. Svidrigailov's life is a modified theory of Raskolnikov, which has become reality. The author wants to show us what would happen if Raskolnikov's plans were destined to come true. Svidrigailov does not check himself, and if he is guilty of the death of other people, he prefers to think that it should be so. Unveiled, all-consuming cynicism is the result of all Napoleonic theories, when human life is estimated at a copper penny. However, Svidrigailov is not as vicious and stupid as it seems at first glance. He understands that everything in life must be balanced, and therefore, following evil, he does good so as not to greatly burden his conscience. That is why mystical dreams and ghosts follow Svidrigailov. And just as Raskolnikov transgressed through life, through the blood of an old money-lender, so Svidrigailov transgressed through blood, only through his own. Death, suicide of Svidrigailov is a refusal. Rejection of their own Napoleonic theories, rejection of the fact that one person can control the life and death of other people, but this death is also another sacrifice brought on the altar of the theory of omnipotence, but a sacrifice in the name of atonement for sins. Perhaps this is so painful for Raskolnikov when he talks with Svidrigailov, because he understands that he is looking in the mirror and sees his own ghost there, although he recently laughed at Svidrigailov's visions. And just as Raskolnikov goes to hard labor, on a journey to his soul, so Svidrigailov goes on this very journey, to discover his “America” and repent: “Well, brother, it's all the same. The place is good; if they ask you, just answer that you went, they say, to America. He put a revolver to his right temple ... "

Together with the first mention of Svidrigailov at the beginning of the novel, we also hear the name of a certain Luzhin Pyotr Petrovich. This is also a double of Raskolnikov, their methods of achieving the goal are too similar. But their goal is different. For Raskolnikov, this is to prove his involvement in powerful people who rule the world, for Luzhin, it is to take advantage of these people without any proof. Luzhin is also a mirror, but the mirror is dirty and moldy. He is an extreme manifestation of Raskolnikov's theory, he is the author's story of what will happen if everyone starts using the theory: “Love, first of all, one yourself, for everything in the world is based on personal interest. If you love yourself alone, then you will do your affairs properly ... ”Raskolnikov understands somewhere deep in his soul that Luzhin lives by the same principles as he does, which is why Luzhin becomes disgusted with him. He seems to see in reality the embodiment of his theory and already knows in advance that it is a failure. Meeting with Sonya Marmeladova completes this failure. And if Raskolnikov and Svidrigailov can be considered the so-called victims of the theory, then Luzhin is its clear ideologue. Indeed, sometimes the phrases that he throws sound like the postulates of his own life: “If, for example, they still told me:“ love, ”and I loved, then what came of that? - continued Pyotr Petrovich, perhaps with undue haste, - it turned out that I tore the caftan in half, shared with my neighbor, and both of us remained half naked, according to the Russian proverb: "You will go after several hares at once, and you will not achieve one" or “In everything there is a line beyond which it is dangerous to cross; for once you have crossed, it is impossible to go back.” We do not know whether Luzhin committed any crimes or not, but we know that he is afraid of the police, which means some sins But, let's imagine for a moment that Luzhin would need to kill someone to achieve his goals. It seems that he would have done this without hesitation and without being tormented by remorse, for Luzhin is a scoundrel. Raskolnikov in the eyes of the family, he was ready to ruin Sonya. Yes, he directly tells us that he prefers to take a bride "from the poor" so that there is something to reproach later. This is the implementation of Raskolnikov's theory in its worst manifestation.

The victim of Raskolnikov, the old woman pawnbroker, will not be ignored either. She, of course, is not such an ardent follower of the theory, however, her life in this respect also cannot be called correct. Let us also remember how the old woman pushed around people who gave her things as a pledge, about how she reproached Lizaveta, who lived with her as a dependent. Of course, Alena Ivanovna has never in her life heard that people are divided into those who can dare and those who will never dare, therefore her sins in this regard are indirect.

As it turned out, on the pages of the novel "Crime and Punishment" there are a lot of personalities, one way or another similar to Raskolnikov. And this is no coincidence. Raskolnikov's theory is so terrible that it is not enough to simply describe to us his fate and the collapse of this theory, otherwise the narration will be reduced simply to an ordinary criminal story of a half-crazy student. Dostoevsky wants to show us, the readers, that this theory turns out to be not so new and not so unrealizable. We see its development and refraction through the lives and destinies of these twin heroes and we understand that it is necessary to fight this evil. Everyone finds their own means of struggle, the only thing, it is important to remember that this enemy cannot be fought with his own weapon, otherwise we risk ending up in the musty Petersburg of that time, in a cesspool that grinds people and thoughts. the possibility of getting advice.