2. System of women's images in the novel

In the "crime and punishment" we have a whole gallery of Russian women: Sonya Marmaladov, mother of Rodion Pulcheria Alexandrovna, sister of Dunya, killed by the life of Katerina Ivanovna and Alena Ivanovna, killed by an ax of Lizaveta Ivanovna.

FM Dostoevsky managed to see the main feature of the Russian female character and reveal it in his work. In his novel there are two types of heroines: soft and well-friendly, all-friendly - Sonechka Marmaladov - and rebounds, passionately interfering with this unfair and hostile atmosphere - Katerina Ivanovna. Two of these female characters were interested in Dostoevsky, forced him again and again to contact them in their works. The writer is definitely on the side of meek heroines, with their sacrifice in the name of his beloved. The author preaches Christian humility. He is more like the meekness and generosity of Sony.

And the rebels are most often immense pride, in the rustling of an offended feeling go against common sense, put on the altar of passion not only their own life, but that is even more terrible, the well-being of their children. Such is Katerina Ivanovna.

Depicting the fates of Katerina Ivanovna and Sony Marmaladeova, Dostoevsky gives as if two answers to the question of the behavior of a suffering personality: on the one hand, passive, enlightened humility and on the other - the irreconcilable curse to the whole of the unfair world. These two responses imposed a mark on the artistic structure of the novel: the entire line of the marmalade-colored Sonechki is painted in lyrical, places in sentimentally conciliatory tones; In the description of the misfortunes of Katerina Ivanovna prevailing intonation.

All types presented a writer in his novels, but himself remained on the side of meek and weak externally, but strong and not broken spiritually. It is probably why his "rebellion" of Katerina Ivanovna dies, and the quiet and meek Sonya Marmaladov not only survives in this terrible world, but also helps to save Raskolnikov, who has lost his support in life. So it was always in Russia: a man is a leader, but his support, support, was a woman. Dostoevsky does not just continue the tradition of classical literature, he brilliantly sees the realities of life and knows how to reflect them in his work. For decades, the centuries are replaced by each other, and the truth of female, captured by the author, continues to live, disturb the minds of new generations, invites to enter into a controversy or agree with the writer.

Probably Dostoevsky was the first Russian writer who made the art of psychoanalysis available to a wide circle of readers. If someone does not understand, does not realize that the author showed him, it will feel exactly that it will nevertheless bring it to the vision of the true meaning of the painting of reality. Heroes of Dostoevsky actually do not go beyond household everyday and decide their purely personal problems. However, at the same time, these heroes constantly act and aware of themselves in the face of the whole world, and their problems are ultimately all-in-law. To achieve such an effect, the writer must do an extremely painstaking work, without the right to an error. In psychological work there can be no extra word, hero, events. Therefore, analyzing female images in the novel, you should pay attention to everything, right up to the smallest details.

On the first pages we get acquainted with the usurist of Alena Ivanovna. "It was a tiny, dry old woman, sixty years old, with erase and evil eyes, with a small east nose and prosthetly. Belobryshy, a little dressed her hair was greased with oil. On her thin and long neck, like a chicken leg, it was confused. "Flaneless rag like, and on the shoulders, despite the heat, all the invested and yellowed fur Katsavayuk dostoevsky F. M. Crime and Punishment: Roman. - Kuibyshev: KN. Publishing House, 1983, p.33." Raskolnikov is disgusting the income, and, in fact, why? Because of the appearance? No, I specifically led her full portrait, but this is the usual description of an old man. For her wealth? In the restaurant, one student said to Officer: "It can immediately give out five thousand, and I don't break the ruble mortgage. Our a lot of it moved. Only a terrible bitch ..." But in these words there is no malice. The same young man said: "Nice she, it can always have money to get money." In essence, Alena Ivanovna does not deceive anyone, because the price of the mortgage she calls before the conclusion of the transaction. The old woman earns his life as it can, what makes her honor, unlike Rodion Romanovich, who confessed himself in a conversation with another heroine: "Mother would have sent to make what it was necessary, and on boots, dress and bread I would And he himself earned; probably! The lessons went out; they were offered to the Filnica. It works at the same time! Yes, I spammed and did not want. " This is who deserves the censure: a person who does not want to work, ready to continue to live on the money of poor mother and justifying himself with some philosophical ideas. No need to forget that Napoleon paved his own way from the bottom to the top to the tops, and it was precisely that, and not committed to them murder, makes him a great man. To discredit the hero, there would be enough killing of the Roshovmer, but Fyodor Mikhailovich introduces another character and makes him the second victim of a young student. This sister Alena Ivanovna, Lizaveta. "She has such a kind face and eyes. Very even. The proof is like many. Quiet, but meek, unrequited, consonant, for all the consonants." The complex and health allowed her not to give himself offended, but she preferred the existing order of things. In the novel, it is considered almost holy. But for some reason everyone forget about what a student was surprised and laughed. " It was the fact that the licable was remembered ... ". What happened to her children, because only two sisters lived in the apartment? Do not close your eyes. Lizaveta in his "kindness" does not refuse to students. It's rather in oblivion, not a kindness, the younger sister does not feel reality, she does not watch her from the side. She does not live in general, it is a plant, not a man. Perhaps only the simple and hard-working Nastasya looks at the Raskolnikov soberly, namely "with disgust." Accustomed to conscientious work, she cannot understand the owner's festive on the sofa, complaining of poverty and not want to try to earn money attached to idle reflections, instead of classes with students. "She entered again at two o'clock, with the soup. He lay like a divecha. Tea stood untouched. Nastasya was even offended and became angry with anger." A person who is not fond of psychology is unlikely to give this episode value. For him, the further effect of the novel will develop according to the generally accepted scenario. Someone thanks to this character, perhaps, may be restored by some heroines, with whom the author introduces us later. They say the apple from the apple tree does not fall far. Who so spoiled Rodion? Any psychotherapist is looking for a patient's disease in the latter's disease. So, the author introduces us with the Pulcher Raskolnikova, the mother of the main hero. "You are one of us, you are our all, all hope, hopeful. What happened to me when I learned that you had left the university for several months, for the lack of what to contain yourself, and that your lessons and other funds were stopped! What could I am with my hundred and twenty rubles per year of Pension to help you? "Dostoevsky, ibid, p.56 .. But he is a man, he, and not an elderly mother, must feed the whole family, since he has the opportunity to work. Mother is ready for all sake of his son, even to marry a daughter for a person, "it seems, good," which is also like "can be very useful even in everything, and we already put that you, even from the present day, could definitely Start your future career and consider my fate already clearly defined. Oh, if it was done! ". The most important thing is the last phrase of Pulcherii Raskolnikova. Not about the happiness of the daughter, going under a crown without love, already already grown in, dreams of a mother, but that with the help of the groom is better to attach a sock chair. I am very difficult to spoiled children in life, which also proves the further development of events in the novel.

Marfa Petrovna The reader only knows about the stories of other heroes of the work, acquaintances with the sedrugal family. It has nothing remarkable in it, she is just an unloved wife of her husband, causing him in treason, who received a spouse only thanks to his state. At the end of the book, we encounter the following phrase addressed to the future suicide: "Not your revolver, and Marfa Petrovna, which you killed, villain! You had nothing in her house." It seems that this woman appeared among the actors in order to face a cruel player to appear.

Next, Raskolnikov gets acquainted with the marmalade family. "Katerina Ivanovna with a scream and with tears ran into the street - with an undefined goal somewhere now, immediately and by all means finding justice." She is like Fernande from Marquez's novel "One hundred years of loneliness", which "wandered around the house, loudly hurt - in order, they were brought up, as the Queen to become her servant in a crazy house, live with her husband - a looseman, and she It works, darling, the farm is lucky ... " It is significant that neither that nor another woman does nothing. As Marquez had a Peter Kothet, which actually contained Fernandu, and Dostoevsky brought Sonya to not give the abyss of marmalade. Sonic Sony is dead and imaginary, like the holiness of the deceased Lizaveta. Why did Sofya Semenovna become a prostitute? From pity for a consolidated brother and sisters? Why then she did not go to the monastery, taking them with him, because there would be clearly better for them than with a father-alcoholic and having troubles with their mother? Suppose she did not want to throw on the mercy of Marmeladov's fate with his wife. But for what then to give the father money to drink, because it was this destroyed it? Probably, she sorry for her, he would not start, will suffer. It's time to remember the phrase: "Love everyone, it means not to love anyone." Sonechka sees only his good acts, but she does not see, does not want to see how they manifest themselves to those whom it helps. She, like Lizaveta, does everything, what they are asked about, without disassembling, why this is what it will work out. As a robot, Sonya performs what the Bible is prescribed. So shines the light bulb: because the button has pressed and the current goes.

Now look at the end of the novel. In fact, Svidrigaylov offers Avdwirl Romanovna the same as Katerina Ivanovna demanded from the Sonechiki. But the Dunny knows the price of many actions in life, it is smarter, stronger and, most importantly, in contrast to Sophia Semenovna, it is beyond his nobility able to see someone else's dignity. I would not accept my brother from her salvation by such a price, he would rather commit suicide.

Fyodor Mikhailovich Dostoevsky as a great master psychologist described people, their thoughts and experiences in the "Vorki" stream; His heroes are constantly in dynamic development. He chose moments the most tragic, most significant. Hence the universal, the universal problem of love, which is trying to resolve his heroes.

According to the Sonchiki, this holy and righteous sinner, it is the lack of love for neighbor (Raskolnikov calls humanity "anthill", "creature tremble") and is the principal cause of sin of Rodion. This is the difference between them: his sin is confirmed by his "exclusivity", his greatness, his power over each self (whether it is a mother, Dunya, Sonya), her sin - a victim in the name of love for her relatives: to father Drunkets, to a caring stepmother, to her children, whom Sonya loves more than his pride, more than their pride, more life, finally. His sin is the destruction of life, her - the salvation of life.

Initially, the Raskolnikov hates Sonya, as he sees that he, the Lord of God, loves this little scored being, despite everything, loves and regrets (things are interrelated), - this fact causes a strongest blow to his fictional theory. Moreover, the love of his mother to him, son, also, in spite of everything, "torments him", the Pulcheria Alexandrovna constantly goes to the sacrifices for the sake of "beloved Rodniki."

The victim of the Duni is painful for him, her love for his brother is another step to refutation, to the collapse of his theory.

The author believes that love is a self-sacrifice embodied in the form of Sony, the Duni, the mother - because for the author it is important to show not only the love of women and men, but also the love of the mother to the son, brother to the sister (sisters to the brother).

Dunya agrees to marriage with a puddler for her brother, and the mother understands a great deal that he donates his daughter for his firstborn. The Dunny ranged for a long time before making a decision, but in the end, still decided: "... before you decide, the Dunny did not sleep all night, and, believing that I was already sleeping, got out of bed and all night She went back and forth through the room, finally kneel and prayed for a long time and warmly in front, and the next morning she declared me that she decided. " Dunya Skolnikova is going to marry a completely alien man to her just because he does not want to let mother and brother go down to Nishchensky existence to improve the material condition of his family. She also sells himself, but, unlike Sony, she still has the opportunity to choose the "buyer".

Sonya immediately, without hesitation agree to give all of himself, all his love Raskolnikov, sacrifice the sake of the well-being of his beloved: "You will come to me, I put the cross on you, pray and let's go." Sonya gladly agrees to follow the Raskolnikov anywhere, accompany him everywhere. "He met a restless look at her flour look at her ..." - here and the love of Sonina, his whole dedication.

The author of the novel "Crime and Punishment" introduces us with many human destinies, who collided with the harder conditions of existence. As a result, some of them were at the very bottom of the company, without causing that she fell into their share.

Marmaladov gives a tacit consent that his own daughter went to the panel in order to be able to pay for housing and buy food. An old-year-old older who, although she lives everything remains anything, continues its activities, degrading, insulting people bringing the latter that they have to get a pennies that hardly have enough for life.

Sonya Marmaladova - the main female image of the novel - is the carrier of Christian ideas that are faced with the inhuman theory of Raskolnikov. It is thanks to her, the main character gradually understands how much he was mistaken, what a monstrous act committed, killing, it would seem, meaninglessly working out her days older; It is Sonya who helps Raskolnikov to return to people, to God. The girl's love resurrect him with doubts of the soul.

The image of Sony is one of the most important in the novel, it embodied Dostoevsky his idea of \u200b\u200bGod's Human. Sonya lives according to Christian commandments. Putting in the same difficult conditions of existence as the Raskolnikov, she retained a living soul and the required connection with the world, which was broken by the main character who had committed the most terrible sin - murder. Sonechka refuses to judge anyone, accepts the world as it is. Her credo: "And who set me here: who live, who does not live?".

The image of Sony has two interpretations: traditional and new, given V.Ya. Kirpyotin. According to the first, Christian ideas are embodied in the heroine, on the second it is carrier of folk morality.

In Son, a popular character in his undeveloped children's stage is embodied, and the path of suffering forces it to evolve it in the traditional religious scheme towards the Orthodie, it is so often compared with Lizaveta. Dostoevsky on behalf of the Sonechka preaches the ideas of good and compassion, which constitute the unshakable foundations of human existence.

All female images of the novel cause sympathy from the reader, forced to empathize their destinies and admire the talent of the writer who created them.

Female images of Roman F. Dostoevsky "Idiot"

"The loss of a living idea of \u200b\u200bGod is a disease" civilization ":" A person in this state feels bad, longing, loses the source of a living life, does not know direct sensations and everything is aware. " (20; 192) view of the writer, sharp and shrill ...

"No writer can pass by rustic problems. These are national problems, if you feel honestly." Vasily Belov turning to the works of rustic prose, can be argued ...

Features of the women's world S.P. Slygin "On Irtyshe"

Features of the women's world S.P. Slygin "On Irtyshe"

THEM. Kulikova, analyzing female images S.P. Slygin, came to the conclusion that he writes "about female characters, fate, the female start in life, about the very intimacy of a woman in nature and its special purpose, about ...

The problem of moral choice in the works of Yu. Bondarev of the 1970s ("Beach", "Choice")

"Coast" - the work is complex in constructing, the chapter on modern reality alternate in it with extensive retrospects depicting the last days of the war, but all this seemingly ...

Religious philosophical searches M.Yu. Lermontov in the novel "Hero of Our Time"

The novel image system, like his whole artistic structure, is subordinated to the disclosure of the main character, what is a certain echo of romantic poetics ...

Roman Vladimir Bogomolova "The moment of truth (in August forty fourth)"

This novel - about people whose profession is the fight against the enemy agent, whose work, bloody and dangerous, is associated with violence, struggle, secret. "There were three of them, those who officially ...

Create a tragedy - it means to exalt the collision depicted in the play, to the struggle of large public forces. The character tragedy should be a major person ...

Comparative analysis of stories V. Astafieva "Shepherd and a shepherd" and "Lyudochka"

The image of a young lieutenant is romantic, it stands out by its exception, character details (readiness, sensitivity), attitude towards a woman. His beloved ...

Typology and peculiarity of female images in the works of I.S. Turgenev

Artistic image system in the poem D. Milton "Lost Paradise"

milton Poem epic genre is like many of the artists of his time, Milton deified the mind and assigned to him the highest step on the hierarchical ladder of human spiritual abilities. In his opinion, there are many lower forces in souls ...

Introduction

The search for the ideal is present in all Russian writers. In this regard, in the XIX century, it becomes particularly significant to the woman, not only as the continuing of the kind, but also, as to the merits, able to think and feel much thinner and deeper than the heroes of men. A woman is associated with the idea of \u200b\u200bsalvation, rebirth, the sphere of feelings.

No novel can do without heroine. In world literature, we find a colossal number of female images, a wide variety of characters, with all sorts of shades. Naive children, so charming in their ignorance of the life they decorate like adorable flowers. Practical women who understand the price of the benefits of the world and know what means to achieve them in the uniquely accessible form for them - a profitable party. Meek, gentle creatures, the appointment of which love, - ready-made toys for the first counter, who will tell them the word of love. Cunning coquettes, in turn, ruthlessly playing foreign happiness. Unanswered sufferers, badly fading under the yoke, and strong, richly gifted natures, all the wealth and strength of which is spent fruitlessly; And, despite this variety of types and the uncountable number of volumes in which we were depicted by a Russian woman, we involuntarily amazed monotony and poverty of content.

When they talk about the "women of Dostoevsky", first of all, the meek sufferings, victims of great love for loved ones, and through them and to all mankind (Sonya), passionate sinners with a clean at the heart, with a bright soul (Nastasya Filippovna), finally dear, forever Changeable, cold and fiery pear, through all the unscrupulous predation of his pierced spark of the same humility and repentance (scene with Alesh in the head of the "Lukovka"). In a word, the Christian women remember, in the last, deep life, Russian and "Orthodox" characters. "Human soul by nature of Christian", "Russian people are all in Orthodoxy" - it was deeply believed in it, it was passionately assigned to Dostoevsky all his life.

The purpose of this work is the consideration of female images in the Roman F.M. Dostoevsky "Crime and Punishment." This goal has made it possible to formulate the following tasks of this study:

Consider the features of building female images in Romans F.M. Dostoevsky.

Analyze the image of Sony Marmaladova.

Show features of the construction of secondary female images in the novel F.M. Dostoevsky "Crime and Punishment".

Interest in gender issues in literary criticism is not a tribute to fashion, but a completely logical process due to the specifics of the development of Russian literature and culture. In the works of Russian writers, women are associated with the emotional start, they save, harmonize. Therefore, the study of female images in the novel F.M. Dostoevsky "Crime and Punishment" is relevant for modern literary studies.

The work of Dostoevsky is widely studied in domestic and foreign literary criticism.

In a shiny pleiade of critics and interpreters of creativity F.M. Dostoevsky end of the XIX - early XX century. One of the deepest and thin was I.F. Annensky. However, his critical heritage belonging to the work of Dostoevsky, at one time did not receive such fame as Vyach works. Ivanova, D. Merezhkovsky, V. Rozanova, L. Sixova. The point is not only that the Annena written about Dostoevsky is small in terms of volume, but also in the peculiarities of the most critical manner of Annensky. Annensky's articles are not philosophical, ideological buildings, he did not strive to terminologically determine the essence of the romance compositions of Dostoevsky (for example, the "Roman-tragedy" of Vyach. Ivanova) or through contrasting comparisons to identify a certain basic idea, where all the threads would come together at one point.

Annensky is written about Dostoevsky a bit, his articles and individual comments, at first glance, seem to be somewhat fragmented, not combined community ideas, construction and even style. However, almost all articles related to the comprehension of both Russian classical and modern literature are saturated with reminiscences from Dostoevsky and reasoning about him and its aesthetics. Specially Dostoevsky dedicated to the articles in the "Books of Reflections" (two under the general title "Dostoevsky to Catastrophe" in the first and two - "Dreamers and Chosen" and "Art of Thought" - in the second). The spiritual significance of Dostoevsky Annensky also said, referring to the youth audience.

The aspiration to the ideal brings the spiritual world of Annensky to Dostoevsky. In the article "Symbols of beauty among Russian writers", Annensky writes about the beauty of Dostoevsky as "lyrically raised, repeatedly enhanced sin confession." Beauty is considered not in the abstract, philosophical plan, and in its incarnation in women's images of Dostoevsky's novels, and above all, it is inherent in the suffering, "deep wound in the heart." Not all critics agreed with such an interpretation of women's images of Dostoevsky, according to which spirituality and suffering determined their appearance. A. Volynsky in his book about Dostoevsky, characterizing Nastasya Philippovna, spoke of her "tendency to the vaccine rag", about her "accility." The point of view of Volyn was very common in critical literature, where the name "Camellia" was strengthened for Nastasya Filippovna, "Aspasia". In 1922 - 1923 A.P. Skamps criticized a similar look: "Her burden is not a burden of sensuality. Heavy and thin, it does not have an instant sex. Her passion in the inflammation of spiritual exacerbations ... " But the Dostoevsky written the first to be the first about the suffering, spiritual, the first of the most suffer, spiritual, which is the benefit of the beauty of women.

In the critical and scientific literature, the idea of \u200b\u200bSona is established as one of the most pale and even unsuccessful images of the novel. N. Ahsharumov, companion Dostoevsky on the movement of Petrashevtsev, wrote immediately after the publication of "crime and punishment": "What to say about Sona? .. The face is deeply perfect, and the author's task was incomprehensibly difficult; Therefore, maybe the execution of it and seems weakly. She was well thought well, but her body lads, "despite the fact that she is indisputable in our eyes, we somehow do not see her." The role of "full meaning", and the relationship of this person to the Raskolnikov is pretty clear. " "All this, however, in the novel comes sluggish and pale not so much in comparison with the energetic color of other places of the story, as in itself. The ideal did not enter the flesh and blood, and remained for us in perfect fog. In short, it all happened liquid, ignorant. "

After a hundred years, Ya.O. Zundelovich in the book about Dostoevsky went even further: he believes that the artistic weakness of the image of Sony violated the compositional harness of the novel and damaged the integrity of the overall impression, "... the question arises," he says, "he says, is the place of Sony in the novel as a religious wandered "exaggerated? Whether the wide disclosure of her image of the compositional harness of the novel, which would be more completed-closed, if it were not for the author's desire to outline already in the novel on the dialectics of the crime of the redemption path. "

Ya.O. Zundelovich brings the point of view of his predecessors to a logical end: he considers the image of Sony unnecessary. She is only the rugers of ideas who did not find an adequate artistic embodiment necessary by Dostoevsky as a religious preacher, not as a writer. Sonya points out the Raskolnika the path of salvation in words devoid of aesthetic power.

The image of Sony is the image of the didactic, this converges most of the Dostoevsky researchers. F.I. Evnine sums up. The fracture of Dostoevsky's worldview occurred in the sixties; "Crime and Punishment" - the first novel, in which Dostoevsky tried to express his new religious and ethical views. "In the third notebook to" Crime and Punishment "it is clearly indicated that the" idea of \u200b\u200bthe novel "is" Orthodox viewing, which is Orthodoxy. " In "Crime and Punishment", Dostoevsky for the first time a character appears, the main function of which is to serve the embodiment of "Orthodox Review" (Sonya Marmaladov). "

Your opinion FI Evnine spends very persistently. "That in Figure Sony finds the expression of the religious and protective trend of the novel, does not need evidence." Nevertheless, he argues his thesis and brings it to the most sharp defense: "In the image of Dostoevsky Sonya Marmaladov ... First of all, the carrier and the militant preacher of Christian ideology."

Recently, the topic "Dostoevsky and Christianity" began to be widely studied. Although there is a long tradition of consideration of Christian allusions in his work. You should specify the works of such researchers as L.P. Grossman, G.M. Friedlander, R.G. Nazirov, L.I. Saraskina, G.K. Schennikov, G.S. Pomeranz, A.P. Scaffties. I must say that the consideration of this topic was laid back in the works of M.M. Bakhtina, but according to the censorship considerations, he could not give the development of this topic and only outlines its dotted line. I wrote a lot about the connection of creativity F.M. Dostoevsky with the Christian tradition of Russian religious philosophers (N. Berdyaev, S. Bulgakov, V. Solovyov, L. Shestov and others), whose work was undeservedly forgotten for many years. The leading place in these studies today is the Petrozavodsk State University headed by V.N. Zakharov. In his article "On the Christian value of the main idea of \u200b\u200bDostoevsky's creativity", he writes: "This idea has become the" overthrown "of the creativity of Dostoevsky - the idea of \u200b\u200bthe Christian transformation of man, Russia, peace. And this is the path of Raskolnikov, Sony Marmaladova, Prince Myshkin, Chronicle in "Besakhs", Arkady Dolgoruky, Starta Zosima, Alyoshi and Mitya Karamazov. " And further: "Pushkin's idea" Independence "of a person Dostoevsky gave Christian meaning, and in this the eternal relevance of his creativity."

Very interesting work on the same topic writes TA. Casatkin, which considers the works of F.M. Dostoevsky as some sacred texts built in Christian canons.

From modern researchers, this issue can be called such names like L.A. Levina, I.L. Almy, I.R. Akhundova, K.A. Stepanyan, A.B. Galkin, R.N. Poddubnaya, E. Mestergazi, A. Moonovers.

Many foreign researchers are referred to, whose works are widely available to us lately. Among them, M. Jones, G.S. Misson, S. Yang, O. Meerson, D. Martinsen, D. Orvin. It is possible to note the major operation of the Italian researcher S. Salvestroni "Biblical and patristic sources of Dostoevsky's novels".

Chapter 1. Women's Images in Works F.M. Dostoevsky

1.1 Features of the creation of female images

In Dostoevsky's novels, we see many women. These women are different. FROM Poor people Begins in the work of Dostoevsky, the theme of the fate of a woman. Most often unsecured financially, and therefore defenseless. Many Dostoevsky women are humiliated (Alexander Mikhailovna, who lived Nezvanov, mother insect). And women themselves are not always a bit in relation to others: a few selfish cooking, unconsciously selfish and heroine White nights , there are just predatory, evil, heartless women (princess from Network Nezvanova ). He does not land them and does not idealize. There are no women in Dostoevsky, happy. But no happy men. No happy families. The works of Dostoevsky expose the difficult life of all those who are honest, kind, hearty.

In the works of Dostoevsky, all women are divided into two groups: women calculating and female feelings. IN Crime and punishment We have a whole gallery of Russian women: a prostitute Sonya, killed by the life of Katerina Ivanovna and Alena Ivanovna, killed by an ax of Lizaveta Ivanovna.

The image of Sony has two interpretations: traditional and new, given V.Ya. Kirpyotin. According to the first, Christian ideas are embodied in the heroine, according to the second - it is carrier of folk morality. In Son, the folk nature is embodied in his undeveloped children's Stages, and the path of suffering makes it evolve on a traditional religious scheme - in the direction of obodiva - it is not so often compared with Lizaveta.

Sonya, which in his short life has already transferred all imaginable and inconceivable suffering and humiliation, managed to preserve the moral purity of the unability of the mind and heart. No wonder the splitters is bowed, saying that it is put on the human grief and suffering. Her image has absorbed all world injustice, world grief. Sonechka performs on behalf of everyone humiliated and insulted . It is such a girl, with such a living history, with such an understanding of the world was elected Dostoevsky for the salvation and purification of Raskolnikov.

Her inner spiritual rod, helping to keep the moral beauty, the infinite faith in good and in God is striking Skolnikov and make him think for the first time over the moral side of his thoughts and actions.

But along with her saving mission, Sonya is also punishment Buntar, constantly reminding him of all his existence about the deed. Is it really a man - lich?! - These words of marmaladian rose the first seeds of doubt in the Raskolnikov. It was Sonya, who consisted in himself, on the thought of the writer, the Christian ideal of good, could survive and defeat the confrontation with the antichelovic idea of \u200b\u200bRodion. She struggled with all his heart for the salvation of his soul. Even when, first in the link of the Raskolnikov avoided it, Sonya remained loyal to his debt, his faith in cleansing through suffering. Belief in God was its only support; It is possible that the spiritual quest for Dostoevsky himself was embodied in this image.

IN Idiota The female calculation is Varya Ivigin. But the focus here is given to two women: Agela and Nastasya Filippovna. They have something in common, and at the same time they differ from each other. Myshkin believes that Aglaya is good extremely , almost like Nastasya Filippovna, although the face is completely different . With general - beautiful, each has its own face. Aglaya beautiful, intelligent, proud, draws little attention to the opinion of others, is dissatisfied with the way of life in his family. Nastasya Filippovna is different. Of course, it is also a hectic, fantastic woman. But in its throwing, the submission of fate, which is unjust to it. The heroine after the others convinced himself in the fact that she had fallen, low woman. Being in captivity of the morality, she even calls himself outdoor, wants to seem worse than it is, it behaves eccentric. Nastasya Filippovna - woman feeling. But she is no longer able to love. Feelings in it burned out, and she loves one of his shame . Nastasya Filippovna has beauty, with which you can world turn over . Hearing about it, she says: But I refused the world . Could, but does not want. Around her goes kuterta In the houses of Ivolgic, Epang, Trotsky, her pursues Rogozhin, who competes with the prince of Myshkina. But it is enough with her. She knows the price to this world and therefore refuses him. For in the world there are people or higher, or below it. And with those and with others she does not want. First she, according to her understanding, is unworthy, and the second unworthy of it. She refuses Myshkina and rides with a rogo. This is not the result. It will rush between the mysteria and rogoheus until the latter dies under the knife. The world did not turn her beauty. The world ruined the beauty.

Sofia Andreevna Dolgoruky, Civilian Wife Versilova, Mother teenager - Highly positive female image created by Dostoevsky. The main property of her character is feminine meekness and therefore unprotected against the requirements for it. In the family she is all the strength of their concerns about her husband, Versilov, and children. She does not even mind to defend himself from the demandingness of her husband and children, from the injustice of their ungrateful inattention to her concerns about their amenities. Perfect oblivion to her tend to her. In contrast to the proud, proud and vengeful Nastasya Philippovna, Grushenka, Ekaterina Ivanovna, Aglaie Sofia Andreevna - embodied humility. Versilov says that it is characteristic humility, unrequency and even prinution , having in mind the origin of Sofia Andreevna from the simple people.

What was for Sofia Andreevna shrine for which she was ready to endure and suffer? The holy was for her the highest, which recognizes the Holy Church - without the ability to express the church faith in judgments, but having it in his soul, holistic embodied in Christ. She expresses his beliefs like this is characteristic of a simple people, in short concrete statements.

Solid faith in a comprehensive love of God and in providence, thanks to which there is no meaningless accidents in life, - here is the source of the power of Sofia Andreevna. Its strength is not the Stavrogan proud self-affirmation, but disinterested unchanged attachment to what is really valuable. So her eyes pretty big and open, shone always quiet and calm light ; facial expression it would even be fun if it were not worried often . The face is very attractive. In the life of Sofia Andreevna, so close to holiness, there was a grave wine: six months after the wedding with Makar Ivanovich, she was fascinated by Versilov, gave him to him and became his civil wife. Wines always remains a wine, but, condemning it, we must take into account mitigating circumstances. Going married with an eighteen-year-old girl, she did not know what love was, fulfilling the will of his father, and went under the crown so calmly that Tatiana Pavlovna called her then fish.

In life, each of us is found with saints, the modest mobility of which is unnoticed by an unnecessary look and is not valued by us sufficiently; However, without them, fastening between people would be broken and life would become unbearable. Sofia Andreevna belongs to the number of such non-connamed saints. On the example of Sofia Andreevna Dolgoruky, we found out what a woman was feeling from Dostoevsky.

IN Besakh An image of Dasha Shatov is ready for self-sacrifice, and a proud, but somewhat cold Lisa Tokhina. New, in fact, there is no in these images. This was already. Not new and image of Mary Lebyadkin. Quiet, affectionate dreamer, half-or-completely obsessed woman. New in the other. For the first time, Dostoevsky, for the first time, brought an antipheral image with such completeness. Here comes from the West Marie Shatov. She knows how to juggle with words from the dictionary of negatives, but forgot that the first role of a woman is to be a mother. The following barcode is characteristic. Before birth, Mary says Shatov: Started . Without realizing, he clarifies: What began? The answer is MRI: And how much do I know? Do I really know something? The woman knows what she could have been and not knowing, and does not know what it's just impossible to know her. She forgot her business and makes someone else. Before childbirth, with the great secret of the appearance of a new creature, this woman shouts: Oh, be cursed everything in advance!.

Another anti-suite is not a woman in labor, but the hanging, Arina Virgin. For her, the birth of man has the further development of the body. In Virgin, however, not quite died female. So, after the year of life with her husband, she is given to Captain Lebyadkin. Women won? Not. Summified due to the principle sought from the books. Here's how about her, Wirgin's wife, says the story: his wife, and all the ladies, were the most recent convictions, but all this came out with them somewhat rude, it was here that was the idea that fell into the street As Stepan Trofimovich was once expressed in another matter. They all took the books and, first, even earnings from the metropolitan progressive corners of our corners, were ready to throw out all anything, if only they advised to throw away. Here and here, with the birth of MRI, this anti-suite, apparently, having learned from the book that children should raise anyone, just not a mother, tells her: Yes, and at least tomorrow I will send you to the shelter, and then in the village for upbringing, there is a case with the end. And there you will recover, take it for reasonable work.

These were women who were abruptly opposed to Sofia Andreevna and Sonya Marmaladeova.

All women of Dostoevsky are something like each other. But in each subsequent work, Dostoevsky complements new features already known to us images.

1.2 Two female types in the works F.M. Dostoevsky

Fedor Mikhailovich Dostoevsky - Writer of a special warehouse. He did not adjacent to the liberals, nor to the Democrats, and led his topic in the literature, embodied in the images of people offended and insulted, broken the fate of people the idea of \u200b\u200ball fortunes. His heroes do not live, but survive, suffer and are looking for exit from unbearable conditions, justice and rest are guy, but they do not gain them. An interesting trend in the image of female characters is traced. Two types of heroines are present in his novels: soft and priests, all-friendly - Natasha IIMenev, Sonya Marmaladov - and rebelkers, passionately interfering with this unfair and hostile situation: Nelli, Katerina Ivanovna. And later - Nastasya Filippovna.

Two of these female characters were interested in Dostoevsky, forced him again and again to contact them in their works. The writer is definitely on the side of meek heroines, with their sacrifice in the name of his beloved. The author preaches Christian humility. He is more like the meekness and generosity of Natasha and Sony. Sometimes Fedor Mikhailovich sin against common sense, describing the self-denial of Natasha, but in love, probably never happens, and everything is on emotions. Natasha does not want to reason, she lives feelings, seeing all the shortcomings of the lover, trying to draw them in dignity. "That was said," she interrupted (Natasha), "and you, however, said that he was without character and ... and the mind of not far away as a child. Well, I loved this in him most ... Do you believe it? " Amazed by the long-faced love of a Russian woman. She is able to completely forget himself in his feeling, all to quit your favorite feet. And what he is insignificant, the stronger and the irregularity of this passion. "" I want ... I owe ... Well, I'll just ask you: you really love Alyosha? " - Yes very. - And if so ... if you love Alya very much ... then ... you have to love him and his happiness ... Do I figure out his happiness? Do I have the right to say so, because I take it to you. If you think and we will decide now that you will be happier with you, then ... then ... ".

This is almost a fantastic dialogue - two women decide the fate of a slightly accuracy beloved, sacrificing his precious souls. FM Dostoevsky managed to see the main feature of the Russian female character and reveal it in his work.

And the rebels are most often immense pride, in the rustling of an offended feeling go against common sense, put on the altar of passion not only their own life, but that is even more terrible, the well-being of their children. Such is Nelly's mother from the novel "humiliated and offended", Katerina Ivanovna from "Crime and Punishment". These are still "border" characters from Christian humility to the open rebound.

Depicting the fates of Natasha Ivanovna and Nelly, Katerina Ivanovna and Sony Marmaladeova, Dostoevsky gives any kind of response to the question of the behavior of a suffering personality: on the one hand, passive, enlightened humility and on the other - an irreconcilable curse to the whole of the unfair world. These two answers imposed a mark on the artistic structure of the Romanov: the whole line of the IIMENIE - Sonia marmalade was painted in lyrical, places in sentimentally conciliatory tones; In the description of the story of Nelly, the atrocities of Prince Valkovsky, the infringements of Katerina Ivanovna prevailing intonation.

All types presented a writer in his own reports and novels, but himself remained on the side of the meek and weak externally, but strong and not broken spiritually. It is probably why his "rebar" Nelli and Katerina Ivanovna are dying, and Katerina Marmaladov, and the quiet and meek Sonya Marmaladov not only survives in this terrible world, but also helps to escape the Raskolnikov, who has lost his support in life. So it was always in Russia: a man is a leader, but his support, support, was a woman. Dostoevsky does not just continue the tradition of classical literature, he brilliantly sees the realities of life and knows how to reflect them in his work. For decades, the centuries are replaced by each other, and the truth of female, captured by the author, continues to live, disturb the minds of new generations, invites to enter into a controversy or agree with the writer.

Chapter 2. Women's images in the novel "Crime and Punishment"

2.1 Image of Sony Marmaladova

Sonya Marmeladova is a kind of antipode of Skolnikov. Her "decision" is in self-sacrifice, in the fact that she "crossed" himself, and its main idea is the idea of \u200b\u200b"incessibility" of another person. To bear the other - it means to destroy yourself for her. In this, it is opposed to Raskolnikov, who all the time, from the very beginning of the novel (when he just learned about the existence of Sony from the confession of her father) measures his crime with her "crime", trying to justify himself. He constantly seeks to prove that since the "decision" of Sony is not a true decision, it means that he, Raskolnikov, rights. It is before Sonya that he wants to confess the murder from the very beginning, he takes her fate as an argument in favor of his theory of passengerness of everything. With the relationship between Raskolnikov, his relationship to the mother and sister is intertwined, which is also close to self-sacrifice.

The idea of \u200b\u200bRaskolnikova reaches its climax in chapter IV, the fourth part, in the scene of visits to Schoni Schoni and the Gospels with His reading. At the same time, the novel reaches its turning point here.

Raskolnikov himself understands the importance of his coming to Sona. "I came to you for the last time," he said, came, because everyone will decide tomorrow, and he must tell her "one word", obviously decisive if he considers it necessary to say him before the fatal tomorrow afternoon.

Sonya hopes for God, on a miracle. Raskolnikov with his evil, honed skepticism knows that God does not and the miracle will not. Raskolnikov mercilessly reveals before his interlocutor a vasche for all its illusions. Moreover, in the peculiar ecstasy of Raskolnikov speaks about the uselessness of her compassion, about the futility of its victims.

Not a shameful profession makes Sonya Great Supin - to her profession Sonya led the greatest compassion, the greatest tension of moral will, and the population of her victim and her feat. "And that you are a great sinner, it is so," he added almost enthusiastically, "and the most common, these are the sinner that you have taken away and betrayed yourself. Still it would not be horror! It would not be horror that you live in this dirt that you hate so much, and at the same time you know myself (it's only worth opening your eyes) that you can't help with anyone and no one save anything! " (6, 273).

Raskolnikov judges Sonya with different weights in their hands than the dominant morality, he judges her from a different point of view than she herself. The heart of Raskolnikov was pierced by the same pain as the heart of Sony, only he is a man thinking, he summarizes.

He leans before Sonya and kisses her legs. "I did not bow to you, I bowed to the whole suffering to the human sense," he said wildly and went to the window. " He sees the Gospel, he asks to read the scene of the resurrection of Lazarus. Both are dug into the same text, but both understand it in different ways. Raskolnikov thinks can be about the resurrection of all mankind, perhaps the final phrase, emphasized by Dostoevsky, - "Then many of the Jews who came to Mary and who have seen who created Jesus, believed in him," he also understands his own way: after all And he is waiting for the hour when people believe in him, as Jews believed in Jesus as a Messiah.

Dostoevsky understood the iron power of the need for the needs and circumstances, squeezed Sonya. With the accuracy of a sociologist, he outlined narrow "expanses", who left her fate for his own "maneuver". But, nevertheless, Dostoevsky found and in Sona, in a defenseless teenager, thrown onto the sidewalk, in the very last man of the big capital city, the source of their own beliefs, own decisions, their own actions dictated by their conscience and their will. Therefore, she could be the heroine in the novel, where everything is based on the confrontation between the world and the choice of funds for this confrontation.

The profession of a prostitute will imperts sony in shame and lowness, but motives and purposes, as a result of which she entered on their way, selfless, elevated, holy. The profession of his Sonya "elected" to unwittingly, she did not have another choice, but the goals she pursue in his profession was delivered by herself, delivered freely. D. Merezhkovsky turned the real, the life of a certain dialectic of the sony image into a fixed psycho-metaphysical scheme. Using the terminology taken from the "Karamazov brothers", he finds two abyss in it, a sinner and holy, the existing two ideals - Sodom and Madonna.

Christ, according to the Gospel, saved the Bludnitsa from the Hangey, who were gathered to beat her stones. Dostoevsky, undoubtedly, remembered the attitude of Christ to the evangelical prostitute when he created the image of Sony. But the gospel harmnica, Prosvet, left his sinful craft and became saint, Sonya was always in vain, but she could not stop "sinful", could not not join on his way - the only possible way for her to save from the hungry death of small marmalades.

Dostoevsky himself does not equate Sonya to Raskolnikov. He puts them in the controversial attitude of sympathy, love and struggle, which, by his plan, should end with the statement of Sony's rightness, Sony's victory. The word "violating" belongs not to Dostoevsky, but Raskolnikov. It uttered the last to convince Sonya to translate her to his way. It does not correspond to Sony's self-consciousness, which, from the point of view of Raskolnikov, "did not reveal the eyes" or the position or the results of his mobility.

Thus, we see that the image of the Sony marmalade can be considered as a religious and mythological image associated with Maria Magdalina. But on this, the value of this image in the novel is not exhausted: it can also be correlated in the image of the Virgin. Preparations for the image to be seen by the hero and the reader, it begins to seek, but frankly and explicitly - from the moment the view of the carriage to Sonya is described. For Raskolnikov, their attitude towards it is incomprehensible and discouraging: "Another question was not only for him: why did they even love Sonya? She didn't go to them; they met her rarely, sometimes only on the works when she came for one minute to To see it. Meanwhile, everyone already knew her, they knew that she followed him, knew how she lives, where she lives. She didn't give them money, there were no special services. Once only, on Christmas, she brought it to All Ostrog Champion: Pies and Kalach. But some closer relationships were missing between them and Sonya: she wrote to them letters to their relatives and sent them to the post office. Their relatives and relatives who came to the city were left to instruct them, In the hands of Sony, things for them and even money. Their wives and mistresses knew her and went to her. And when she was on the works, coming to the Raskolnik, or met with the part of the artists going on work, - all took off the caps, all bowed: "Mother Sophia Semenovna, mother You are ours, gentle, disease! "- these rude branded challenges said to this little and thin creation. She smiled and spoke, and they all loved when she smiled them. They even loved her gait, turned around to see her, as she goes, and praised her; She praised her even for the fact that she was so small, did not even know what to praise. It was even treated to her "(6; 419).

After reading this passage, it is impossible not to notice that the convicts perceive Sonya as the image of the Virgin, which is especially clear from the second part of it. What is described in the first part, with inattentive reading, it may be understood as the formation of the relationship between the convicts and Sony. But the case is obviously not the case, because on the one hand, the attitude is established before any relationship: the arrestants immediately "so loved Sonya." They immediately saw her - and the dynamics of the description only testifies that Sonya becomes a patronage and assistant, comforter and the intercessors of all the Ostrog, who accepted it in such as every external manifestation.

The second part of even the lexical nuances of the author's speech indicates that something completely special is happening. This part begins with an amazing phrase: "And when it was ..." Greetings of the convicts quite correspond to the "phenomenon": "Everyone was filmed with the caps, all bowed ...". They call it "Mother", "Mother", love when she smiles them - the blessing. Well, - the end crowned the case - the illegal image of Our Lady turns out to be miraculous: "I even went to be treated."

Thus, Sonya does not need any intermediate links, it directly carries its moral and social goals. Sonya, Eternal Sonchka marks not only the suffering beginning of the sacrifice, but also the active start of practical love - to the dying, to loved ones to itself. Sonya sacrifices not for the sake of sweetness of the victim, not for the goodness of suffering, not even for the illuminated bliss of his soul, but in order to get rid of the role of the victim of relatives, close, insulted, disadvantaged and oppressed. The main sacrifice of the Sony is the beginning of disinterested dedication, social solidarity, human mutual assistance, human-loving activity.

However, the Sonya itself is not an affordable spirit, and a person, a woman, and between her and Raskolnikov, there are special relations of mutual sympathy and mutual rapprochement that give a special personal color of her to Raskolnikov and her difficult struggle for the soul of Skolnikov.

2.2 Image of Duni Raskolnikova

Another major character in the novel is the Dunya Raskolnikov. Recall the words of Svidrigailova about the Dunya: "You know, I was always sorry, from the very beginning that fate did not give to your sister in the second or third century of our era, somewhere the daughter of the dominal prince or there is some ruler, or in short Asia. She, no doubt, would be one of those who have undergone martyrdom, and of course, I smiled, when it would be burned to the breasts with hot tongs. She would go to it on purpose itself, and in the fourth and fifth centuries would go to Egyptian desert would live there thirty years, feeding the roots, delights and visions. She herself only thirsty, and demands that for someone some kind of flour to accept, and do not give her flour, so she, perhaps, And the window will pop up "(6; 365).

Meriazhkovsky morally identifies Sonya and with the Duna: "In a clean and holy girl, in the Dunya, the possibility of evil and crime, she is ready to sell herself as Sonya ... There is the same main motive of the novel, the eternal riddle of life, the mixing of good and evil."

Dunya, like Sonya, internally stands out of money, outside the laws of the torping of its world. As herself, according to his will, she went to the panel, so herself, by his solid and disadvantaged will, she did not put on her hands.

For her brother, she was ready for her mother to take any flour, but she could not for Svidrigaylov and did not want to go too far. She loved him so much so that sake him to break with his family, step over the laws, civil and church, to escape with him to save him, from Russia.

Dunya became interested in Svidrigaylov, she even became sorry for him, she wanted to form and resurrect him and call for more noble goals. She demanded "with sparkling eyes" so that he leaves the parsha, the next and subanence victim of his sensuality. "Developed, mysterious conversations began, - Svidrigaylov, - moraling, teaching, causing, silence, even tears, - believe that even tears! That's how power comes from other girls a passion for propaganda! I, of course, everyone dumped to my fate, I was attacked by the sharpening and thirsty light and, finally, let the greatest and unshakable remedy for the conquest of a female heart, a tool that never deceives anyone and which acts decisively at all to one, without any Exceptions. "

It was the impatiently unrestrained passion of Svidrigaylov, in which the Dunya accurately chuckled her willingness to step over other unshakable norms, scared her. "Avdota Romanovna Chasudena is terrible," Svidrigailov explains, "unheardly and unprecedented ... Maybe to illness, despite all his wide mind ...".

Dunya could not accept Svidrigayl's proposals, Svidrigaylov's wife intervened, gossip began, Luzhin appeared, found by the same Mapho Petrovna. Dunya went to St. Petersburg, and behind her and Swidrigailov. In St. Petersburg, Svidrigaylov found out the Mystery of Raskolnikov, and in the inflamed of his brain there was a thought about blackmail: to break the pride of the Duni threatened brother, to incline her to the promise to save him.

Svidrigaylov circles around the Duni, driven by dual motifs, he bowed before her moral greatness, he reverends before her, as a cleansing and saving ideal, and he will appear like a dirty animal. "NB, - We read in the draft records, - he came between others: how he could be letting it, speaking with the Raskolnikov, to respond about DUNECH, with a real enthusiastic flame, comparing her with the Great Martyr of the first centuries and advising her brother to take care of her in St. Petersburg "And at the same time, I probably knew that at no further as an hour later he was going to rape the dangle, to hurt all the divine purity of his feet and ignite the solvents from the same divine-indignant look of the Great Martyr. What a strange, almost incredible split. And however, so he was capable of this. "

Dunya knows that Svidrigaylov is not just a villain, and at the same time understands that you can expect everything from him. The name of Brother Svidrigaylov lures her into an empty apartment, in its rooms, of which no one will hear anything: "Although I know that you are a person ... without honor, but I'm not afraid of you. Go ahead, "she said, apparently calmly, but her face was very pale."

Svidrigaylov Psychologically Stuns Dunya: Rodion Killer! She suffered for her brother, she was already prepared by all the behavior of his beloved birthday to something monstrous, but still could not believe: "... to be ... this is a lie! False!".

Svidrigaylov, who owns himself, how in other cases owns a maniac going through the interference and obstacles to his fixed goal, calmly and convincingly explains the Done of the motivating causes and philosophy of the double murder committed by Raskolnikov.

Dunya shocked, she is in seven, she wants to leave, but she is captive, Svidrigaylov stops her: Rodion can be saved. And calls the price: "... The fate of your brother and your mother in your hands. I will be your slave ... all my life ... ".

Both in half-demobrane, but also in a half-dead state, both understand the word "salvation" in different ways. Svidrigaylov speaks about the passport, about money, about escape, about the prosperous, "Luzhinskaya", life in America. In the minds of the Duni, the question of the mechanical salvation of his brother and his inner state, about his conscience, on the redemption of the crime.

The prospect of mechanical salvation of the brother cannot paralyze her will, its pride. "Donosi, if you want! Don `t move! Do not go! I will shoot! .. ". At the first movement, Svidrigaylova she shot. The bullet slid on the hair of Svidrigailov and hit the wall. In the rapist, in the beast slipped human features: unrestressing bravery, a kind of male nobility, who made him give the Dun once again and once again the chance to kill him. He tells her to shoot again, after drying it instructs it, as it should be carefully charged the revolver. And there was an unexpected, unexpected movement in the souls of both: Dunya surrendered, and Svidrigaylov did not accept the victims.

He stood before her two steps, waited and looked at her with wild determination, an inflammatory, severe, severe glance. Dunya realized that he would soon die, than he would let her go. "And ... and of course she will kill him now, two steps! ..".

Suddenly she dropped the revolver.

"- threw! - Svidrigaylov said in surprise and deeply translated the Spirit. Something as soon as he moved from his heart, and maybe not one burden of mortal fear; Yes, it is unlikely that he felt it at that moment. It was getting rid of the other, more sorrowful and gloomy feeling, whom he could not determine in all.

He walked over to the Dunya and quietly embraced her with his hand for the waist. She did not resist, but, all trembling like a leaf, looked at him pleading eyes. He wanted to say something, but only his lips were shrieled, and he could not speak.

Let me go! - Begging said Dunya.

Svidrigaylov shuddered ...

So you do not like? He asked quietly.

Dunya negatively led his head.

And ... can't you? .. Never? - He whispered with despair.

Never! - whispered Dunya.

There was a moment of terrible, dumb struggle in the soul of Svidrigaylov. He looked at her with an inexpressible look. Suddenly he took his hand, turned away, quickly moved to the window and became before him.

There was another moment.

Here is the key! .. Take; Leave soon! .. "

The writer of the School SCI or Duma scene would not have come out beyond the limits of melodrama, and the "virtuous" completion would look bewildered. Dostoevsky filled with an amazing and psychological and moral content. In the Duna, in this possible Great Martyr, somewhere, female gravity for Svidrigaylov was drawn up - and not so, it was just the third time to shoot, knowing already, he probably would kill him. Hidden, subconscious impulses read by Dostoevsky in their heroin do not humiliate her, they give her appearance organic reliability. And here is a new turn: In Svidrigaylov, a man won the beast. Do not trust himself, hurried her, Svidrigaylov let go of the Dunya. The beast has already achieved his own, the Danny found himself in his full power, but a person came to his senses and gave freedom to his victim. It turned out that under the shaggy animal skiing Svidrigaylov fought a grassy heart, having sacred love. In the draft records, Dostoevsky recorded a phrase in order to attach it to "somewhere": "In the same way, as every person on the ray of the Sun responds." "Cattle" - throws the Dunya with the overtaking of her Svidrigaylov. "Cattle? - Repeats Svidrigaylov. - You love you, you know, you can re-create me in a person. " "But, perhaps, and the grinding would somehow ... uh! to hell! Again these thoughts, all this must be thrown, throw! .. ". Despite the striking contrast of feelings and lusts, despite the dirty thoughts and intentions, a hurry man won in Svidrigaylov.

And then the tragedy of Svidrigaylova is finally determined. The man won, but the man was empty, lost all the human. All human was alien to him. This man had nothing to offer the Dun, he himself had nothing left and there was no need to live. The ray of the sun flashed and went out, night came - and death.

In wakefulness and forgetting, in minutes of enlightenment and among nightmares and delights of the suicide night before Svidrigaylov began to appear the image of Dunechka as a symbol of unfulfilled hopes, like a lost star.

Sony's sacrifice highlighted the sacrifice of Mother and Sister Raskolnikov with the new world, switting its meaning from the bed of narrow family relationships in the universal fate of the entire human race: in this unrighteous world, such as it is, it is possible to save one, but only at the expense of the body and souls of others; Yes, Raskolnikov can go into people, but for this mother should destroy his eyesight and sacrifice his daughter, his sister, which will have to repeat, in some variation, the life path of the Sonchiki.

This law causes contempt and indignation, pity and fierce, compassion and thirst for revenge from Skolnikov, but he also has the other side that the theory of Skolnikov did not take into account, did not foresee and was not able to understand. Mother is voluntarily ready to give daughter on a mischief, the sister is voluntarily ready to go on Calvary in the name of love for him, invaluable and not comparable to anyone. And here again, the Sonechka Marmaladov translates the whole problem from the boundaries of family love, from the field of privacy, in the sphere of universal.

2.3 Minor Women's Images

In addition to the image of Sony and the Duni in the novel there are other female images. Among them and the old woman, and her sister of Lizaveta, and the stepmother Sonya Katerina Ivanovna. Let us dwell on the analysis of the last image.

In terms of direct meaning, Replica comes out that Sonya joined a shameful way to coercion, under the pressure of the stepmother. Meanwhile, this is not the case. Seventeen-year-old Sonya does not shift responsibility on other people's shoulders, she herself decided, he chose the road herself, he herself went to the panel, without feeling no offense nor the evil to Katerina Ivanovna. It is not worse than the contemplator of Marmaladov, she understands: "But do not blame, do not blame, the gracious sovereign, do not blame! This was not said in a sense reason, but with agitated feelings, in the disease and with the crying of children not evidence, and it was said more than for insulting than in the exact sense ... for Katerina Ivanovna is of such a character, and how children will pay, at least And with hunger, immediately begins to beat them. " As from the helpless pity, Katerina Ivanovna beat hungry children, so she and Sonya sent to the street: from a hopeless position, not knowing what to do, the most offensive and the most impossible, the most controversing of the justice, in which she is so in vain, beloved. And Sonya went, not obedient to someone else's will, but from unsatible pity. Sonya did not blame Katerina Ivanovna and even calmed and comforted her.

Katerina Ivanovna Marmaladov also, like Raskolnikov, "crossed" Sonya, demanding "go to the panel" from it.

Here, let's say, the scene of the "rebellion" of Katerina Ivanovna Marmaladova, brought to the extreme to the unpleasses that fell on it. "Yes, where I'll go! - shine, sobbing and choking, poor woman. - Lord! - Suddenly she screamed, shutting up with her eyes, - is it really there is no justice! .. But we will see! There is a court in the world and the truth is, I will, I will ... See, is it true in the world? "...

Katerina Ivanovna ... with a scream and with tears ran into the street - with an uncertain purpose somewhere now, immediately and by all means finding justice. "

For after all, it is about her, personal and at the same time about the worldwide, universal justice.

This is this immediate, "practical" closure of personal and universal in the behavior of the heroes of the novel (it was in behavior, and not only in consciousness) is extremely significant.

Of course, Katerina Ivanovna will not find "justice." The very purpose of its passionate movement "Uncertainty". But this direct and practical correlation with the whole world, this real, embodied in the act (albeit that does not reach the goal) conversation to universal still represents "permission". If this were not, the "line" of Katerina Ivanovna - this westned to the limit of a woman who feels the incessant hail of disasters and humiliations, "would be only a gloomy, hopeless image of the horror of life, a naturalistic picture of suffering.

But this scored, brought to despair, a woman constantly measures his life with a whole world. And, living in correlation with the whole world, the heroine feels and really is equivalent to every person and all mankind.

This can not be convincingly prove with syllogism; But this is proven in the novel, because Katerina Ivanovna is created, it is exactly the same in it - it lives in subject and psychological details, in the complex movement of artistic speech, in the tense rhythm of the narration. And all this applies, of course, at all, but only to the image of Katerina Ivanovna, but also to other basic images of the novel.

It is here that the essence of the case is rooted. You can argue as much as you like on the topic that each person is inseparably associated with all humanity, that there is mutual responsibility between them. But in the artistic world of Dostoevsky, all this acts as an irrefuting reality. The one who is able to fully perceive the novel, the whole being is realized that all this is and there is something else and can not.

And it is in this that the basis of the solutions of tragic contradictions, which gives the art of Dostoevsky.

Conclusion

Women in male literature are always abstract, romanticized - they often avoid talking about them. In the end, it turns out that women's images are only a formal carrier of some not female qualities or ideas, and female psychology is reduced at most leisure banalities. Of course, a man is characteristic of a romantic attitude towards a woman, admiration for her beauty, amazeing her impulses, lunating her tears. However, the secrets of the female soul, the notorious female logic - always remained above the male understanding, causing either the arrogant contempt for female imperfection - either frank confusion in front of the aliens of other worlds.

Women's images in the novel of Dostoevsky "Crime and Punishment" are very diverse. This is the mother (Pulcheria Aleksandrovna), and sister (Dunya), and Sonya Marmaladov, and Elizabeth. There is still, of course, Alena Ivanovna. But we do not consider her candidacy here. First, it dies almost at the very beginning, and secondly, it is a bunch of evil, and not female qualities.

The easiest and easiest image is Elizabeth. A little stupid, simply, does not relate at all with his sister. In principle, the remorse of the conscience from Skolnikov can only be about Elizabeth. He killed her by chance.

Pulcheria Aleksandrovna and Dunya is a loving mother, a caring sister, suffering, but a smart wife. By the way, the same image turns on and. Sonya Marmaladova is the most ambiguous character. It is very difficult to figure it out.

From some side Sonya is an ideal wife. She does not send unnecessary. She understands what she wants, although it does not know how to achieve it. And much more. About Son still to say the word to the current writer. And we hope that this word will be stronger than all previous classics of the past

And it seems to us that the Union of Marmalade Sony and Rodion's Skolnikov will be durable and durable. And they will live long and happily, and they will die in one day.

Thus, in the novel Crime and Punishment The author assigns one of the main places in the image of the Sonya marmalade, which embodies both world grief and the divine, unshakable faith due to good. Dostoevsky on behalf eternal Sonechiki Preaching the ideas of good and compassion that constitute the unshakable foundations of human existence.

female image Dostoevsky

Literature:

1.Dostoevsky F.M. Complete Writing Assembly: In 30 T. - L.: Science. Leningr. Deposit, 1973. - T. 6. - 407 p.

2.Annensky I.F. Dostoevsky // Annensky I.F. Selected Works / Sost., Entry. Art., comments. A. Fedorova. - L.: Art. Lit., 1988. - P. 634 - 641.

.Barst K.A. "Calligraphy" F.M. Dostoevsky // New aspects in the study of Dostoevsky: Sat. scientific papers. - Petrozavodsk: Pozd-in Petrozavodskiy UN-TA, 1994. - P. 101 - 129.

.Bakhtin M.M. Dostoevsky poetics problems. - 4th ed. - M.: OV. Russia, 1979. - 320 p.

.Volynsky A.L. Dostoevsky. - St. Petersburg., 1906. - 501 p.

.Grossman L.P. Dostoevsky - artist // Creativity F.M. Dostoevsky: Sat. Art. / Ed. N.L. Stepanova. - M.: Publishing House of the Academy of Sciences of the USSR, 1959. - P. 330 - 416.

.Dostoevsky. Context of creativity and time. - SPb.: Silver Century, 2005. - 523 p.

.Duddykin V.V. Dostoevsky and Gospel from John // Evangelsk text in Russian literature XVIII - XX centuries: quote, reminiscence, motive, plot, genre: Sat. Scientific Labor / T. ed. V.N. Zakharov. - Petrozavodsk: Publishing House of Petrozavodskiy UN-TA, 1998. - Vol. 2. - p. 337 - 348. - (problems of historical poetics; Issue 5).

9.Evnin F.I. Roman "Crime and Punishment" // Creativity F.M. Dostoevsky. - M.: Publishing House of the Academy of Sciences of the USSR, 1959. - P. 129 - 165.

.Erofeev V.V. Vera and Humanism Dostoevsky // Erofeev V.V. In the labyrinth of the damned questions. - M.: OV. Writer, 1990. - P. 11 - 37.

.Esaulov I.A. Easter archetype in Dostoevsky poetics // Evangelsk text in Russian literature XVIII - XX centuries: quote, reminiscence, motive, plot, genre: Sat. Scientific Labor / T. ed. V.N. Zakharov. - Petrozavodsk: Publishing House of Petrozavodskiy UN-TA, 1998. - Vol. 2. - P. 349 - 363. - (Problems of historical poetics; Vol. 5).

.Zakharov V.N. About the Christian meaning of the basic idea of \u200b\u200bDostoevsky's creativity // Dostoevsky at the end of the twentieth century: Sat. Art. / Sost K.A. Stepanyan. - M.: Classic Plus, 1996. - P. 137 - 147.

.Zoznikov A.A. Dostoevsky and Orthodoxy: preliminary notes // Evangelsk text in Russian literature XVIII - XX centuries: quote, reminiscence, motive, plot, genre: Sat. Scientific Labor / T. ed. V.N. Zakharov. - Petrozavodsk: Pozd-in Petrozavodsky University, 1994. - P. 179 - 191. - (Problems of historical poetics; Issue 3).

.Zundelovich Ya.O. Dostoevsky's novels. Articles. - Tashkent, 1963. - 328 p.

.Kasatkina TA On one property of the epilogues of the five Great Dostoevsky novels // Dostoevsky at the end of the twentieth century: Sat. Art. / Sost K.A. Stepanyan. - M.: Classic Plus, 1996. - P. 67 - 128.

.Kirillova I. Marks Dostoevsky on the text of the Gospel of John // Dostoevsky at the end of the twentieth century: Sat. Art. / Sost K.A. Stepanyan. - M.: Classic Plus, 1996. - P. 48 - 60.

.Kirpotin V.Ya. Alternative to Dostoevsky // Kirpotin V.Ya. The world of Dostoevsky: Sat. Art. - 2nd ed., Add. - M.: OV. Writer, 1983. - P. 383 - 410.

.Kirpotin V.Ya. Creation of the genre of the novel - tragedy // Kirpotin V.Ya. Dostoevsky - artist. - M.: OV. Writer, 1972. - P. 108 - 120.

.Nazirov R.G. Creative principles F.M. Dostoevsky. - Saratov: Publishing House Saratovsk. University, 1982. - 160 s.

.Osmolovsky ON Dostoevsky and Russian psychological novel. - Chisinau: Stlinz, 1981. - 166 p.

.Osmolovsky ON Psychological art F.M. Dostoevsky // Problems of the method and genre. - Tomsk: Publishing time. un-ta. - 1976. - Vol. 3. - P. 73 - 80.

.Salvestroni S. Biblical and patristic sources of Dostoevsky's novels / lane. with ital. - St. Petersburg: Academic Project, 2001. - 187 p.

.Seleznev Yu.I. Dostoevsky. - 3rd ed. - M.: Mall. Guard, 1990. - 541 p. - (Life is noticed. People. Serbir. Vol. 621).

.Skafodov A.P. Moral search for Russian writers: articles and research on Russian classics / Compilation of E. Pokusayev. - M.: Art. Lit-Ra, 1972. - 541 p.

.Toporov V.N. Poetics of Dostoevsky and archaic schemes of mythological thinking ("Crime and Punishment") // Problems of poetics and literature history: Sat. Art. - Saransk, 1973. - P. 91 - 109.

.Chirkov N.M. About Dostoevsky style. - M.: Science, 1964. - 157 p.

.G.K. piano Dostoevsky and Russian realism. - Sverdlovsk: Publishing House of Urals. University, 1987. - 352 p.

.G.K. piano Artistic thinking F.M. Dostoevsky. - Sverdlovsk: Mid-Ural Book Publishing House, 1978. - 176 p.

.G.K. piano The integrity of Dostoevsky. - Ekaterinburg: Publishing House of Urals University, 2001. - 439 p.

Tutoring

Need help to study what language themes?

Our specialists will advise or have tutoring services for the subject of interest.
Send a request With the topic right now, to learn about the possibility of receiving consultation.

The role of female images in the literature has always been very large. They help many authors to reveal important features of the nature of the main character, their grace and beauty can cause admiration for the reader. It is enough to remember Tatyana Larina from the novel "Eugene Onegin" A. S. Pushkin. This woman is close to Russian culture and nature. The image of Katerina from the drama "Thunderstorm" Ostrovsky also deserves attention. Katerina is compared with the beam of light, which shines in the dark kingdom.

In this article, we will look at the main women's images in the novel "Crime and Punishment" and their role in the work. This is Sonya Marmeladov, Pulcheria Alexandrovna, Dunya, Alena Ivanovna and Lizaveta Ivanovna.

Sonia Marmaladova

Of course, Sonya stands out among all the above Heroin. Therefore, it is from it that should be started, characterizing women's images in the novel "Crime and Punishment". Short content of the work you hope, remember. From the novel we can conclude that this girl has a great spiritual force that helps her carry good people. Fyodor Mikhailovich calls Sonya Bludnitsa. However, the girl became so not at all in his will. She wanted to help her family. In fact, Sonya sacrifice for the sake of others. She is trying to reconcile with an insignificant, miserable position in which this heroine was. It is surprising that Sona succeeds, in spite of everything, to preserve the impurity and purity of his own soul. Of course, this suggests that we have a strong personality.

Unforgettable, humility, self-sacrifice - these are the main features characteristic of this heroine. The girl lives according to the canons and customs of Christianity, which is trying to instance later and Rodion, who lost its inner rod. It should be noted that it is the influence of this girl who helps Solution to know how to find a way in life, find faith in the future. Sonya is experiencing a strong sense of love for this hero, so she did not leave him when the Raskolnikov was in captivity of his alarms and experiences.

Dostoevsky in the image of Sony created Antipod Rodionov Raskolnikov and its theory. The life position of this heroine reflects the looks of the writer, his faith in justice, good, humility, all-things, but above all in the fact that anyone is worthy of love, no matter how it is.

Dunya

The mother of Rodion and his sister - female images in the novel "Crime and Punishment" of Dostoevsky, who also play a very important role in the fate of Skolnikov, the main character. Dunya agrees to even marry an unloved person to help the chief hero climb from poverty. Dunya, like Sonya, sells himself, so as not to allow his brother and mother to keep a beggar existence. However, unlike Sony Marmalade, she has the opportunity to choose the buyer.

Pulcheria Aleksandrovna

FM Dostoevsky created immortal female images. In the novel "Crime and Punishment", the summary of which was formed the basis for many films and performances, a number of interesting characters are presented. One of them is the Pulcheria Aleksandrovna. This woman is still young in modern standards - she is 43 years old. However, Pulcheria Aleksandrovna had to go through a lot, as well as other heroes of the novel of Dostoevsky, humiliated and offended. She tells Rodion: "You are our all, all hope, hopeful." In a letter to Raskolnikov, this woman expresses all her care and love. Pulcheria Aleksandrovna - a loving mother who supports his son and believes in him, no matter what.

Lizaveta Ivanovna

Women's images in the novel "Crime and Punishment" bear a very large semantic load. Interesting in this respect and such a heroine as Lizaveta Ivanovna. The sister of the old-day stakeholders, in essence, is the personification of humiliated and offended. She was distinguished by kindness, meekness, modesty. This woman did not cause anyone pain or evil. However, Rodion kills her to get rid of a witness. Thus, the heroine becomes a victim of circumstances. This moment turns out to be a turning point for Skolnikov. His theory gradually begins to collapse.

Alena Ivanovna

Considering women's images in the novel "Crime and Punishment", you should also say a few words about Alena Ivanovna. The old-year-old age from the very beginning causes us a disgust. The author describes it as a dry, tiny old woman, about 60 years old, with evil and east eyes, prolonged, with a small east nose. She was small, whitewashed hair oily greased oil. Long and thin neck of Alena Ivanovna compared with chicken leg. This woman personifies public evil. Raskolnikov, killing her, seeks to save humanity from grief and suffering. But it turns out that deprivation of life even the very bad person will not open the road to the best future. Happiness can not be built on the spilled blood.

Finally

Female images in the novel "Crime and Punishment", of course, managed to author. Each heroine of the work is individual, unique, has its own characteristics of thinking and consciousness. There are decades, and the truth of a female character, which Dostoevsky captured, continues to exist. She excites the minds of all new and new generations of readers, invites us or agree with the writer, or to join the controversy. Female images in the novel "Crime and Punishment" and to this day no one leave indifferent.

In the novel of Fedor Mikhailovich Dostoevsky "Crime and Punishment" The main characters are characteristics of complex and contradictory. Their fate is closely related to the living conditions, the medium in which life flows, individual features. The characteristic of the heroes of "Crime and Punishment" of Dostoevsky is possible only on the basis of their actions, since we do not hear the author's voice.

Rodion Raskolnikov - the protagonist of the novel

Rodion Raskolnikov - Central character of the work. A young man has an attractive appearance. "By the way, he was wonderful good, with beautiful dark eyes, a Tymnurus, height above average, thin and stored." The outstanding mind, proud character, sore pride and the beggar existence are the causes of the criminal behavior of the hero. Rodion highly appreciates his abilities, considers himself an exclusive person, dreams of a great future, but the financial situation acts in oppressing. He has nothing to pay for his studies at the university, there is not enough funds to pay off the apartment hostess. Clothing of a young man attracts the attention of passersby to their streamlined and old species. Trying to cope with the circumstances, Rodion Raskolnikov goes to the murder of the old woman of the member. Thus, he is trying to prove to himself, which refers to the highest category of people and can cross through blood. "Whether I am trembling or right," he thinks. But one crime is entitled to another. He dies in anything is not a mounted wretched woman. The theory of the hero on the right of a strong personality turns into a dead end. Only Love Sony awakens faith in God in God, revives life. The personality of Skolnikova consists of opposite qualities. An indifferent cruel killer gives the last pennies to the funeral of an unfamiliar person, interferes with the fate of the young girl, trying to save her from dishonor.

Minor characters

Images of heroes playing a major role in the narration are fully and brighter as a result of the description of their relationships with other people. Family members, friends, acquaintances, episodic persons arising in the plot help better understand the idea of \u200b\u200bthe work, understand the motives of the actions.

In order for the appearance of the novel's acting persons to become clearer to the reader, the writer uses various techniques. We get acquainted with a detailed description of the heroes, inject the details of the daisy interior of the apartments, we consider the dull gray streets of St. Petersburg.

Sophia Marmaladova

Sophia Semenovna Marmaladova - Young unfortunate creature. "Sonya was a little growth, years of eighteen, slender, but a pretty pretty blonde, with wonderful blue eyes."

She is young, naive and very good. Drunk father, sore stepmother, hungry step-old sisters and brother is the environment in which heroine lives. She is shy and timid, unable to stand up for himself. But this is a fragile creation for the sake of loved ones is ready to sacrifice themselves. She sells the body by studying prostitution to help the family, sent after the convicted Raskolnikov. Sonya is a kind, disinterested and deeply believer. This gives her strength to cope with all the trials and gain deserved happiness.

Semen Marmeladov

Marmalades Semen Zakharovich - no less significant character character. He is a former official, a large father of the family. A weak and haired person solves all its problems with alcohol. A man who was fired from the service, carries his wife and children to his famine. They live in the passing room, in which there is almost no setting. The kids do not go to school, do not have interchangeable linen. Marmaladov is able to drink the last money, pick up a penny from his older daughter, in order to get drunk and get away from problems. Despite this, the image of the hero causes pity and compassion, since circumstances were stronger than him. He himself suffers from his vice, but can not cope with him.

Avdota Skolnikova

Avdota Romanovna Skolnikova - Sister of the main character. A girl from the poor, but honest and decent family. The Dunny is smart, well educated, brought up. She is "wonderful good" than, to his misfortune, attracts the attention of men. The features of the character "she looked like a brother." Avdota Skolnikova - Natura Proud and independent, decisive and purposeful, was ready to marry an unloved man for the sake of the well-being of his brother. The feeling of self-esteem and stubborn work will make it to arrange your destiny and avoid irreparable mistakes.

Dmitry Vizvumichin

Dmitry Prokofievich Vosvumichin - The only friend of Rodion Raskolnikova is a poor student, unlike his comrade, does not quit student. He earns a living by all available means and does not cease to hope for good luck. Poverty does not prevent him from building plans. Rasshyin noble man. He disinterestedly trying to help a friend, cares about his family. Love for Avdier Romanovna Raskolnikova is painting a young man, makes stronger and more decisive.

Peter Lugin

Petr Petrovich Lugin - a venerable, dear person of a middle-aged pleasant exterior. He is a successful entrepreneur, the happy genius of Duni Raskolnikova, rich and confident Mr. In fact, under the mask of integrity is hidden low and pilant nature. Taking advantage of the plight of the girl, he makes her an offer. In his actions, Peter Petrovich is guided by no disinterested motifs, but its own profit. He dreams of his wife, who would be slavish submissive and grateful to the end of his days. For their own interests, he is pretended in love, trying to slander Skolnikov, be accused of stealing Sonya Marmaladov.

Arkady Svidrigailov

Svidrigaylov Arkady Ivanovich - One of the most mysterious persons in the novel. The owner of the house, where Avdota Romanovna Skolnikova worked. He is a cunning and dangerous for others. Svidrigaylov - vicious man. Being married, trying to seduce the Dunya. He is accused of killing his wife, seducing young children. Scary Nature Svidrigailov is capable of, oddly enough, and for noble deeds. It helps to justify Sona Marmaladova, arranges the fate of orphaned children. Rodion Raskolnikov, committing a crime, becomes like this hero, as the moral law crosses. It is no coincidence in conversation with Rodion he says: "We are one field of berries."

Pulcheria Skolnikova

Skolnikova Pulcheria Alexandrovna - Mother Rodion and Duni. Woman poor, but honest. Good and responsive man. Loving mother ready for their children for any victims and deprivation.

Some of their heroes F. M. Dostoevsky pays quite a bit attention. But they are needed during the narration. So, the investigation process is impossible to imagine without a smart, cunning, but the noble investigator Petrophrys Petrovich. He treats and understands the psychological state of Rodion during the illness, the young doctor of Zosimov. An important witness to the weakness of the main character in the police station is the Assistant of the Quarter Outlook Ilya Petrovich. Returns the good name of Sona and exposes the false groom's lick of Luzane Lebesyatnikov Andrei Semenovich. At first glance, the events associated with the names of these heroes play an important role in the development of the plot.

The value of episodic persons in the work

On the pages of the Great Work of Fedor Mikhailovich Dostoevsky we meet with other actors. The list of heroes of the novel complements episodic characters. Katerina Ivanovna, Marmaladov's wife, unfortunate orphans, girl on the boulevard, greedy old-percentage officer Alyona Ivanovna, Sick Lizovet. Their appearance is no coincidence. Each, even the most minor image, carries its semantic load and serves as an embodiment of the author's plan. Important and necessary are all the heroes of the novel "Crime and Punishment", the list of which can be continued.

Test on the work

.) In the draft records "Crime and Punishment" (see. Summary and full text of the novel) This hero is referred to as-ohm, according to the name of one of the Katorzhan Omsk Oslo Aristov, who is characterized as the "Moral Drops" ... decisive debauchery and ... arrogant lowness. " "It was an example, which could walk one bodily side of a person, not restrained internally no norm, no legality ... It was a monster, moral quasimodo. Add to the fact that he was a chiter and smart, beautiful, somewhat even formed, had the ability. No, it's better to fire, better by sea and hunger than such a person in society! " Svidrigaylov and was assumed to the embodiment of such a complete moral deformity. However, the most important image and attitude towards him of the author turned out to be incomparably more complex: along with the chairs, dirty depravity and cruelty, who brought his sacrifice to suicide, it turns out to be unexpectedly capable of good deeds, in humanity and generosity. Svidrigaylov - a man of a huge inner force, who lost the feeling of boundaries between good and evil.

Crime and Punishment. Figyth Film 1969 1 series

The image of Lebesyatnikov in "Crime and Punishment"

All other images of the novel did not undergo large recycling. The dealers and careerist of the Luzhin, who considers any means acceptable to achieve their mercenary purposes, the winner of Lebesian, belonging to the number of those people who, according to Dostoevsky, "stick to the most fashionable walking idea to shift, put out everything that they most sincerely serve "," They were conceived by the same as we see them in the final edition of the novel. By the way, emphasizing the typicity of the image of Lebesyatnikov, Dostoevsky also creates the term "Lebesianity". According to some reports, in the nature of Lebesyatnikov, some personal features of the famous Russian critic V. Belinsky were reflected, who at first welcomed the writings of the young Dostoevsky, and then criticized them from the topor-primitive "materialistic" positions. (See Description Lebesyatnikov, Lebesyatnikov's theory - quotes from "Crime and Punishment".)

The image of the defect in "Crime and Punishment"

The image of the defect in the process of work on the "crime and punishment" also remained unchanged according to his ideological content, although at the initial notes, he had to take a much greater place in the novel. Dostoevsky saw a positive hero in him. Rasschin expresses powers Views inherent in Dostoevsky himself. He opposes the revolutionary Western trends, defends the meaning of the "soil", the Slavophilicities understood by the folk basis - patriarchalness, religious and moral obstacles, patience. Raulmichina's reasoning Petrophry PetrovichHis objections to the supporters of the "Theory of Wednesday", which the actions of a person explain the social conditions of life, objections fourieristam and materialists seeking to allegedly level human nature, eliminate freedom of will, the statements of the defects, which socialism - Western idea, Russia is alien to, - all this is directly echoes with journalistic and polemical articles of Dostoevsky.

Raulumihin is in a number of questions a spokesman for the position of the author and therefore especially the roads.

Crime and Punishment. Feature film 1969 2 series

The image of Sony Marmalade in "Crime and Punishment"

But already in the next notebook, Sonya Marmaladov appears in front of the reader, as in the final text of the novel, - the embodiment of the Christian idea: "NB. She considers himself a constantly deep sinner, who has fallen by the Razraine, who is not to sue the salvation "(first Zn., P. 105). The image of Sony is the apotheosis of suffering, an example of the highest mobility, complete oblivion of his own personality. Life for Sony is unthinkable without faith in God and the immortality of the soul: "That I was without God," she says. This thought in draft sketches to the novel expressed very vividly and marmalands. In response to the remark of Raskolnikova that God may be, and no, marmalands says: "That is, there will be no God, it will not be ... then ... then it is impossible to live ... too animal ... Then in the Neva and I would immediately rushed. But, the gracious sovereign, it will be promised for living, that, what then will remain for us ... Whoever has lives, at least in (...) on the throat, but if only he and in really livingit suffers, and it became, he needs Christ, and it became Christ. Lord, what did you say? Not believe in Christ only those that the needs in it do not have, which live little and whose soul is like a nonorganic stone "(the second notebook, p. 13). These words of Marmaladov did not find the place in the final edition, obviously, because after the unification of two ideas - the novel "Drunk" and the story of the Raskolnikov - the image of Marmaladov moved to the background.

At the same time, the heavy life of the town of the city, depicted Dostoevsky with such brightness and relief, cannot but cause protests manifested in one form or another. So, Katerina Ivanovna, dying, refuses to confession: "There is no sins on me! .. God must forgive ... He knows how I suffered! .. And not forgive, it's not necessary! .."

During the printing of "Crime and Punishment" in the "Russian Herald" between the writer and the editors of this magazine there were discrepancies. The editorial office demanded the withdrawal of the head of the novel, in which Sonya reads the Raskolnik of the Gospel (4 Chapter 4 of Parts on a separate publication), with which Dostoevsky did not agree.

In July 1866, Dostoevsky reported A. P. Milyukov about his disagreements with the editors of the Russian Bulletin: "I explained with them with both [Lyubimov and Katkov] - you stand on my! About the chapter I do not know how to say anything; I wrote it in the inspiration of the present, but maybe she is and bad; But they do not have a literary dignity, but in concerning moral.In this I was right - there was nothing against morality and even overly oppositebut they see another, and, moreover, see traces nihilism.Loves announced decisivelywhat we need to remake. I took, and this alteration of a big chapter cost me at least three new heads of work, judging by work and longing, but I crossed and passed. "

After sending the recycled chapter to the editor, Dostoevsky wrote N. A. Lyubimov: "Evil and goodit is extremely divided into the highest degree, and it will not be possible to mix them. Evenly, otherwise you mean amendments, I did everything, and it seems, with a striving ... All that you said, I performed, everything is divided, sidewayed and clear. Reading Gospelanother flavor appealed. "