Svidrigailov soon became convinced that Dunya was fatal and inaccessible to him. girl, - girl unheard of spiritual strength, capable of saving and leading the one she loves. Svidrigailov understood, like Raskolnikov, that Dunya could make any sacrifice, but he appreciated her more deeply, more generally and, perhaps, more truly than his brother:
“You know,” says Svidrigailov, “I was always sorry, from the very beginning, that fate did not allow your sister to be born in the second or third century AD, somewhere as the daughter of a sovereign prince, or some ruler there, or a proconsul in Malaya Asia. She, without a doubt, would have been one of those who suffered martyrdom, and, of course, would have smiled when her chest was burned with red-hot tongs. She would have done this on purpose herself, and in the fourth and fifth centuries she would have gone to the Egyptian desert and lived there for thirty years, feeding on roots, delights and visions. She herself only yearns for this, and demands that she quickly accept some kind of torment for someone, and if you don’t give her this torment, she’ll probably jump out the window.”
She was ready to accept any torment for her brother, for her mother, but for Svidrigailov she could not and did not want to go too far. She did not love him enough to break with her family for his sake, to step over laws, civil and church, to run away with him to save him from Russia.
Dunya became interested in Svidrigailov, she even felt sorry for him, she wanted to bring him to his senses and resurrect him and call him to more noble goals. She demanded “with sparkling eyes” that he leave Parasha alone, the next and forced victim of his sensuality. “Conversations began, mysterious conversations began,” Svidrigailov confesses, “moral teachings, lectures, begging, begging, even tears, - believe it, even tears! That's how strong some girls' passion for propaganda reaches! I, of course, blamed everything on my fate, pretended to be hungry and thirsty for light, and finally set in motion the greatest and most unshakable means for conquering a woman’s heart, a means that will never deceive anyone and which acts decisively on every single one of them, without any exceptions."
“Even a vestal can be seduced by flattery,” notes Svidrigailov, but his irony only outwardly hurts Dunya, irony gives him the opportunity to confess more easily, its evil edge is directed primarily against himself. His irony covers passion, pain, and true love.
Svidrigailov circles around Dunya, driven by dual motives, he bows before her moral greatness, he reveres her as a cleansing and saving ideal, and he lusts like a dirty animal. “N13,” we read in the rough notes, “it occurred to him among other things: how could he, just now, speaking with Raskolnikov, really speak about Dunechka with real enthusiastic flame, comparing her with the great martyr of the first centuries and advising his brother to take care of her in St. Petersburg - and at the same time he knew for certain that in no more than an hour he was going to rape Dunya, trample all this divine purity with his feet and be inflamed with voluptuousness from the same divinely indignant gaze of the great martyr. What a strange, almost incredible dichotomy. And yet, he was capable of this.” Svidrigailov psychologically stuns Dunya: Rodion is a murderer! She suffered for her brother, she was already prepared by all the behavior of her beloved Rodya for something monstrous, but still could not believe: “... it cannot be... This is a lie! Lie!"
Svidrigailov, controlling himself, as in other cases a maniac controls himself, going through obstacles and obstacles to his motionless goal, calmly and convincingly explains to Dunya the motives and philosophy of the double murder committed by Raskolnikov. Dunya is shocked, she is half-fainting, she wants to leave, but she is in captivity, Svidrigailov stops her: Rodion can be saved. And he names the price: “... the fate of your brother and your mother is in your hands. I will be your slave... all my life..."
Both are semi-delirious, but even in a semi-delirious state, both understand the word “salvation” differently. Svidrigailov talks about a passport, about money, about escape, about a prosperous, “Luzhinsky” life in America. In Dunya’s consciousness, the question of the mechanical salvation of his brother, and of his internal state, of his conscience, of atonement for the crime, arises indistinctly.
The prospect of a mechanical rescue of her brother cannot paralyze her will, her pride. “Tell me if you want! Not moving! Don't go! I’ll shoot!..” At Svidrigailov’s first move, she fired. The bullet slid along Svidrigailov's stripes and hit the wall. In the rapist, in the beast, human traits slipped through: non-judgmental courage, a kind of masculine nobility, which forced him to give Duna again and again a chance to kill him. He tells her to shoot again, after the misfire he instructs her how to carefully load the revolver. And an unexpected, unexpected movement occurred in the souls of both: Dunya surrendered, and Svidrigailov did not accept the sacrifice.
He stood in front of the singing, two steps away, waited and looked at her with wild determination, an inflamed, passionate, heavy gaze. Dunya realized that he would rather die than let her go. “II... and, of course, she will kill him now, two steps away!..”
* Suddenly she threw away the revolver. “ - I quit! - Svidrigailov said in surprise and took a deep breath. Something seemed to leave his heart at once, and perhaps more than just the burden of mortal fear; Yes, he hardly even felt it at that moment. It was a deliverance from another, more mournful and gloomy feeling, which he himself could not fully define.
Svidrigailov took the revolver abandoned by Dunya for his last “voyage”. The chapter dedicated to Svidrigailov’s suicide, with his last wanderings along the outskirts of the city, through sewers, with his last refuge in a dirty tavern, with its leitmotif of dampness, rain and water, is one of the most stunning in history. artistic power. “Never in my life have I loved water, even in landscapes,” he thought again and suddenly grinned again at one strange thought: “after all, it seems that now it should be all the same about all this aesthetics and comfort, but here precisely he became picky, like an animal that certainly chooses a place for itself... in a similar case.”
- New!
Raskolnikova Pulcheria Alexandrovna - Raskolnikov's mother. She is tormented by her son's painful condition, hurt and offended by his alienation. And for Raskolnikov himself, the love of his loved ones for him, from whom he was separated by a terrible line after the murder, perhaps...
The image of Petersburg is one of the most important in the novel. First of all, it is the setting against which events unfold. At the same time, the image of the capital city has some philosophical perspective. Razumikhin, discussing the causes of vices...
Rodion Raskolnikov - main character Dostoevsky's novel Crime and Punishment. Raskolnikov is very lonely. He is a poor student living in a small room that looks more like a coffin. Every day Raskolnikov sees " dark side» life, St. Petersburg: outskirts...
F. M. Dostoevsky’s novel “Crime and Punishment” is socio-psychological. In it the author puts important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows psychology...
The image of Dunya Raskolnikova
To others the most important character in the novel is Dunya Raskolnikova. Let us remember Svidrigailov’s words about Duna: “You know, I was always sorry, from the very beginning, that fate did not allow your sister to be born in the second or third century AD, somewhere as the daughter of a sovereign prince or some ruler there, or a proconsul in Malaya Asia. She, without a doubt, would have been one of those who suffered martyrdom, and, of course, would have smiled when her chest was burned with red-hot tongs. She would have done this on purpose herself, and in the fourth and fifth centuries she would have gone to. The Egyptian desert and would live there for thirty years, feeding on roots, delights and visions. She herself only craves for this, and demands to quickly accept some kind of torment for someone, and if you don’t give her this torment, then she, perhaps, will. and jump out the window" (6; 365).
Merezhkovsky morally identifies Sonya with Dunya: “In a pure and holy girl, in Dunya, the possibility of evil and crime opens up - she is ready to sell herself, like Sonya... Here is the same main motive of the novel, the eternal mystery of life, the mixture of good and evil.”
Dunya, like Sonya, internally stands outside of money, outside the laws of the world tormenting her. Just as she, of her own free will, went to the panel, so herself, of her own firm and indestructible will, she did not commit suicide.
She was ready to accept any torment for her brother, for her mother, but for Svidrigailov she could not and did not want to go too far. She did not love him enough to break with her family for his sake, to step over laws, civil and church, to run away with him to save him from Russia.
Dunya became interested in Svidrigailov, she even felt sorry for him, she wanted to bring him to his senses and resurrect him and call him to more noble goals. She demanded “with sparkling eyes” that he leave Parasha alone, the next and forced victim of his sensuality. “Conversations began, mysterious conversations began,” Svidrigailov confesses, “moral teachings, lectures, begging, begging, even tears, - believe it, even tears! That's how strong some girls' passion for propaganda reaches! I, of course, blamed everything on my fate, pretended to be hungry and thirsty for light, and finally set in motion the greatest and most unshakable means for conquering a woman’s heart, a means that will never deceive anyone and which acts decisively on every single one of them, without any exceptions."
It was Svidrigailov’s impatient, unbridled passion, in which Dunya unmistakably sensed a readiness to step over other unshakable standards for her, that frightened her. “Avdotya Romanovna is terribly chaste,” explains Svidrigailov, “unheard of and unprecedented... perhaps until her illness, despite all her broad mind...”
Dunya could not accept Svidrigailov’s proposals, Svidrigailov’s wife intervened, gossip began, Luzhin appeared, found by the same Marfa Petrovna. Dunya left for St. Petersburg, followed by Svidrigailov. In St. Petersburg, Svidrigailov learned Raskolnikov’s secret, and in his fevered brain the thought of blackmail arose: to break Dunya’s pride by threatening to betray her brother, to win her over with a promise to save him.
Svidrigailov circles around Dunya, driven by dual motives, he bows before her moral greatness, he reveres her as a cleansing and saving ideal, and he lusts like a dirty animal. “NB,” we read in the draft notes, “it occurred to him among other things: how could he, just now, speaking with Raskolnikov, really speak about Dunechka with real enthusiastic flame, comparing her with the great martyr of the first centuries and advising his brother to take care of her in St. Petersburg - and at the same time he knew for certain that in no more than an hour he was going to rape Dunya, trample all this divine purity with his feet and be inflamed with voluptuousness from the same divinely indignant gaze of the great martyr. What a strange, almost incredible dichotomy. And yet, he was capable of this.”
Dunya knows that Svidrigailov is not just a villain, and at the same time understands that everything can be expected from him. In the name of her brother, Svidrigailov lures her into an empty apartment, into his rooms, from which no one will hear anything: “Even though I know that you are a man... without honor, I am not at all afraid of you. “Go ahead,” she said, apparently calmly, but her face was very pale.”
Svidrigailov psychologically stuns Dunya: Rodion is a murderer! She suffered for her brother, she was already prepared by all the behavior of her beloved Rodya for something monstrous, but still could not believe: “... it cannot be... This is a lie! Lie!".
Svidrigailov, controlling himself, as in other cases a maniac controls himself, going through obstacles and obstacles to his motionless goal, calmly and convincingly explains to Dunya the motives and philosophy of the double murder committed by Raskolnikov.
Dunya is shocked, she is half-fainting, she wants to leave, but she is in captivity, Svidrigailov stops her: Rodion can be saved. And he names the price: “... the fate of your brother and your mother is in your hands. I will be your slave... all my life...”
Both are semi-delirious, but even in a semi-delirious state, both understand the word “salvation” differently. Svidrigailov talks about a passport, about money, about escape, about a prosperous, “Luzhinsky” life in America. In Dunya’s consciousness, the question of both the mechanical salvation of his brother and his internal state, his conscience, and the atonement of the crime arises indistinguishably.
The prospect of a mechanical rescue of her brother cannot paralyze her will, her pride. “Tell me if you want! Not moving! Don't go! I'll shoot!.." At Svidrigailov's first move, she fired. The bullet slipped through Svidrigailov’s hair and hit the wall. In the rapist, in the beast, human traits slipped through: unreasoning courage, a kind of masculine nobility, which forced him to give Duna again and again a chance to kill him. He tells her to shoot again, after the misfire he instructs her how to carefully load the revolver. And an unexpected, unexpected movement occurred in the souls of both: Dunya surrendered, and Svidrigailov did not accept the sacrifice.
He stood two steps in front of her, waited and looked at her with wild determination, an inflamed, passionate, heavy gaze. Dunya realized that he would rather die than let her go. “And... and, of course, she will kill him now, two steps away!..”
Suddenly she threw away the revolver.
“- I quit! - Svidrigailov said in surprise and took a deep breath. Something seemed to leave his heart at once, and perhaps more than just the burden of mortal fear; Yes, he hardly even felt it at that moment. It was a deliverance from another, more mournful and gloomy feeling, which he himself could not fully define.
He walked up to Duna and quietly put his arm around her waist. She did not resist, but, trembling like a leaf, she looked at him with pleading eyes. He wanted to say something, but his lips only curled and he couldn’t say it.
Let me go! - Dunya said beggingly.
Svidrigailov shuddered...
Don't you like it? - he asked quietly.
Dunya shook her head negatively.
And... you can’t?.. Never? - he whispered with despair.
Never! - Dunya whispered.
A moment of terrible, silent struggle passed in Svidrigailov’s soul. He looked at her with an inexpressible gaze. Suddenly he took his hand away, turned away, quickly walked to the window and stood in front of it.
Another moment passed.
Here is the key!.. Take it; leave quickly!..”
For a writer of the school of Sue or Dumas, this scene would not go beyond the limits of melodrama, and its “virtuous” conclusion would look stilted. Dostoevsky filled it with amazing psychological and moral content. In Duna, in this possible great martyr, somewhere latently lurked a female attraction to Svidrigailov - and it was not so easy for her to shoot a third time, knowing for sure that she would kill him. The hidden, subconscious impulses that Dostoevsky read in his heroine do not humiliate her, they give her appearance organic authenticity. And here’s a new turn: in Svidrigailovo, man defeated the beast. Not trusting himself, rushing her, Svidrigailov let Dunya go. The beast had already achieved his goal, Dunya found herself in complete power, but the man came to his senses and gave freedom to his victim. It turned out that under Svidrigailov’s shaggy animal skin beat a yearning heart that thirsted for love. In Dostoevsky’s rough notes, a phrase was written down in order to attach it “somewhere”: “Just as every person responds to a ray of sunshine.” “Cattle,” Dunya says to Svidrigailov, who is overtaking her. “Cattle? - repeats Svidrigailov. “You know, you can fall in love and you can recreate me into a person.” “But, perhaps, she would grind me up somehow... Eh! to hell! Again these thoughts, all this must be abandoned, abandoned!..” Despite the striking contrast of feelings and lusts, despite dirty thoughts and intentions, the yearning man won in Svidrigailov.
And here the tragedy of Svidrigailov is finally determined. The man won, but the man was devastated, having lost everything human. Everything human was alien to him. This man had nothing to offer Duna; he himself had nothing and no reason to live. The sun's ray flashed and went out, night came - and death.
In wakefulness and oblivion, in moments of enlightenment and among the nightmares and deliriums of the dying night, the image of Dounia began to appear before Svidrigailov as a symbol of unfulfilled hopes, like a lost star.
Sonya’s sacrifice shed a new light on the sacrifice of Raskolnikov’s mother and sister, switching its meaning from the channel of narrow family relationships to the sphere of the universal, concerning the destinies of everything human race: in this unrighteous world, such as it is, the salvation of one is possible, but only at the expense of the body and soul of others; Yes, Raskolnikov can go out into the world, but for this his mother must destroy her eyesight and sacrifice her daughter, his sister, who will have to repeat, in some variation, life path Sonechki.
This law evokes contempt and indignation, pity and bitterness, compassion and thirst for revenge in Raskolnikov, but it also has another side that Raskolnikov’s theory did not take into account, did not foresee and was not able to understand. The mother is voluntarily ready to give her daughter to the slaughter, the sister is voluntarily ready to ascend Golgotha in the name of love for him, the invaluable and incomparable Rhoda. And here again it is Sonechka Marmeladova who takes the whole problem beyond the borders family love, from the sphere of private life to the sphere of the general.
- New!
There is no material evidence against Raskolnikov. Great value acquires the moral side of his crime. A terrible truth is revealed to him - his crime was meaningless: “I didn’t cross, I stayed on the other side. Therefore, I had no right...
Rodion Raskolnikov is the main character of Dostoevsky's novel Crime and Punishment. Raskolnikov is very lonely. He is a poor student living in a small room that looks more like a coffin. Every day Raskolnikov sees the “dark side” of life, of St. Petersburg: the outskirts...
The central place in the novel by F. M. Dostoevsky is occupied by the image of Sonya Marmeladova, a heroine whose fate evokes our sympathy and respect. The more we learn about her, the more we are convinced of her purity and nobility, the more we begin to think...
F. M. Dostoevsky - the greatest Russian writer, unsurpassed realist artist, anatomist human soul, a passionate champion of the ideas of humanism and justice. His novels are distinguished by their keen interest in the intellectual life of the characters, the revelation of complex...
In his novel “Crime and Punishment,” Fyodor Mikhailovich Dostoevsky raises the problem of permissiveness, the elevation of one person over another, “Napoleonism.” He shows how this seemingly quite logical and well...
The action of F. M. Dostoevsky’s novel “Crime and Punishment” takes place in St. Petersburg. This city has become many times actor Russian fiction but every time it was new city: then proudly displaying his palaces...
Raskolnikova Avdotya Romanovna(“Crime and Punishment”), 22 years old, daughter of Pulcheria Aleksandrovna Raskolnikova, younger sister of Rodion Romanovich Raskolnikov, in the finale - wife of Dmitry Prokofich Razumikhin. “Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident - which was expressed in her every gesture and which, however, did not in the least take away from her movements the softness and gracefulness. Her face was similar to her brother, but she could even be called a beauty. Her hair was dark brown, a little lighter than her brother's; the eyes are almost black, sparkling, proud and at the same time, sometimes, for minutes, unusually kind. She was pale, but not sickly pale; her face shone with freshness and health. Her mouth was a little small, but her lower lip, fresh and scarlet, protruded slightly forward, along with her chin - the only irregularity in this beautiful face, but one that gave it a special character and, by the way, a kind of arrogance. Her facial expression was always more serious than cheerful and thoughtful; but how the smile came to this face, how the laughter came to her, cheerful, young, selfless! It is clear that the hot-tempered, frank, rustic, honest, strong as a hero and drunken Razumikhin, who had never seen anything like it, lost his head at first sight. Moreover, chance, as if on purpose, showed him Dunya for the first time in a wonderful moment of love and joy of meeting with her brother. He later saw how her lower lip trembled in indignation in response to the impudent and ungratefully cruel orders of her brother - and could not resist...” The draft materials say about the character of the heroine: “spoiled, focused and dreamy.” A mother, in a letter to her son about the character of his sister, writes this way: “This is a girl who is firm, prudent, patient and generous, although with an ardent heart<…>Dunya, besides being a smart girl, is at the same time a noble creature, like an angel...”
However happy marriage with Razumikhin - this is the finale of Dunya’s novel fate. Before this, she experienced the humiliating harassment of the landowner Svidrigailov, when she lived on his estate as a governess, and the aggressive persecution of the same Svidrigailov already in St. Petersburg: he even blackmailed her with the threat of handing over his criminal brother to the police... In addition, Avdotya Romanovna, with her pride, For some time she had to endure the rather humiliating position of Mr. Luzhin’s fiancée, a marriage with which she agreed primarily to save her brother Rodion from poverty and disgrace.
The “Epilogue” reports that Avdotya Romanovna and her husband firmly decided in three or four years, having accumulated the necessary capital, to move to Siberia, to the city where Rodion Raskolnikov was serving hard labor (probably Omsk, where Dostoevsky himself was serving hard labor) and “all together start a new life."
The portrait and character of Avdotya Romanovna Raskolnikova reflected to some extent the features of A. Ya. Panaeva. In addition, this heroine stands among Dostoevsky’s “tormentor” heroines, such as Polina (“The Gambler”), Aglaya Epanchina (“The Idiot”), Akhmakova (“Teenager”), Grushenka (“The Brothers Karamazov”), when creating images of which the author “remembered” A.P. Suslov.
Avdotya Raskolnikova - minor character in the novel Crime and Punishment. The girl is a type of heroine that is repeated in the writer’s work from work to work.
History of creation
Dostoevsky's socio-psychological novel is included in the list of works that make up the classics of world literature. Philosophy here is subtly intertwined with the author’s ideas and psychological background. Work on the essay took one year, during the period when the writer was in prison. In 1866, the author sent it for publication in the Russian Bulletin magazine. The version published in the book edition differed somewhat from the original source, as edits and abbreviations were made.
The novel was originally given a different title. Having already completed the work, Dostoevsky decided to change it. The author focused the attention of the public on the fact that moral punishment for a crime is much more important than public and judicial punishment. The main character experiences remorse and awareness of his own guilt.
The image of Dunya Raskolnikova appeared in Dostoevsky's work long before the creation of the novel. In the magazine “Time,” which Dostoevsky published independently, in 1861 a short article appeared about a governess forced to endure the harassment of a master. This news inspired the author to include the corresponding episode in Crime and Punishment.
Illustration for the novel "Crime and Punishment" The prototype of the heroine was Avdotya Yakovlevna Panaeva. This was evidenced by external resemblance heroine with prototype and chosen name. Dostoevsky made acquaintance with Panaeva in 1845 and had tender feelings for her.
"Crime and Punishment"
Dunya Raskolnikova is a 22-year-old girl, the sister of Rodion Raskolnikov, the main character of the novel. This is a minor character in the action. Avdotya’s fate was dramatic, but in the end of the story, self-sacrifice paid off. The appearance of the homeless woman is described by Dostoevsky in a favorable manner. The homeless woman is beautiful, demonstrates a strong-willed, persistent character, is self-confident, and has a high-quality education and upbringing.
At this age, a girl should have a husband, but Dunya is still single. There are many contenders for your hand and heart, but Raskolnikova does not want to marry just anyone. She commits actions that characterize the heroine as a decent girl. Therefore, proud and aware of her worth, Dunya tries to help the distressed family and agrees to Luzhin’s marriage, realizing that she will improve the financial situation of her mother and brother.
A sophisticated beauty, Avdotya works as a governess in a house. This allows his brother to get an education, and Duna and Raskolnikov’s mother to at least survive on the pennies they earn. A brave young lady, who has had to endure many adversities, makes a noble decision about marriage, but Raskolnikov is against such a sacrifice. More than one conversation took place in the family before it became clear that Luzhin was not worthy of Dunya.
The stingy egoist is not the only one who noticed Dunya’s charm. The owner of the house, Svidrigailov, also has designs on her. He discusses with the girl the crime committed by his brother, and forces the beauty to shoot in self-defense. The mistake saved Dunya from killing a man and brought justice: the girl will not be able to overcome herself and fall in love for the sake of money. Svidrigailov releases the victim.
Dunya's biography is full of sad moments, but in the end her suffering pays off. The girl married Raskolnikov's friend. The young man is able to give her what the girl dreamed of. The epilogue of the novel highlights the young family's decision to leave for Siberia. Having saved money, Dunya and her husband move there to live closer to her brother.
The role of the character Avdotya Raskolnikova in the work is important. Compared to Rodion, she is a decent and noble heroine who managed to refuse temptation. Self-sacrifice - main topic, transmitted by Dostoevsky using the image of Dunya.
Film adaptations
Avdotya Raskolnikova is a supporting character in the work and film adaptations, so directors often do not pay attention to this heroine close attention. Some even omit her existence, not mentioning that Raskolnikov has a sister.
In the 1935 film Crime and Punishment, Dunya, or more precisely Antonia Raskolnikova, was played by actress Tala Birell. Several decades later, in Lev Kulidzhanov’s film of the same name, filmed in 1969, Raskolnikov’s sister reappeared. The image of Avdotya was embodied in the film. Dmitry Svetozarov's multi-part project, presented in 2007, introduced Katerina Vasilyeva to the public in the role of Dunya.
Quotes
The verbal characterization of Avdotya, given in the work by Dostoevsky, reveals her feminine and personal attractiveness. The girl looks better in comparison with. Appearance seems to complement character traits:
“Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in her every gesture and which, however, did not in the least take away from her movements the softness and gracefulness.”
Prudence and strength of character were visible in all the girl’s actions and decisions. The main decision in life did not differ from the principles that Dunya followed, despite all the difficulties and vicissitudes:
“My sister would rather become a Negro to a planter or become a Latvian to a Baltic German than to fuel her spirit and her moral sense by a connection with a person whom she does not respect and with whom she has nothing to do - forever, for her own personal gain!” - Raskolnikov made his verdict, knowing his sister’s nature.
Raskolnikov is to blame for Avdotya’s torment and understands what she has to endure. He and mother understand all the beauty of the girl’s soul: “... Of course, you know Dunya, you know how smart she is and with what a strong character. Dunechka can endure a lot and even in the most extreme cases find so much generosity in herself that she does not lose her firmness...”
These beliefs also apply love relationship, whom Dunya is waiting for: “...she can endure a lot, under the condition that further relations will be honest and fair..."